Clamor do Sexo

This one of the greatest movies i ever seen.Everything is perfect. Based on a play by William Inge,Natalie Wood shines in every scene and also marks the movie debut of Warren Beatty. The Movie is a true classic directed by master Elia Kazan,set in Kansas during depression era a love story between a rich boy (Beatty) and poor girl (Wood),the families are against the romance. The supporting players also giving good performances including Pat Hingle and Audrey Christie. I watched this movie many times and when is released in DVD in Brazil,i want to buy. Natalie carries the movie with dignity and how great actress she was,a tour de force she gives and unfortunately,she didnt receive the academy award she really deserves.Her performance have academy award caliber and she never get the recognition she really deserves. But for all fans she did marvelous movies,many of them classics like "Splendor in the Grass".

There are movies, and then there are sensorial experiences like SPLENDOR IN THE GRASS. The sound of the water in the first scene, the color of Natalie Wood skin, the absolutely black of Warren Beaty's hair, the smell of champagne in the "crazy party"... SPLENDOR IN THE GRASS is not only a movie, it's an experience that anyone that was once young can understand and feel. The characters go through love, sexual arousing, separation, and pain... not because of a villain, but because of life, and ultimately, because of themselves. The splendor of the title is that rare moment in life where everything clicks, the moment that you will remember forever from your youth. See it. You won't forget.

This is a beautiful and powerful film - flawlessly acted, directed and written. It is easily the best of the sexual awakening movies that were so popular in the late fifties, early sixties. And why wouldn't it be - with Kazan at the helm and an original screenplay by William Inge.

The film begins with a similar theme to "Rebel Without a Cause" - that is why won't parents treat their children like human beings and really help them come to terms with becoming adults? But halfway through Inge does a clever turn-around and allows the kids to discover that their parents are human beings too, with all the weaknesses and frailties that go with being human. At the same time Inge portrays the coming of age of America as the joy of the roaring twenties moves into the gloom of the Depression.

The story is about how prejudice and blind morality destroys a great love - sex shouldn't be such a huge issue between two people who love each other, but the enormous pressures from outside to either do it or refrain from doing it cause confusion, pain and hurt. Who will ever forget Natalie Wood leaping naked from a bath screaming at her mother that she is not "spoiled"? Wood gives the performance of her life here, convincingly portraying adolescent love, a nervous breakdown, and the blossoming into woman-hood. Beatty too is splendid as the confused Bud. And both are so achingly beautiful!

The supporting cast is superb down to the smallest role. Barbara Loden is particularly memorable as Beatty's wild flapper sister, but Pat Hingle as his father, and Audrey Christie and Fred Stewart as Wood's parents are also unforgettable.

This is a resonant film that I believe will be more and more appreciated with the passing of time.

This is a fine movie, with a great screenplay by William Inge, director Elia Kazan's ability to convey powerful emotions, and a marvelous performance by Natalie Wood.

Typically relegated to the second ranks among playwrights, Inge deserves more critical respect than he receives. Here, as in "Picnic," he celebrates romantic love, shows how inseparable it is from sex, and portrays the damage done by a conventional world that insists on separating them.

We belittle the small-town characters in the film, who see the world in terms of "good" girls and "bad" girls, but many reviewers have shown a similarly reductionist outlook on a more sophisticated level. They have seen this movie as "Freudian," showing love to be a sublimation of sex. Or they have belittled it as just another "rebellious youth" film of the type that was so popular in the 1950s and early 1960s. Pauline Kael wrote about Natalie Wood's apparently too active "behind," and on TCM, Robert Osborne introduced the movie as one in which the young couple is motivated by "hormones."

In the movie, it is plain that the young couple truly love each other, and it is also plain that they desire each other sexually. So it always will be with young people in love. This is the glory of romance. People frequently love without a sexual involvement, and people frequently have sex without love. But romantic love is a matter of both "body" and "soul" acting as one.

This is a most beautiful film in all senses ; picture quality and colors which they don't seem capable of making any more in spite of all the modern technology, beautiful scenery, and above all two beautiful actors. I also loved the clothes Nathalie Wood wore during the film. Pat Hingle plays a character almost unbelievable today. Although this " frustrated love " is sad and brings tears to my eyes, I still cannot help watching the film quite regularly even though I know the end will leave me frustrated. There is a lot if implied rather than visible passion in this film ( its French title is - " la fièvre dans le sang " or fever in the blood ). This hidden, repressed passion is more gripping than if we had seen the couple simply lie down and get on with it !! But perhaps the passion is a little too stifled and a few short scences with more passionate physical contact might have satisfied the spectator ! But that's a very subjective matter. But I end as I started by reiterating the total beauty of the film at all levels.