.png)
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
CRITICA EN EL PERIODICO "LA VANGUARDIA" (17-11-1962)
En ésta pelicula en la que se dan con generosidad todos los ingredientes necesarios para emocionar y mantener vivo el interés hacia unas vicisitudes perfectamente convencionales, pero también de defectos seguros. Con lo dicho basta con indicar que el fondo constituye el clásico novelón "made in U.S.A." con la facilidad con que ocurren los más peregrinos sucesos, está en consonancia con la arbitraria psicología de los personajes. Otra debe decirse de la forma que, como ocurre en gran parte de los norteamericanos, ha sido cuidada con esmero, hasta el punto de que acierta encubrir lo arbitrario de la historia con los recursos hábiles de un excelente oficio cinematográfico. Una cámara ágil y expertamente manejada, resalta valores, sugiere emociones, y describe con atrayente estilo. aparte de pequeños efectos formales como el de la música de fondo simulteada con el diálogo, y en evidente exceso de lentitud en ciertas escenas, el lenguaje cinematográfico empleado, es de evidente eficacia, a la que contribuye en gran manera el color. Rock Hudson desempeña su "rol" con sobria expresividad; Anne Baxter se muestra una vez más, la excelente actriz de siempre, y Julie Adams queda algo apagada en un papel tan ingrato como convencional!. Los demás participantes, intervienen con la corrección acostumbrada. J.Pedret Muntañola..
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
One Desire
The film introduces us to the hooker(?)/dancer(?) with-the-heart-of-gold, Baxter, who is pure goodness; she wants to become normal. She, Hudson, and his 20 years(!) younger brother move to some wholesome little town. The first soapy plot-device doesn't wait long to rear its dumb head: the feisty little Tom-Sawyer-like Wood suddenly becomes an orphan when her father dies in a mine. Tah-dah! It's Baxter time! She shows her perfect goodness by spontaneously "adopting" Wood. How very noble. And soapy. Enter Darth Vader..., I mean, Adams. Adams wants Hudson, so as any rich person she comes up with a scheme to take away the kids (Wood and Hudson's 40 years younger brother) away from Baxter, and to adopt them herself, thereby securing her the male she craves for. Ain't that a plot-device... In this, Darth Vader is aided by his loyal female storm troopers who have gathered in the court-room to make sure the judge does the "right" thing. In the meantime, Baxter - who is pure goodness, I can't stress this often enough - is so naive and trustworthy that she never adds up 2 and 2: namely, that the woman that's been chasing Hudson could have arranged the judicial kidnapping of the kids. Baxter's reaction to losing the kids is to leave Hudson without even telling him why or where she went! What a martyr! During the next two years, Wood writes to Baxter, but we never find out how the hell Wood manages to keep it a secret from Hudson, even if Baxter asked her to. We also never find out how Hudson doesn't notice in two years that Adams is being an awful step-parent to the kids. Then we have a pathetic scene where Hudson talks to his sick father-in-law while the latter is uttering his last words. How soapy. How silly. Soon after, Wood runs away from home, for she knows that she must please the God of Soap who demands bad plot-devices. Wood is in love with a married man, which is a replica of Baxter's adolescent experience. Is this the Luke/Darth Vader cut-off-hand parallel-destinies shtick or what? Baxter brings her back to Wholesome City, where Darth Vader confronts her and rather foolishly (why??) tells her that it was she who arranged the kidnapping of Leia and Hudson's 80 years younger brother. Baxter, displaying goodness which would shame even the noblest Jedi knight, doesn't tell Hudson what she found out about the kidnapping. (Oh, by the way, Hudson has unwittingly joined the Dark Side: he has been married two years to She-Darth Vader.) Anyway, soon there is a major soapy plot-device in the form of a fire which kills the Evil One. Before-hand, the Evil One does her part in pleasing the Emperor of All Soap, who demanded that she throw things at Hudson in a rage just as Hudson was leaving the room. (The rich-bitch-throwing-things-at-her-husband/lover routine is a detail which no self-respecting trash-novel or TV soap can do without.) In short: the evil Empire has disappeared in a cloud of smoke and fire, and the forces of Good are finally free to re-unite and smile happily as the director shoots the last scene and prepares for a two-year vacation to restore his severely battered brain-cells.
I should mention that Baxter didn't use any stunt-doubles for her kissing scenes. Every time she kisses Hudson she bends her neck backward at a perfect 90-degree angle, and I swear it is her head and neck and not a double's. Maybe Baxter found out about Hudson's little secret and was afraid he might want to bite hear head off, rather than kiss it. However, her evading maneuvers weren't quite on the level of the evading maneuvers of a, say, Millennium Falcon. Hudson always got her mouth in the end, but not before Baxter bent her neck at that just-mentioned impressive angle. The cast is good (the cute Baxter, the Wood, and the Hudson) but they are wasted in what was the first prequel to "Star Wars". Living-room Star Wars, if you like…
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
Anne and Julie square off
A woman's drama set in the west not a western. Anne Baxter is aces as Tacey the dance hall queen who wants a simpler life with Rock Hudson, who towers over her, and his brother in a small town until outside forces cause her no end of troubles. She suffers grandly in spangles and feathers all in rich Technicolor but manages to rein in the overheated emotions with a warm controlled performance.
A performance that isn't quite as controlled and all the better for it is Julie Adams' evil rich girl. Always an excellent actress but often cast as the love interest or nice girl she is so deliciously malevolent it's a pity she didn't get a chance to chew the high grade ham more often.
Natalie Wood, her next film after this was Rebel Without a Cause, doesn't have much to do but injects what there is of her part with movie star charisma and spunk. The same goes for Rock who is called upon to be handsome and rather thick. The whole film is really just there to provide a backdrop to the ladies flashy dramatics and on that basis it serves it purpose.
ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
A high class soap opera.
Look at Eve Harrington now! Oscar-winner Anne Baxter is marvelous in this movie, in which she plays Tacey, a gambling hall hostess who tries to go straight. She falls in love with gambler Clint Saunders (nicely played by Rock Hudson), and starts life anew with him and his brother. Julie Adams plays the bad girl who steals Clint away to the hilt. Natalie Wood gives an endearing performance as Seely, an orphan who also lives with Clint and Tacey. This is a sadly underrated film which showcases the talents of some of Hollywood's most cherished stars.
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
Hell Hath No Fury Like A Woman Scorned
Anne Baxter really delivers as a dance hall queen who gives everything up to pursue boyfriend Clint Saunders to a booming Colorado town.
Anne Baxter really delivers as a dance hall queen who gives everything up to pursue boyfriend Clint Saunders to a booming Colorado town.
On the way, she not only raises Clint's kid brother, she rears Ceilie, beautifully played by Natalie Wood. How is her kindness rewarded? She loses both children and ultimately Clint to the senator's daughter, who is viciously played by Julie Adams, the former Mrs. Ray Danton. Adams steals the picture as a conniving woman who will stop at nothing to get and keep Saunders.
The exciting ending with the underlying message of evil to him (her) who does evil is
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
No match for her wiles
In thinking over the title One Desire I've concluded it refers to the One Desire that Anne Baxter and Julie Adams have for Rock Hudson. Each wants the whole Rock and not just a piece of it.
In thinking over the title One Desire I've concluded it refers to the One Desire that Anne Baxter and Julie Adams have for Rock Hudson. Each wants the whole Rock and not just a piece of it.
Baxter and Hudson play a pair of saloon denizens. She's a house madam and he's a gambler by trade. Both decide they can do much better, especially after Hudson's little brother Barry Curtis arrives with nowhere else to go. Later on the two take in Natalie Wood an orphan girl whose father is killed in a mining accident.
This nice jerry built family is interrupted when Adams who is the spoiled daughter of a Senator and bank president Carl Benton Reid sets her cap for Hudson. She connives to get the kids taken from Baxter as an unfit parent and Hudson being no match for her wiles marries her and Baxter goes back to her old trade.
The surprise here is Julie Adams who usually plays nice women. This was a bit of offbeat casting for her, but she pulls it off. She's as manipulative as Eve Harrington.
An interesting tale, the women are fine, I could not quite grasp Hudson's character as so naive especially with his background as a gambler. You're supposed to learn to read people in that trade.
oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo
.jpg)
.JPG)
.JPG)
UE9s3wCPC!BRejok74SQ~~60_57.JPG)
MY WEB PAGE TO NATALIE WOOD
