Quero Viver!

Barbara Graham was a known prostitute with criminal associates. In the early 1950s, Graham and two men were accused of and arrested for the brutal murder of elderly Mable Monahan during the course of a robbery. Convicted and sentenced to death in California's gas chamber, Graham protested her innocence to the end--and many considered that she was less a criminal than a victim of circumstance and that she had been railroaded to conviction and execution. The celebrated 1958 film I WANT TO LIVE follows this point of view, presenting Graham as a thoroughly tough gal who in spite of her background was essentially more sinned against than sinner, and the result is an extremely intense, gripping film that shakes its viewers to the core.

The film has a stark, realistic look, an excellent script, a pounding jazz score, and a strong supporting cast--but it is Susan Hayward's legendary performance that makes the film work. She gives us a Graham who is half gun moll, half good time girl, and tough as nails all the way through--but who is nonetheless likable, perhaps even admirable in her flat rebellion against a sickeningly hypocritical and repulsively white-bread society. Although Hayward seems slightly artificial in the film's opening scenes, she quickly rises to the challenge of the role and gives an explosive performance as notable for its emotional hysteria as for its touching humanity.

As the story moves toward its climax, the detail with which director Wise shows preparations for execution in the gas chamber and the intensity of Hayward's performance add up to one of the most powerful sequences in film history. Ironically, Hayward privately stated that her own research led her to believe that Graham was guilty as sin--and today most people who have studied the case tend to believe that Graham was guilty indeed. But whether the real-life Barbara Graham was innocent or guilty, this is a film that delivers one memorable, jolting, and very, very disturbing ride. Strongly recommended, but not for the faint of heart.

Gary F. Taylor, aka GFT, Amazon Reviewer

Susan Hayward's powerful performance as Barbara Graham has been much written about, and it is the single best part of this film. But there are so many other perfectly pitched performances surrounding her as well, mostly by actors relatively unknown even to film buffs, or early turns by actors whose faces, if not names, did find a national audience--Virginia Vincent as Peg (she played the mother in The Hills Have Eyes), Gas chamber guard Dabbs Greer (the Rev. on Little House on the Prairie and Picket Fences), and especially Raymond Bailey who plays the San Quentin warden. His understated forthrightness and humaneness are a far cry from his later manic turn as Mr Drysdale on The Beverly Hillbillies (with the addition of a toupee). Robert Wise handles the execution preparations with a clinicism that turns the stomach more than any posturing would do, bringing the horror of impending death home. And following the clock's second with a moving camera closeup, instead of just cutting to the clock on the wall, done so many times, is craftsmanship of the highest order.

Capital Punishment was, is, and probably always will be immensely controversial. "I Want to Live" offers an argument against the practice, approaching the issue with a fervently emotional message.

Susan Hayward (perhaps the finest work of her career) portrays the real-life convicted murderess Barbara Graham with urgency, strength, and sensitivity. We follow the story of Graham as she gets in trouble with the law repeatedly. Eventually, she is involved with a couple of thugs; a woman is murdered, and the three are accused. Which one actually killed the woman is uncertain. The movie provides information from Graham's trial (after she is implicated by the other two), but cleverly skirts the issue of guilt, and leaves the viewer to come to one's own opinion about this.

Whatever your view on capital punishment is, and whether or not you believe Graham was the actual killer should not skew your opinion of the movie; artistically, it's a gem. It is guaranteed to get you thinking about the issue of capital punishment, and some of the questions that are inherent in the arguments for and against it.

The final sequence of the movie is poignant and eloquent in depicting the preparations for a gas chamber execution. These images are haunting and will stay with you long after you see the movie.

This movie is artistic and masterfully done; but one must set aside preconceived opinions on the issue (pro OR con) to fully appreciate it.

Barbara Graham (Susan Hayward) is an aged lying grifter prostitute. She's been in and out of jail. She willingly perjures herself for two cohorts and gets a year in prison. She is released to probation and joins two con-men. She tries for a family but her husband turns into a drug addict. The cops follow her and arrests her, Emmett Perkins and John R. Santo. She's arrested for passing bad cheques among many charges. The men throw her under the bus and claim she's the murderer. She becomes a media sensation and maintains her innocence throughout.

Hayward is terrific as a ballsy broad. She's not an innocent naive character although the movie portray her as innocent of the murder. The media sensation adds another layer to the movie. It is a bit hard to root for the character but Hayward makes the movie work. She gets to do some juicy acting as she prepares to be executed.

Whether Barbara Graham was really framed for murder or not is never really the point of this melodramatic look at a woman on death row, played to the hilt by SUSAN HAYWARD in one of her gutsiest performances. The main point seems to be showing us what a devastating time any prisoner on death row has while waiting for that execution to proceed. And in this, Robert Wise succeeds with his powerful film about the accused murderess Barbara Graham.

That Hayward can actually make us feel sympathy for her character when she's depicted as a tough-talking, bitter dame who takes no nonsense from anyone (even those trying to help her), is a credit her talent as an actress who never tries to soften her portrayal of the party girl paying for a life of petty crimes that may include murder.

SIMON OAKLAND as a reporter who begins to have doubts about her guilt, is excellent. There's an almost documentary feel to the whole film and this is partly due to the uniform excellence of the entire cast, all of whom come across as real people. But the main credit must be given to director Robert Wise who does a fine job with some truly harsh material.

The jazz score background effectively balances the look and feel of the story. Well worth watching as an inside look at how justice sometimes works, while raising questions in the viewer's mind as to Graham's guilt or innocence.