Desejo Atroz

A failed actress returns to the family, the lover and the small town she abandoned years earlier and sets tongues wagging anew. Does it rank up there with ALL THAT HEAVEN ALLOWS or IMITATION OF LIFE? No, not really. It all wraps up too neatly (the "happy" ending was forced by the producer), Lyle Bettger has the charisma of a toilet brush (why would Barbara Stanwyck ever fall for this lummox?) and it's pointlessly set in the early part of the century. The only rationale I can think of for the latter is that Stanwyck's lack of success would be harder to keep a secret in modern times, but it takes the edge off and makes the whole thing a bit too quaint. However, it's not really a dud, either. It's a tight script, Stanwyck is riveting as always, and Sirk's eye for brilliant framing is hard at work. It makes for a quick, easy watch with some slight subversiveness in its commentary on small town gossip and hypocrisy.

Although not in the same class as Douglas Sirk's major melodramas, "All I Desire" has many of the traits that would be developed in these later works. As such it is essential viewing for fans of Sirk's films. His use of color is legendary so much is lost by this being filmed in black and white, the result of a tight fisted Universal Studios.

Fans of Barbara Stanwyk should not miss it either. Stanwyk is one of a handful of actresses who simply never gave a weak performance. Under the direction of the likes of Wilder or Sirk, she's a compelling screen presence. Sirk had great admiration for Stanwyk calling her "one of the best in town". He used her a few years later in "There's Always Tomorrow" which remains his greatest unrecognised opus. There his criticism of the American family values is particularly cutting, whereas "All I Desire" has an altogether more forgiving view of small town narrow mindedness.

Sirks films are always worth watching. They are extremely well crafted with each shot carefully thought out. Nothing is left to chance. Those who dismiss the melodrama as an inferior genre would do well to take a close look at his body of work. "All I Desire" makes a good starting point.

Absolutely love Barbara Stanwyck and consider her one of the best actresses of her generation. She is/was one of the few to seldom give a bad performance despite being in some very patchy films early on in her career. Have much admiration for Douglas Sirk, another director that explored very real and difficult subjects and conflicts and not in a toned down fashion. Some films of his are better than others, one of my favourites of his being 'Imitation of Life', but there is a good deal to admire about all his films.

1953's 'All I Desire' is no exception. It is not a great film in my view, and both Stanwyck and Sirk did better films in their careers (though individually both fare very well). Like much of Sirk's output, there is a lot to admire about 'All I Desire' that outweigh the not so good things which sadly are present. Fans of Stanwyck are not likely to be disappointed, despite it not being one of her best there is plenty here that made her such a good actress.

Will start with the good things. Regardless of what one thinks of whether the period is well established, 'All I Desire' still looks great in its own way. It is beautifully photographed, at its best quite lavish without being overblown, and it's well designed. The music is often hauntingly beautiful without being over-intrusive or too syrupy. The film is sensitively directed by Sirk, in an understated but never disengaged way, his trademark touches obvious especially in his themes and the realistic way his characters are treated.

Enough of the dialogue is thought-provoking and poignant and the story also has emotional impact and doesn't shy away from its approach to the subject without being too ham-handed. Most of the performances are fine, Stanwyck was a wonderful actress and her steel and vulnerability is abundantly clear. Once he warmed up, after starting off uncomfortable, Richard Carlson actually to me did a mostly good job. Lori Nelson, once one warms to the character, and Maureen O'Sullivan are lovely support, though O'Sullivan could have had more to do. One can argue that it is hard to care for the characters and fair enough, but this is a situation where likeability would not have been as realistic.

Lyle Bettger is however a complete blank and lacks any kind of charisma or intensity in my opinion. The dialogue can get overwrought and soapy.

Did find the final quarter too heavy on the melodrama and really do have to agree with everybody that has panned the very jarring and tacked on ending that absolutely reeks of studio interference.

Summing up, good enough but not great. 7/10

Yes, I call this a perfect movie. Not one boring second, a fantastic cast of mostly little known actresses and actors, a great array of characters who are all well defined and who all have understandable motives I could sympathize with, perfect lighting, crisp black and white photography, a fitting soundtrack, an intelligent and harmonious set design and a story that is engaging and works. It's one of those prime quality pictures on which all the pride of Hollywood should rest, the mark everyone should endeavor to reach.

Barbara Stanwyck is simply stunning. There was nothing this actress couldn't do, and she always went easy on the melodramatic side. No hysterical outbursts with this lady - I always thought she was a better actress than screen goddesses like Bette Davis or Joan Crawford, and this movie confirmed my opinion. Always as tough as nails and at the same time conveying true sentiments. It is fair to add that she also got many good parts during her long career, and this one is by far the least interesting.

The title fits this movie very well. It is about desires, human desires I think everyone can understand. Actually, no one seems to be scheming in this movie, all characters act on impulse, everybody wants to be happy without hurting anybody else. The sad fact that this more often than not leads to complications makes for the dramatic content into which I will not go here.

I liked what this movie has to say about youth, about maturing and about the necessity to compromise. The movie I associate most with this one is Alfred Hitchcock's Shadow of a Doubt, it creates a similar atmosphere of idealized and at the same time caricatured Small Town America. The story has a certain similarity with Fritz Lang's considerably harsher movie Clash by Night, made one year earlier, where Stanywck stars in a similar part. I can also recommend it.

Saw this film yesterday for the first time and thoroughly enjoyed it. I'm a student of screen writing and I loved the way the minor characters intervened just when something pivotal/climatic happened in a scene.

I thought the dialogue was very sharp and the premise of story is rather shocking - at one particular point Barbara Stanwyck is openly flirting with her daughter's boyfriend; AND rekindling some passion in her husband whom she hasn't seen in ten years; AND with the gunshot signal 'two shots and then one' she hooks up with her old shag mate Dutch (the reason she left town in the first place!) ALL AT THE SAME TIME! The moral majority must have been totally incensed when they saw this flick back in the 50's.

Love the costumes and cinematography and the straight from the hip dialogue - just to watch Barbara Stanwyck and Co doing the 'Bunny Hug' is good enough reason to rent this film on DVD.

One of the best films from that period I've seen in a long time.