Human Desire (1954)

Too much of everything

Powerful

I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Dear Marlon Brando,I heard you rejected Human Desire because you were scandalized that the guy who made M was making this piece of trash. I agree with you. Sort of.The first half wasn't all that bad. Glen Ford always plays himself, you get Glen Ford in every single movie of his and not the character. I have always liked him. And Gloria Graham is terrific. She is not a conventional beauty but she oozes sex. I guess Broderick Crawford has done better roles than this one.The scenes in the train reminded me of another noir called "The Narrow Margin" which came out a couple of years before Human Desire. But the film never really goes anywhere after a certain point. All the whining and crying by the two female characters towards the end made it tough to watch. It was like a noir in the first half with the tough working class characters and their attitude towards life. The second half was like an intense weepie.All said and done, this film could have been named Horny Males or something.And Marlon, considering some of the films you did in the 50s and 60s ..... this film wouldn't have been all that bad a choice.Best Regards, Pimpin.(6/10)

HUMAN DESIRE has it all: a jealous husband (Broderick Crawford), his mousy but sensuous wife (Gloria Grahame), a Korean war vet with an unshakable moral code (Glenn Ford) and all the murder and duplicity one could ask for in a Fritz Lang movie. Like almost everything Lang ever did, HUMAN DESIRE boasts superbly symmetrical cinematography (the scenes of the railroad yard are some of the best of their kind ever committed to film), great sets, and an expert sense of staging (not to mention solid performances from all of the leads, an aspect often overlooked when people assess Lang's films). Storywise, HUMAN DESIRE lives up to its title- and with an outstanding and unusual ending that comes as a bit of a surprise.

This is Fritz Lang, so one would expect lots of dark emotion, double crossing, and sexual tension. Well, you won't be disappointed. This one has it all. The story is hardly original. In fact, Emile Zola was given story credit. It is a love triangle with Broderick Crawford and Gloria Grahame as an unhappy couple, with Glenn Ford at his somnambulistic best, showing all the emotion of a turnip. Watching him try to generate the emotion required to be the catalyst in a love triangle was almost painful. In fact, he almost sinks this movie into cinematic obscurity. Thankfully, it is resurrected by the performances of his costars. I am always amazed at the on screen sexuality of Gloria Grahame. She is hardly your typical Hollywood beauty. Her features are somehow askew, but she absolutely exudes sex. The other redeeming performance is given by Broderick Crawford. He plays her jealous, out of control husband. He has a natural explosive persona, but in this movie I kept waiting for him to fly off the rails.Speaking of rails. This is a train noir, if there is such a thing. It all takes place around, aboard, and about trains. Glenn Ford is an engineer and Crawford the yard boss. Train buffs will love it. There are numerous scenes of the engineer and passenger compartments, the rail yards, the roundhouse, and plenty of rambling track shots. It is all diesel in the '50's which I think most people would agree was the zenith of train travel in the US.Despite it's predictability and some of it's shortcomings, I still found this movie extremely enjoyable. My only real complaint came at the end, which seemed to leave the viewer at loose ends and feeling somewhat bewildered. Still, if you like trains and dark drama, take a look. It hasn't been around much and the title is fairly generic, so it isn't easy to find, but it is certainly worth the effort.

Human Desire is directed by Fritz Lang and adapted for the screen by Alfred Hayes from the story "The Human Beast" written by Émile Zola. It stars Glenn Ford, Gloria Grahame and Broderick Crawford. Music is by Daniele Amfitheatrof and Burnett Guffey is the cinematographer. The story had been filmed twice before, as Die Bestie im Menschen in 1920 and La Bête humaine in 1938.The plot revolves around a love triangle axis involving Jeff Warren (Ford), Vicki Buckley (Grahame) and Carl Buckley (Crawford). Crawford's Railroad Marshall gets fired and asks his wife, Viki, to sweet talk one of the yards main investors, John Owens (Grandon Rhodes), into pressuring his yard boss into giving him his job back. But there is a history there, and Carl is beset with jealousy when Viki is away for far too long. It's his jealousy that will start the downward spiral of events that will change their lives forever, with Jeff firmly in the middle of the storm.The Production Code of the time ensured that Fritz Lang's take on the Zola novel would be considerably toned down. Thus some of the sex and violence aspects in the narrative give way to suggestion or aftermath. However, for although it may not be in the top tier of Lang's works, it's still an involving and intriguing picture seeping with film noir attributes. It features a couple of wretched characters living a bleak existence, what hope there is is in short supply and pleasures are futile, stymied by jealousy and murder. Thrust in to the middle of such hopelessness is the bastion of good and pure honesty, Jeff Warren, fresh from serving his country in the Korean War. Lusted after by the sweet daughter of his friend and landlord (Kathleen Case and Edgar Buchanan respectively), Jeff, back in employment at the rail yard, has it all going for him. But as the title suggests, human beings are at times at the mercy of their desires, and it's here where Lang enjoys pitting his three main characters against their respective fates. All set to the backdrop of a cold rail yard and the trains that work out of that steely working class place (Guffey's photography in sync with desolation of location and the characters collision course of fate).Featuring two of the principal cast from The Big Heat (1953), it's a very well casted picture. Grahame is a revelation as the amoral wife stung by unfulfillment, sleazy yet sexy, Grahame makes Vicki both alluring and sympathetic. Lang had wanted Rita Hayworth for the role, but a child custody case prevented her from leaving the country (much of the film was shot in Canada), so in came Grahame and film noir got another classic femme fatale. Ford could play an everyman in his sleep, so this was an easy role for him to fill, but that's taking nothing away from the quality of his performance, because he's the cooling glue holding the film together. Crawford offers up another in his line of hulking brutes, with this one pitiful as he has anger issues take a hold, his original crime being only that he wants to desperately please his uncaring wife. Strong support comes from Buchanan, Case and Diane DeLaire.Adultery, jealousy, murder and passion dwells within Human Desire, a highly accomplished piece of film noir from the gifted Fritz Lang. 7.5/10