Splendor in the Grass

So being good, following after society's standards, leads to lesser in life? Sounds like a movie written by a teenager--parents and society bad, the teen's own impulses and desires all good. I guess the whole thing just felt way too broad brush, the central problem overplayed and a bit ho-hum.

There's a very sixties feel to this film. The shackles of the studio filmmaking of the 40's and 50's are completely gone. Atmosphere is better handled and more realistic than in most American movies from the period. And Kazan gets great performances out of his actors, especially from Pat Hingle as the eventually tragic tyrant father and Natalie Wood, who's descent from teen love into madness and back to (some form of) sanity is entirely convincing.

I loved how it dealt with issues like sexuality, feminism, depression and parents' pressure on their children. Natalie Wood was fantastic. She gave a truly amazing performance which I was wowed by more than once. It was also interesting seeing Warren Beatty's first film role.

Melodramatic to the core, and choppily paced, but still very effective and engaging for a film about young romance. The content has some meat to it, and Wood is very pretty so I liked it but it didn't feel great.

A bit corny and a trifle dated, but mostly moving and surprisingly racy melodrama about young love and sexual repression. I had very low expectations for this film, but found it had a very Sirkian quality. Kazan doesn't have Sirk's eye for color or composition, but he handles the drama very well, keeps the pace moving, and tackles some controversial and slightly subversive subject matter. Warren Beatty, in his first film, manages to avoid being pigeonholed as a James Dean knockoff.

"splendor" is old Hollywood code for "filthy ravenous fucking"

I rate on the prude scale, but there's a whole lotta repression goin' on here. For a story about characters, they move pretty glacially in the midst of universal themes. It would probably be a below-average film if it didn't have such incredible performances by Wood, Hingle, and Loden.

I appreciate how the themes are externalized throughout the characters in the first 2/3rds. Despite the subversion of story expectations, I found that the final third fell flat in its self-importance.

I don't really dislike this film, but I can't really take it very seriously, and boy does it want to be taken seriously. It's really well put together, and despite my joking about the size of the performances, I think everyone does a good job. I always find Wood compelling, even when I think she's giving a bit too much, and it's a really impressive screen debut for Beatty.

Well composed drama was probably quite daring for its time, and its attempts to portray desire in the young and hypocrisy regarding sexual mores are honest and moderately successful. The acting is also good, although Beatty is uneven, but the descent of Wood's character results in a few poorly judged scenes, especially when depicting her deteriorating mental state, and it has obvious third act problems.

Hollywood hack/rat does a decent Ray/Sirk pastiche.

A bland, cautionary tale of what happens if teenagers postpone sexual intercourse until marriage. A young Warren Beatty took the film's message to heart.

Convincing and moving performances about young love in an era where mixed messages and hypocrisy abounds.

It feels very dated in some respects, but I liked the story arc.

Wood is oppressed by patriarchy, Beatty is oppressed by his own latent homosexuality (see that gym shower scene), and the entire film is oppressed by it's own overly genteel, prestigious nature when if anything the material really calls for a serious dose of over-the-top Sirkian color and camp to liven up the proceedings (also more of Beatty's flapper sister please). As it stands, the film feels awkwardly caught between two Hollywood eras at odds with each other. It's well-meaning but dull.

I love a good romance. This is not a good romance. It's a realistic reflection on the reality of life and failed hopes. But it's not fun. Fiction should be fun, imho. DRAMAFFLOP : (see my profile for details) Dialogue=3,Rudeness=5,Acting=5,Messages=2,Action=2,Funny=0,Filmography=4,loveable characters=3,orchestration=3,Plot=3. Weighted total = 63.

Angry, hysterical, adolescent youth picture drenched in hormones and sexual repression. Though marred by some pretty wild tonal shifts and lapses in taste, it's not boring, despite dragging a bit towards the end. And even if you hate everything else, there's still Natalie Wood.

Natalie Wood is convincing as a gorgeous but fragile young woman. Warren Beatty is also young but good. The story is about a beautiful young couple forced apart by the boys overbearing father. She has a complete nervous breakdown over the breakup. I quite enjoyed every moment with Natalie. She goes into a mental hospital and he gets on with his life. I found it more than a little ironic to see how the boys father ultimately turns out. Worth watching and thought provoking.

God, I hated watching this. It's one of those "classics" like Gone With the Wind that make you really opposed to old movies when you're a kid. Dull story lacking any action, bland colors, rich white characters in rich white sets devoid of personality, melodramatic acting, wordy dialogue, a general feeling that you're watching a play instead of a film, glacial pacing over a long duration, etc. Also, am I really supposed to believe Wood goes institutionally insane from a high school breakup?

82.000

Wood's slow descent to madness may be her best work.

In 20s southeast Kansas (WHAT UP), high school sweethearts Bud (Warren Beatty) and Deanie (Natalie Wood) are tormented by the repression preached by their parents and society. William Inge's superbly crafted, Oscar-winning script is brought to life by Elia Kazan's evocative direction and by a superior cast: Beatty and Wood are both superb, Wood especially as she portrays Deanie's ultimate breakdown and subsequent recovery. Pat Hingle and Barbara Loden are marvelous as Bud's father and sister.

(ótimo)

A melodramatic masterpiece that nails all these teenaged feelings in a way that seems over-the-top but really isn't that far off the mark. Natalie Wood gives one hell of a performance, while Warren Beatty makes his debut with class. Barbara Loden also has a nice turn as the party animal of the Stamper family. Why is it that Kazan's most critically-acclaimed have disappointed me, while the less-popular films have consistently blown me away?

Impressive classic about young love and the mental distress it can cause. Really strong performance from Natalie Wood.

#637

This was a long but heartbreaking film about young lost love.

"Splendor in the Grass is a prestigious, top-of-the-line, sensitively-handled melodramatic literalization of the axiom "If you touch yourself too much, you'll go crazy."" - Eric Henderson

601

Impressive though curiously unmemorable addition to a nostalgic young sex cycle which was already played out; production and performances are well up to scratch.

530

Uninteresting characters, not doing very much. I was bored to tears. Presumably those are not the sort of tears which Kazan and company were aiming to get

Inspired moments and excellent acting, especially from Wood, who brings the depth of the character to surface in the best scenes of the film.

Elia Kazan'in "Splendor in the Grass"inda, kiz arkadasiyla 'birlikte' olamadigi icin hayatlarini mahveden gencler rolunde, gencecik Natalie Wood ve Warren Beatty'i izlemek nostaljik ama sonunda, Beatty'nin canlandirdigi Bud karakterinin takintilarina sinir olmamak mumkun degil. Yazik yazik..

# 554