Désir de femme

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.

Barbar Stanwyck, Maureen O'Sullivan, Richard Carlson and Lyle Bettger make up the leading cast in this Ross Hunter-produced and Douglas Sirk-directed film. Stanwyck goes back home to her small town and the family she left behind, after receiving a letter from her oldest daughter, who's starring in a school play and graduating from high school, and who asked her to attend. Stanwyck is an stage actress, but hasn't found much success, and when she hits the small town, gossip flies. Her son just happens to be fishing buddies and best friends with Lyle Bettger, a guy who had an affair with Barbara, before she up and left. And, Miss O'Sullivan is on hand as a love interest for Richard, even though Barbara's new presence puts a fly in their plans. Does he still love Barbara? Does Barbara still love Richard? And, Lyle Bettger is all upset with Barbara for leaving him. That pretty much sets up another melodramatic story, courtesy of Hunter and Sirk.

The only critique or negative thing I have about it, is that it takes itself too seriously too early in the picture and gets really melodramatic really fast, instead of easing into the melodrama, and the dramatic events evolving and complicating their lives. The not-so-subtle score also adds to the dramatics. Bettger and Carlson seem to be overacting, especially Carlson, who appears to be uncomfortable in this movie. (In other words, they and the movie seem to be overdoing it a bit.) But, as we get to the second half and more complications ensue, this begins to find its heart and the dialogue is a lot more believable and realistic. Carlson and Bettger appear to have settled into their roles. Stanwyck is always great, as usual. The only other question is why did Richard Carlson get this role, instead of someone like George Brent or a more charismatic leading actor? But on the whole, you will definitely enjoy this film and be glad you've discovered this unknown melodrama. It can be found on a new Barbara Stanwyck DVD collection out in 2010. I could watch it again right now, and this cold weather makes me want to snuggle in for a nice quiet Saturday afternoon with Barbara Stanwyck. Who could ask for anything more?

Douglas Sirk was the prince of melodrama in the fifties.However,there are two kinds of melodramas in his work :the extravaganzas ("Imitation of life" which nearly cut Stahl's version,"written on the wind" "magnificent obsession" ) and the intimate dramas which verge on realism: "all that heaven allows" or "tarnished angels" are good examples.When he connects all the links of the chain ,he produces his masterpiece ,the overlooked "a time to love and a time to die" .

"All I desire " belongs to the second kind of melodrama;its story is simple -but that kind of simplicity ,it takes years and years of practise and a touch of genius to make it work.Barbara Stanwyck -excellent- is the black sheep of the family,the mean woman who walked out on her family and what a nice family they are!In the small town where her husband is a principal in a high school ,people will talk.And there's the prodigal woman's erstwhile beau.

(Re)building of a family was one of Sirk's main permanent features: Hudson and Wyman in "ALL that heavens" and "magnificent obsession" ,Sarah Jane and her mother's friends in "imitation of life" .

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.

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