All I Desire

Moviecut—All I Desire

Barbara Stanwyck as a fading cabaret actress is suddenly summoned by her daughter home to the small privincial town life she deserted many years ago for a family reunion with the husband and two other children she left so long ago for private reasons that gave her no choice. She doesn't want to go, but it's her youngest daughter graduating, so she feels she must, and of course meets with all kinds of traumas as she is confronted with old painful memories, especially as her former husband hasn't been expecting her, she comes as an overwhelming surprise, and her oldest daughter refuses to have anything to do with her. So this is an extremely sensitive situation, but Douglas Sirk handles it perfectly with care, and so does Barbara Stanwyck and her husband Richard Carlson. It's a psychological drama prying into all kinds of family problems of relationships, but it is beautifully well done. Just for security, Douglas Sirk has included some Chopin and Liszt and Shakespeare and even a recital of Robert Browning, which is something of a highlight. It's Barbara Stanwyck's film, you will melt at all those crises you will face with her, but the only way out is as usual the way through, and there is always another side waiting for you, especially in Douglas Sirk films.

Here we are again, folks, Sudsville, USA, Douglas Sirk, sole owner and proprietor. At one level this is Meet Me In St Louis without the technicolor and the songs and also, it must be said, without Vincente Minnelli. Sirk is one of those directors you either love or can take or leave but who could never be accused of less than fine craftsmanship. It's 1910 and Barbara Stanwyck is lying a bad second to Fink's Mules on the vaudeville circuit; years ago she abandoned her husband and children to become a star on Broadway except someone forgot to tell the Producers and she ended up one stop away from burlesque. At this low point she receives a letter from her daughter (no one bothered to wonder just HOW the daughter got her address) who's about to graduate and will be appearing in her High School play. Against her better judgment Stanwyck goes back for the gig, sets tongues wagging anew and, in the fullness of time, is reconciled with her high school principal dull husband, Richard Carlson. It's a fairly painless way to spend 100 minutes or so, Stanwyck didn't know how to turn in a bad performance and Billy Gray, playing her youngest son, would soon be familiar to Doris Day fans when he played Wesley Winfield in On Moonlight Bay and its sequel By The Light Of The Silvery Moon. Certainly worth a look.

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.

Barbara Stanwyck seemed a little haggard but still managed a fine performance in this Douglas Sirk-directed sudser which preceded his other more famous movies such as "Imitation of Life", "All That Heaven Allows" and "Written on the Wind", among others. The movie was good, although I thought the only charachters with any life to them were Barbara, Richard Long and Lori Nelson, who portrayed her overly-eager daughter Lily. The other charachters were rather drab, although this is due in large part to the material they were given. A special added treat to watch for is when Barbara and Richard Long (later playing mother and son in "Big Valley") dance the "Bunny Hug".

Barbara Stanwyck plays turn-of-the-century woman who once left behind her husband and children to pursue a career as a stage-actress; now she's back, at least temporarily, to attend her daughter's graduation. Potentially compelling premise is needlessly set in the 1900s (why not adjust the scenario for the modern age? The narrative certainly seems relevant enough). Director Douglas Sirk nearly smothers the proceedings in a rosy, sentimental hue (also needless), though he's a careful, attentive director and gets good performances from his cast (with Stanwyck giving it some grit). Sirk is also wise with the intricate details of story and character, making this an above-average soaper. **1/2 from ****

Naomi Murdoch (Barbara Stanwyck) is a struggling vaudeville actress. She receives a letter from her daughter Lily, 10 years after abandoning her family. Lily is graduating and engaged. Naomi has lied to them about her success. Lily invites her mother home for her play despite assuming her to be busy. Her return reignites old issues from everybody in town especially her husband. Being a Stanwyck fan, one hopes for the best in this movie. It's an old fashion melodrama. It would have been better for a darker movie especially the ending. It all becomes too melodramatic and too sappy. It could have been much better.

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

This early Sirk melodrama, shot in black and white, is a minor film, yet showcases the flair of the German director in enhancing tired story lines into something resembling art. Set in the 1910's, Barbara Stanwyck is the woman who has sinned by abandoning her small-town husband and family for the lure of the Chicago stage. She never fulfilled her ambitions, and is drawn back to the town she left by an eager letter from her daughter informing her that she too has taken a liking to the theatre (a high school production, that is). Back in her old town she once again comes up against small-mindedness, and has to deal with her hostile eldest daughter, bewildered (and boring) husband (Richard Carlson) and ex-lover. The plot is nothing new but Sirk sets himself apart by creating meaningful compositions, with every frame carefully shot, and he is aided immeasurably by having Stanwyck as his leading lady. It runs a crisp 76 minutes, and that's just as well, because the material doesn't really have the legs to go any further.