Now He Knew Her as Other Men Had!
In 1910, a wayward mother re-visits the family she deserted.
In 1910, a wayward mother re-visits the family she deserted.
Despite walking into a film by my favourite director starring my favourite actress, I tried to not let expectations get too high - it is, after all, a "minor" Sirk that couldn't possibly hold a candle to his acclaimed masterpieces, right?
The film is about a woman (Stanwyck, in a brilliant performance) returning to the family she left years ago to achieve career success and to avoid brewing scandal, and dealing with the effects of her departure, which each character deals with differently. It's amazing how a film made in the 1950s about characters in the 1900s rings so true today about characters, emotion and even fate, such is the timeless nature of Sirk's art. The characters react in such…
An affecting drama in Douglas Sirk's familiar style, with Barbara Stanwyck given one of her best later roles - and so giving one of her best later performances.
As in the pair's other film together, 1956's There's Always Tomorrow, she's a woman returning to a town she left years before, complicating the lives of the married man she once loved (Richard Carlson), his son and his two daughters. This time, though, the kids are hers and the man was once her husband.
It's not quite as effective, unusual or stylistically striking as that later film, which made vivid use of the wide screen then de rigueur, with compositions rich in symbolism (hello Rex, the Walkie Talkie Robot Man), but it…
With All I Desire, Sirk continues to mine the crippling attitudes of conformist society through a classic 'stopover' scenario, with a woman returning to the town of her hurtful past. Although, here it is critiqued in an earlier time period. Instead of the postwar 50s, the film critiques the bourgeoisie society of the 1910s. To Sirk, fundamentally not a lot has changed.
Once again, there is biting social commentary with some moments of genuine truth scattered throughout. The depiction of the smothering righteousness of the small town might seem a little histrionic, but ultimately the protagonists do favour survival through self-integrity rather than fleeing and/or succumbing to the fascism of town gossip. This film concerns the prodigal return and forgiveness…
It's hard not to get fascinated by Barbara even when the film is so cliche...Such an amazing actress!
"We're a big disappointment to each other, aren't we? You've got a mother with no principles; I've got a daughter with no guts." — Naomi Murdoch ( Barbara Stanwyck)
OK, it's "lesser" Sirk, filmed in B&W. But it's a densely packed 79 minutes of Sirk directing Stanwyck in an engaging period melodrama depicting stifling small town hypocrisy. The ending may have been a last minute change, but it didn't read to me as tacked on at all.
Before Douglas Sirk made Imitation of Life, he cast an older Barbara Stanwyck in this small town melodrama that should be called Imitation of Success. And before Sirk was able to earn his lush, sweeping endings during his glorious late 50s run, Universal saddled him with a rushed and sappy ending that was forced upon him. Stanwyck is great tho.
What a perfect little movie, if you're looking for a feel good movie have i found something for you! I already know i'm gonna be looking for Douglas Sirk's other movies. The only negative a have is the running time, not that i wanted them to simply stretch out the scenes 'cause the pacing is great. But i could've used some more deep conversations between naomi and dutch and her husband and her three children, those are a lot of characters to cram into 80 minutes.
I prefer There's Always Tomorrow but I wouldn't say this was appalling. In an hour and less than twenty minutes the film left me contented and not in a way Sirk's second film with Stanwyck. At age 46 she still has the qualities of everything we remember her for.
Carl E. Guthrie's cinematography was stellar. Found a good copy of the film in rich black and white. Hope to find a good copy of There's Always Tomorrow too.
A world-weary Barbara Stanwyck (she seems older her than in the later There’s Always Tomorrow) carries this period melodrama in which a woman returns to her abandoned family, only to face the same forces that drove her away in the first place. It sounds jejune, but Sirk’s intelligence and wit energize it, making the film something of an attack on its primary audience. Stanwyck radiates a melancholy vibe that manages to ground everyone else. Whenever she goes on the offensive, we understand precisely why she had to leave this town and how she managed to survive outside it.
An early Sirk. All the themes in place but sadly in black and white so his trademark colour palate is missing. Still a worthwhile watch.
Seems to be considered the start of Sirk's golden period, and it definitely feels like classic DS to me (it's in B&W rather than his trademark vivid Technicolor, but so are some of his best films), as well as being yet another showcase for Stanwyck's awesomeness. A tight little melodrama that manages to tell a satisfying and affecting story in under 80 minutes, and touches on many of Sirk's usual themes and whatnot. DS rocks, and BS rocks even harder.
'' Funny isn't it ? How things work out. ''
I rewatched this hoping that it might warrant comparison to There’s Always Tomorrow upon a second look. It can’t quite bear the comparison to that Sirkian masterpiece, but it’s nonetheless an efficiently made melodrama that juggles most of its plot threads in a way that maximizes anxiety.
all I desire.....and require of a sirk film, but I can't help but wonder what it would have looked like in color.
The great Barbara Stanwyck is Naomi Murdoch a good-time touring showgirl who is estranged from her small-town family. A decade after leaving home Naomi receives a letter from her daughter Lily (Lori Nelson) inviting her to the school play where Lily has a starring role. Naomi returns, sparking a small-scale scandal amongst the townsfolk and rekindling the spark of romance in her abandoned husband, Henry (Richard Carlson) and her former lover, Dutch (Lyle Bettger). “All I Desire” is directed by Douglas Sirk with a great eye for easy melodrama and a sharp approach to a dramatic situation. The film has a number of controversial for the time themes including a mother abandoning her seemingly perfect family for the life of…
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This list is for scripts or source material written or co-written by women. Recs welcome!