ElMaruecan82 Just when "A Streetcar Named Desire" made me think more caution would have prevented Blanche's descent into madness, Elia Kazan provided a perfect counter-example with "Splendor in the Grass", a passionate high-school movie about teenage love, but also a harrowing psychology study of the devastating effects of social and parental rules.Indeed, for all its evocative title (it's a quote from Wordsworth' poetic ode to youth memories), the film can be summarized in one word: frustration... of the sexual type. This is not the least original theme for a movie directed in 1961 but is that surprising from Kazan? It's interesting that Natalie Wood starred in another story about forbidden love the same year, but here, the 'music' isn't quite the same, as the love isn't even forbidden in the first place despite something horribly unavoidable about its heartbreak.Kazan's movies have always centered on characters with a devouring need, the strongest torment being to please someone. James Dean wanted his father to be proud of him in "East of Eden" but in a heartbreaking scene, he couldn't even reach him for a hug. Terry Malloy wanted to please his friends until he realized it was at the expenses of his self-esteem (remember how he called himself in that taxi). Blanche Dubois was sexually attracted to a brutish man while she more depended on kindness.And these characters all found walls of misunderstanding that filled their hearts with guilt and resentment. Some triumphed over their demons, some didn't... but the main symptom was the fear of rejection, one would rather reject himself than being rejected. In "Splendor in the Grass" love is mutual and undeniable but it plays both the role of the driver and the obstacle, so guilt is self-inflicted despite the fact that the blame can be easily put on the parents or the gossips of 'good' people. Would you see today two young adults being forbidden to express their love? It was still difficult in 1961 but the film is set in different times, at the dawn of the Great Depression, for the kind of depression that even money can't solve. The story is about Bud Stamper (Warren Bearry) and Wilma Dean Loomis "Deanie" (Natalie Wood) and starts with the peak of their love, no courting or flirting, these two youngsters love each other, they're in the car and are making out. Deanie can't go "further" but there's a hint we're not dealing with any predictable scenario. Bud is angry, needs to take some fresh air before driving Deanie home. They know they have to wait, but we know they're in a hurry, look how violently Deanie throws her teddy-bear as if she was tired of being a child. The following scenes indicate that they might wait a little longer as we see both of them being treated as their parent's children, not as adults. Deanie's mother (Audrey Christie) is less concerned about being late than being spoiled, embodying the norm about good girls waiting for marriage, though her passionless description of sex doesn't make it a patience-rewarding achievement. The idea that "men don't love like women" is also brought up differently by Bud's boorish (and nouveau riche) father played by scene-stealing Pat Hingle. He tells him to wait till he finishes Yale, which means four years, and tries to have good time with the other girls. Poor Bud couldn't even wait four days! The "there's two kinds of girls" idea have always been a darling for Martin Scorsese, and given Kazan's influence, I'm pretty sure "Splendor in the Grass" inspired his debut "I Call First" but the case of Bud is more heartbreaking because he doesn't even care about "bad girls".From our perspective, the parents' misconceptions are wrong but the Oscar-winning screenplay from William Inge shows that even by the time's standards, these kids were victims. Bud idealizes Deanie too much to have physical contact with her, and she loves him too much to imagine sex with someone else, and in that magnificent moment where she literally begs him for sex, I could feel the passion killing her from inside. At the end, the two lovers could only resent each other as the sources of their frustrations.But I don't think the film idealizes love, because there's no doubt the parents love their kids, though in a destructive way, it doesn't even put sex on a pedestal as it's mainly associated with debauchery or the slutty behavior of Bud's sister. What the film does is highlighting the hypocrisy of society and parents who regard sex as impure, ignoring its crucial importance in one's development. We have two parents who unknowingly crush the soul and spirit of their children in the name of some idealization, leading the most vulnerable one to a harrowing breakdown. Natalie Wood was rightfully Oscar-nominated for her spectacular performance. Bud's confusion and existential dead-end could only count on the Karmatic effect of the 1929 crash ... which ironically, didn't have much impact on the Loomises for reasons that show the script's brilliance. And the certitude that the film was less about the kids than their parents is that the saving moment for both Bud and Deanie came from Deanie's father (Fred Stewart) and allowed the film to conclude on a bittersweet note, sweet underlined. Now, I know I have a good film when it psychologically involves me and the performances of the two leads did justice to the legacy of Kazan who knew how to get the best acting. But there's a moment near the end where I was like "didn't the mother learn?" I was about to hate the film but the father made me applaud and repeat "bravo" several times. That the best gesture came from a parent proved there was a light of hope after all.

Richie-67-485852 Good movie to visit with your youth and high school days even though this takes place in the early 1900's it still helps to bring back the memories for the viewer. Quality acting and realistic story of life for teens in a simple town some where in the USA. The story has a sensuous undertone and feel as we watch hormones go to work but never really finding closure. The emphasis at that time in that place was being a good boy and girl and if you were not you were known for that too. The movie brings in the crash of 29 and how it changed lives as well as having all that life can offer and not being happy. Wholesome down to earth scenes of family dinners, dances, gatherings and some high school thrown in. Gather ye rosebuds while ye may for time old time is still a flyin for this same flower that lives today tomorrow will be dying applies here...

elvircorhodzic SPLENDOR IN THE GRASS is a romantic drama about a teenage love, passion, temptation, suffering and acceptance. A beautiful and modest teenage girl, who lives with her parents in Kansas, follows her mother's advice to resist her desire for sex with her boyfriend. He is the son of one of the most prosperous families in their town. They are very nervous and impatient. A young man, reluctantly, follows the advice of his father, who suggests that he find another kind of girl with whom to satisfy his desires. His older sister, who loves a hedonistic lifestyle, is sexually promiscuous. His parents are ashamed of her. A love couple is exposed to constant emotional pressure. He has accepted his father's advice. She, slowly, starts to lose her mind...An economic depression, a parental domination and a conflict between traditional and modern ways of life are thematic segments analyzed in this story. It is interesting that love and passion very quickly turn into an obsession. The love affair between two young people is full of temptations and mutual suffering. A harsh social drama, which is quite explicit, is „dovetailed" between the material and spiritual crisis. That is a time, in which emotions are unpleasant but very sincere. Sexual frustrations, or sexual riots are, in this case, are a reflection of the isolation of a society. These teenage lives are quite sensitive to any sudden change. Characterization is very good.Natalie Wood as Wilma Dean "Deanie" Loomis has shown strong form of an emotional stress, which is caused by violent passions, sexual desire, traditional environment and personal depression. The innocence in her eyes and a little embarrassed smile on her face have further enhance that effect. Ms. Wood is, in my opinion, one of the most beautiful actress of all time. Warren Beatty as Bud Stamper has offered a very decent performance. A little bit rebellious son, who has tried to escape from his father's lap. His character is somewhat pathetic. His emotional exhaustion and impatience have closed a door of his happiness.However, he has, in the end, stayed in the traditional environment, while Deanie has made an uncertain, but a decisive step into the world.Their support are Pat Hingle (Ace Stamper) as an unreasonable father, who inexorably separates his son from his happiness and Audrey Christie as Mrs. Loomis as a soft-spoken mother, who has built a „prison cell" around her daughter.Mr. Kazan has very well described this social disorder, in which, missed opportunities and youthful fears have eliminated every crumb of optimism.

elzicsfarewell I think this might be one of the most overrated films I've ever seen. To begin with, thank goodness nobody hurt themselves trying to make 1961 look like 1929--I think all they did was borrow some old cars.This hypersexualized and ridiculous movie falls into the _Romeo and Juliet_ trap of confusing hormone- and boredom-driven teenaged lust with love. Bud and Deanie aren't loves-of-a-lifetime: They're first infatuations. Bud is handsome but there is nothing in Beatty's portrayal that suggests he actually loves Deanie instead of just being afraid that he might lose his adorable possession to some other dead-eyed high school boy. His adult love for Angelina, who took him in when he was depressed, displaced, and lonely, seems far more believable even though the movie makes it clear we're supposed to think he settled and gave up his true love for something practical.There is nothing emotionally gripping or even interesting in any of the acting, either. Warren Beatty is wooden and expressionless. Natalie wood swings from dim-witted, overwrought, childishness to overwrought hysterics, but after awhile you just want her to be quiet and go away. I suppose this had its place in 1961 but it hasn't aged very well.