Clamor do Sexo

this is not a moving story. this is not awfully romantic or sentimental. but what this is, its a wonderful expression of indecision and mental stigma that you go through adolescence - not just in 60s even now I would imagine.

one of the most recognizable starts in the film history. its worth watching just for this opening sequence.

Beatty's first film. great find. scenes with his dad are wonderfully done.

Natalie wood - perfect. superb actress.

awesome end! Don't miss it.

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 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.

I found the film beautiful. Perhaps the best film ever to show the consequences of sexual repression. Natalie Wood is absolutely superb, both in terms of beauty and in terms of her fantastic performance. Warren Beatty, in his first film role, is fine too. Elia Kazan knew how to make movies. This "splendor in the grass", "on the waterfront", "a streetcar named desire", among others, are movies that remain in our memory, which made us experience sensations and feelings, which "touched" us in our soul.

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.