Autumn Leaves

Saw 'Autumn Leaves' as somebody who admires Joan Crawford, 'Mildred Pierce' being a prime example of what made her such a good actress. It was interesting seeing Cliff Robertson in an early role and a large part of me was very intrigued in seeing how he would fare alongside the more experienced Crawford. Also seeing how one of Robert Aldrich's earlier films would rank with his other films. Melodrama does vary in execution and always has done, but there has never been any personal bias against it as there are some great ones out there.

'Autumn Leaves' is not going to connect with everybody, am aware that some respected critics and fellow prolific reviewers didn't care for the film. For me though, it was very good and a near-must see for anybody that likes Crawford, Robertson and Aldrich. Can totally see why Crawford herself thought highly of the film and her reasoning mirrors my feelings on it (also agree with her that it should be better known), and to me it is among Aldrich's better films if not quite in the same league as the likes of 'Whatever Happened to Baby Jane' and 'Attack'.

It is not a perfect film. With my biggest reservation being the ending, which for me and some others was too abrupt and tonally was completely at odds with what came before. For a quite dark story to end on such a jarringly pat note was a shame.

Maybe the film is a little too long as well.

Crawford on the other hand is in a role that she was born to play and pulls out all the way. Robertson gives a very distinguished turn in a not easy role to play and actually appreciated that he doesn't go over the top, a big trap for a character that changes as much as he does here. He works very well together with Crawford and personally didn't think that they were too much of a mismatch together in age and acting style and that their styles of acting didn't clash too much, actually thought that the more understand acting of Robertson contrasted well with Crawford's. Lorne Green and particularly Vera Miles are very good in support and Aldrich directs beautifully with material that he is completely at ease with, thematically this is already classic Aldrich.

Visually, 'Autumn Leaves' is handsomely mounted and photographed with a real sense of atmosphere. The music is haunting and sears in intensity, without intruding too much. The script is soap opera but intelligently written and naturally flowing soap opera that doesn't get too overwrought or heavy-handed. The story deserved a much better ending, but the psychological aspect is hard-hitting and pulls no punches (regardless of any debate on how well it has dated) and it is very intense and moving.

On the whole, very good with a lot of things that come off greatly. 8/10

There's something very rewarding about discovering a well-acted mid-20th century movie you never heard about, in this case, Autumn Leaves starring Joan Crawford and Cliff Robertson, which I saw on TCM. In some ways dated, this movie shines with excellent acting by the two leads - one a star of the film noir era, and the other, a future star making his film debut. The story involves a romance that work-at-home secretary Joan Crawford only reluctantly embraces because her lover is a much younger man. Cliff Robertson falls head over heels in love with her and they marry. Of course, you know the wheels are going to come off this match. The young man becomes traumatized by the appearance of his father, played by a distinguished looking but thoroughly evil Lorne Green and his femme fatale, Vera Miles. Crawford is confused by the bizarre situation and her husband suffers a complete mental breakdown. There is some surprisingly strong language and domestic violence for a movie of the 1950's. Crawford and Robertson deliver strong performances, particularly as the movie moves to its climax. For his first movie, Robertson shows surprising range and strength as an actor. Presented with a husband who is now unhinged, Crawford, takes action to help him, knowing it might have unintended consequences for both of them. Directed by Robert Aldrich, this is a movie that keeps its momentum and doesn't disappoint. Highly recommend.

Fine performances from Joan Crawford and Cliff Robertson give this taught drama more emotional resonance than might be expected from the plot summary. Crawford is superb - all huge eyes and trembling lips, she makes the relationship with Robertson's character believable and moving. The tentative start to the relationship is especially effective.

Burt Hanson's mental deterioration is quite graphically portrayed and at one point, I have to admit, I was peering through my fingers at the screen. It was purely by chance that I stumbled across this movie on late night television. Despite being a fan of classic movies all my life, I had never heard of this one and I have to say that I'm surprised. It deserves to be better known.

Some movies make it especially easy to enjoy them. The first stretch, the first two-fifths, are endlessly charming, with strong good feelings counterbalancing the darker airs of loneliness. Joan Crawford, towering legend that she is, bears warmth and substantial presence at least as much if not more than she has elsewhere in her career; I readily admit I'm not used to seeing Cliff Robertson so young, but he matches Crawford toe to toe with a surprisingly versatile display. And between Robert Aldrich's welcoming, firm direction, and the rich screenplay of Jean Rouverol, Lews Meltzer, and Robert Blees, rather from the start 'Autumn leaves' is splendidly absorbing. As the turn in the narrative comes around the 45-minute mark, throwing everything into question, the mood entirely flips as piercing, ferociously darker airs take over and the warmth tries nevertheless to shine through. All the while the feature commands one's undivided attention, both for the excellence of everyone's contributions as well as for the severity of the story. This is all around superb!

One might reasonably ponder if the drama doesn't become too intense for its own good, becoming overbearing and melodramatic as the third act slowly rolls around. Even within the last ten minutes, through to the ending, there are times when it seems like the movie has a hard time finding exactly the right tone. As great as this is at its best, I can't say it's 100% perfect. Even at its most difficult, though, the proceedings are tremendously compelling, tragic and heartrending but also endearing. And everything about this film is marvelous, each part in and of itself making a bigger impression than I ever anticipated from the outset, bent toward amplifying the torrent of emotions on hand, and working in concert to complement one another. Aldrich is all but brilliant in orchestrating scenes, imbuing even some specific shots with outstanding personality, though his task is made easier by an exceptional cast that reaches deep to give sharp, complex performances on down the line. Crawford, Robertson, Vera Miles and Lorne Greene, Sheppard Strudwick - no matter the size of the part of the nature of the role, from one to the next every actor is terrific, and I adore them all. Hans J. Salter's original score lends powerful ambience to the course of events, and Charles Lang's cinematography is just as vivid as Aldrich's direction. Production design, art direction, hair and makeup, Michael Luciano's editing, and more are all fantastic.

And still none of this would be possible without tight writing, but Rouverol, Meltzer, and Blees have indeed done a fine job. The dialogue is vibrant, and the characters come off as very real and complicated. The tale at large is relatively small, concise and specific, yet in both its lighter facets and in its more tense, harrowing aspects there's a measure of universality in the telling that makes the plot terribly engrossing. And along with all this, I must also point out the scene writing, which at select points is especially crucial to the impact that the film has. The "walk" that leads to an injury is almost excruciating for the turns that are taken in the span of a few minutes; a later moment in which certain sounds trouble Milly emphatically recalls one of the most resonant, haunting moments from all six seasons of 'Breaking bad,' and took my breath away. As if all this weren't enough, I must also compliment the writing team, and all involved, for delicate handling of subject matter that even today is often managed poorly in cinema; for the 1950s, 'Autumn leaves' feels well ahead of its time. There is no judgment, no condescension, and no prejudice or persecution, except from those who are clearly awful people. The feature tries very hard to be balanced and considerate, presenting such a condition in a way that serves up the intended drama for storytelling while very pointedly never losing sight of the character's humanity. I'm in no position to offer absolute judgment, but I'm inclined to think the movie has a definite leg up on many others in this matter.

I can safely say I didn't know anything about this before I sat for it, save for the involvement of the chief stars. I'm so pleased with what this feature actually is. From the blithely pleasant first length, to the dire, heavy turns to follow, this is overall exceedingly well-rounded and thoughtful, and crafted with care and intelligence. There might be instances when the saga doesn't meet with total, pure success, yet these are fleeting and minor in comparison to the wonderfully robust viewing experience it otherwise represents. Everyone in front of the camera and behind it turned in stupendous work to make this just about the very best picture it could be, and the result is unquestionably enjoyable as a movie-goer, satisfying, and rewarding. I suppose a content warning may be necessary for those with particular sensitivity to topics of mental illness, but beyond this 'Autumn leaves' is so very well done that as far as I'm concerned it earns a solid recommendation for all comers. If you have the opportunity to watch, this holds up quite well even decades later and is certainly worth checking out!

This 1956 drama was directed by the re known Robert Aldrich. He brings the old and the new to this film. The old, being the professionalism and experience of Joan Crawford and matching her with the new, up and coming young talented Cliff Robertson. This was his first starring role. Coming from Broadway he brought a very strong presence to the part. He and Joan were splendid together. In one of her rare underplayed roles, where she isn't playing the queen bee, she gives a sensitive and honest portrayal of a lonely woman who accidentally meets a young man and falls in love. Crawford and those wonderful expressive eyes are beautifully photographed with shadows in glorious black and white. Playing opposite her and definitely holding his own, Robertson goes from nice guy to a sort of psychotic mess. His slow changing from one to the other was masterful. He showed his abilities and what was yet to come his way, including his Academy Award performance in CHARLY. Together Joan and Cliff light up the screen in an almost melodramatic way, yet quite realistic. Reminded me of another Crawford film and another new young actor, Jack Palance in SUDDEN FEAR. Rounding out the cast is Lorne Greene as Cliff's no good father, Vera Miles as the wife asking for a divorce and veteran actor Shepperd Strudwick playing the doctor who heals our hero. Look for two well played supporting roles in this. Bringing comedy relief to the drama is veteran actress Ruth Donnely, as the manager of the apartment building Joan lives in. She just walks into the apartments, picks up newspapers and magazines and makes herself at home bringing all the gossip with her. She's a hoot. There's also a cameo performance by Marjorie Bennett as the waitress of a diner. Just her facial expressions as she waits on our lovers is worth the entire scene. She walks off with it. Remember her as the mother of Victor Buono in BABY JANE? Hats off to a seldom seen movie and one of Crawford's best.