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27 out of 32 people found the following review useful:
Forget "Hazel" - And Bring Tissues, 21 August 2004
Author: Harold_Robbins from United States

Shirley Booth was a remarkably versatile actress - she did comedies, musicals, and dramas - and won the adoration of critics and audiences in all. But as with Agnes Moorehead and Eve Arden, her success in a TV comedy, "Hazel" tended to over-shadow her work on stage or film. A well-liked comedic actress on Broadway since the 1930s, she reinvented herself as a dramatic actress in 1949 with COME BACK, LITTLE SHEBA, winning every award in sight. Although the film version was offered to the likes of Bette Davis (who turned it down because she felt she couldn't bring to the role the "gorgeous vagueness" Booth had), Hal Wallis wisely went with Booth to recreate her stage role, casting Burt Lancaster for box-office appeal.

Booth's performance as Lola is astonishing, filled with nervous energy and anxiety, living on the edge - ask anyone who's ever lived with an alcoholic - every gesture, every emotion she plays, is honest and accurate. When I finally saw this film in the early 1990s, I was floored by Booth - where in heck had she done her research? Help for families of alcoholics (the Al-Anon Family Groups) was still several years off when the stage version was done - the resources available to Booth would have been "open" AA meetings and perhaps talking with family members. (Incidentally, the director, Daniel Mann, wasn't finished with AA - a more realistic AA meeting figured in his 1956 I'LL CRY TOMORROW, in which he directed Susan Hayward to an Oscar nomination - ironically, she lost out to Anna Magnani's Mann-directed performance in THE ROSE TATTOO!)

Booth was still alive at the time I first saw this film (around 1991-92), and I knew after watching that, unfortunately, her great success as TV's "Hazel" over-shadowed SHEBA, and that when she died, the obit's would begin, "Shirley Booth, TV's HAZEL, is Dead..." and I was right. Agnes Moorehead had a similar fate - the generation which grew up on "Bewitched" was clueless that Moorehead was one of the finest, most versatile and respected actresses around and, like Booth, every bit the equal of the other leading ladies (whom she'd usually supported). I remember attending a screening for the 50th anniversary of CITIZEN KANE and hearing gasps of astonishment as the cast's names appeared "That was AGNES MOOREHEAD!!!!"

Yes, indeed. And THAT was Shirley Booth, breaking our hearts in COME BACK, LITTLE SHEBA. Forget "Hazel," and bring tissues.

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25 out of 33 people found the following review useful:
See this, 1 November 2004

Author: david-569 from Plano, TX

I see this movie again and again as it comes on periodically.

If you want to see a great story, greater writing, and greater acting from Shirley Booth, see this.

Shirley Booth won a Tony and an Academy Award for her role. They should have given her 5, each. One of the finest performances ever.

Ever.

Make that 10, each.

To see her performance is to understand where the benchmark of acting starts.

See this. One of the finer exposures on alcoholism within family.

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19 out of 26 people found the following review useful:
Wonderful film will never date, 20 May 2002
Author: Turridulover

This film is as powerful as when I first saw it as a teenager. One would think that after 50 years, the material would seem dated. But in fact, a lot of what was said then, seems even more relevant today. Inge is unfortunately a very underrated writer. He seemed to respond to things on a much more emotional level than many of his contemporaries and this is why his material has not lost interest. His plays never seem to go to an intellectual level. He wrote about what he knew and didn't try to be something he wasn't. Are there really Blanche DuBois and Willie Lomans today? Just listening to those plays, as wonderful as they might be, is something we can no longer relate to. But there will always be Lola Delaneys. Everyone knows a few of them. The film was obviously made on a very tight budget and we are lucky for that. Imagine how it would have been had they cast Rosiland Russell and Jimmy Stewart. Though Burt Lancaster was miscast, the simple fact that he was a great actor, means his performance comes off amazingly well. And what more can be said about Booth, except the extreme regret we who never saw her in the play onstage must feel. The power of that performance is beyond description. Anyone who likes this movie should try to get hold of the new recording of the musical version. It was obviously written by people with tremendous love and respect for Inge's work.

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13 out of 15 people found the following review useful:
Heartbreaking, heartfelt film with a world-class star turn, 31 August 2006

Author: ecjones1951 from United States

*** This review may contain spoilers ***

Not everyone can make four films in an entire movie career and win an Oscar for one of them. Shirley Booth was already a 3-time Tony-winning actress when she repeated her stage success in the film "Come Back, Little Sheba," and she would go on to win two Emmy Awards as the title character in the long-running TV series, "Hazel." Shirley Booth was born to play Lola Delaney, and deserved every accolade that came her way for her performance.

The secret to playing Lola Delaney is something that we don't see enough of in contemporary American movies, and that is great acting, pure and simple. Shirley Booth simply becomes Lola. She isn't playing a real-life character, so there are no models by which to judge her skill at mimicry. She isn't playing a monster, or a woman triumphing over crippling adversity; she isn't a tragic figure or a powerful woman.

The Lola Delaneys of this world are so ordinary they practically fade into the wallpaper. They live their lives through and for other people. Lola is composed of bits of all such women. She is lonely in a childless marriage, desperate in her desire to please, overly sentimental, naive, guilt-ridden and utterly lacking in self-esteem. She and her husband, Doc (Burt Lancaster) have a marriage that consists mostly of tolerance of each other's foibles and occasional forced gaiety.

William Inge, the last century's most unjustly forgotten playwright, probably knew a great many Lolas growing up in Kansas. But many of Inge's female characters are stronger than they realize, including Lola. Madge in "Picnic" and Cherie in "Bus Stop" also come to mind. Many of them know what they want from life and have a clearer, more pragmatic idea of how to get it than the men around them.

Most of Inge's plays are deceptively simple not only in the characters they depict, but in setting and structure as well. "Little Sheba" derives a lot of its power from its author's constraints, and it's a bit more true to its source than some other movies adapted from his plays. As with most Inge plays, this one "starts in the middle", and as the story plays out we see how the characters got to where they are, and whether they will stick with what they've got or make a break for an unknown future.

In "Come Back, Little Sheba," we meet Lola and Doc at a time when their marriage has become purely an exercise. It was the product of teenage lust, lived in shame and out of a sense of convention its first year. Gradually the couple lapsed into codependency—not a word that Lola and Doc would have known—but appropriate to describe their existence as she made excuses for his alcoholism. He has been sober for a year, but he's on a slippery rope.

And now, Lola and Doc are in a holding pattern, that is, until they take in a college student, Marie (Terry Moore), as a boarder. Her mere presence, her youth and vitality—not to mention the overt sexuality that she represents—forces the Delaney house into crisis. It is likely that Marie leaves the Delaney home under the same cloud the Delaneys came into it, but her brief stay and sudden departure have grave lessons to teach both Lola and Doc.

Lola learns to stop dwelling in the past and yearning to undo past mistakes. Marie's smoldering affect—although to be fair she really does not try to lead Doc on—sends him reaching for the bottle again. In the end, Marie may never know that she has forced the Delaneys to re-examine their marriage. The final scene ends on an optimistic note, brighter than anything Lola has ever said in an effort to be a lively conversationalist or to feign happiness. It rings quite true, just as does everything in Shirley Booth's brilliant performance.

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13 out of 17 people found the following review useful:
Best film about the problem of Alcoholism., 21 May 1999
Author: yenlo from Auburn. Me

Days of Wine and Roses and The Lost Weekend deal with the problem of those afflicted with Alcoholism. Both are fine films. This movie is better than those two and that's only part of the story in this picture. Shirley Booth gives a most certainly well deserved Academy Award winning performance as the wife of a recovering alcoholic husband. Burt Lancaster in a role he is not often remembered for is the husband. A once proud and respected person who falls by the wayside due to his drinking has picked himself up and is determined to start over again even though various demons still linger inside him. I first saw this motion picture on New Years eve back in the late 60's on NBC's Saturday Night at the Movies. During the week preceding the showing NBC advertised it with the clip of Lancaster going after Booth with a kitchen knife. My older sibling and I not really old enough to know about such things joked about the scene. When we watched the movie and it came to that part we were no longer joking. I didn't see it for many years until it aired on AMC. The film is as powerful today in its story and it's acting performances as when I first saw it and I'm certain when it was first released in 52. A must see.

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13 out of 18 people found the following review useful:
Shirley Booth gives Oscar-Performance (got Kleenex?), 21 May 2005

Author: mdm-11 from United States

William Inge's play transfers nicely to the big screen, with perfectly cast leads Shirley Booth and Burt Lancaster.

A middle aged, childless couple struggles with the husband's periodic alcoholic "episodes". When they rent out a room in their house to a young college girl, the audience learns a lot about the couple just by observing their reactions to "the young people". "Doc" Delaney exhibits fatherly, protective feelings toward the young woman, expressing disgust when she brings a young man to her room. A regular at AA meetings, he eventually "gets sick" again. Determined never to give up, his devoted wife Lola stands by her man. The ending leaves us hopeful that all will turn out well.

There are many beautiful moments in this film, assuring a lover of tearjerkers a full pay-off! Shirley Booth deserved her 1953 Oscar for her portrayal of Lola Delaney. Oh, and don't look for little Sheba, she won't be back.

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6 out of 6 people found the following review useful:
Brilliant, sad and very well written., 19 January 2011

Author: planktonrules from Bradenton, Florida

*** This review may contain spoilers ***

"Come Back, Little Sheba" is a picture that will sneak up on you as you watch it. At first, it seems a bit mundane---perhaps even a bit dull. And, you'll most likely become annoyed with the wife. However, as the film slowly unfolds you suddenly see that it is brilliant--brilliantly written as well as acted.

Shirley Booth received an Oscar for her performance of a dowdy and not particularly interesting or effective housewife. In essence, she is a sloppy and particularly unattractive woman. The handsome Burt Lancaster (wearing makeup and playing a much older man than he really was) is married to this woman--and down deep this loveless marriage to a sad and rather annoying woman is eating him alive. He maintains a placid demeanor--stuffing his anger and resentment down deep as he consumes antacids and complains of stomachaches. He also is a recovering alcoholic who is on edge--and appears setting himself up to drink again. It's a living hell for him, as he is silently bitter about being forced to marry Booth decades before when she became pregnant. The fact that she subsequently lost the baby and is unable to have more doesn't make things any better. Booth's way to cope with this sad marriage is through her dog, Sheba, but since the dog has disappeared, the loneliness of their marriage has become more apparent. It also becomes more apparent when they take in a young boarder (Terry Moore), as she's young, vivacious and has an active and happy love life. All these factors (and more) work together to create a very sad and realistic portrait.

It's obvious that the writers knew a lot about psychology and alcoholism--and this is why I love this film. Not only are the characters wonderfully real, but they are realized correctly--and they definitely get the little details right. For example, it's one of the best films when it comes to alcoholism. Why this man drinks is fascinating--it's not just because he likes the booze, but it's to temporarily escape this awful life--something rarely talked about in films. It's also very interesting how all his hidden rage is released when he drinks--a year of pent-up anger comes exploding from him. Also, the way his sobriety and AA are shown is exceptional--it's a lot more realistic than the more famous (and overrated) "Lost Weekend" (which has a ridiculously upbeat ending). They show an open meeting, talk about the 12 Steps, the Serenity Prayer and the job of AA sponsors.

What's more fascinating for me are the psychological elements--and the writers clearly were putting in a lot of analytic psychology and symbolism. The juxtaposition of Moore's happy life to theirs is symbolic of the emptiness of the couple. It's also creepy and symbolic how this sick couple refer to each other as 'Baby' and 'Daddy'--especially since they cannot have kids. But what really made me excited was listening to Booth's dream at the end of the film--it was chocked full of Freudian symbolism and showed they knew a lot about the psyche. Booth's dream was symbolic of so much--you could listen to it and interpret the meanings at great, great length.

Aside from the exceptional writing, there are some other things to note. Moore is very sexual throughout the film--she is not some stereotypically nice college student but seethes with sexual desires--something very rare in 1950s films and not really seen much until the late 1960s. This helps the story a lot since Booth and Lancaster completely lack this element in their marriage. Also, I loved the acting of Booth and Lancaster. She is able to express so much with her face and body language--you really have to see it. Also, while Lancaster's performance is much more subdued, I loved how he walked through the house when he was intoxicated--slightly touching things to steady himself as he slowly makes his way though the house. It was a little thing--but the director did a fine job as did the actors as lots of little things were used to give the film a rich texture.

So is the film worth seeing? Of course--it is magnificent. But be forewarned that it isn't exactly fun viewing. Often you'll find yourself cringing and by the end there is a pervasive sense of sadness and emptiness that many will find disturbing. Plus I could imagine that the film could kick up a lot of baggage in some viewers.

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7 out of 10 people found the following review useful:
Fantastic performance by Shirley Booth, 24 October 2006

Author: nnnn45089191 from Norway

Shirley Booth's performance in this movie is one of the best I've seen.From the moment she appears as Lola Delaney you know almost everything you need to know about her character.It's quite rare that I get moved to tears by a performance,but Shirley Booth managed that feat. She conveys all the emotions of a simple woman who's life didn't turn out the way she dreamed and her realization that the springtime of her life has long gone.Burt Lancaster might have been a bit young for the part of Doc Delaney,but I think he's really good and powerful and frightening in the drunk-scene.Terry Moore was a charming acquaintance for me.Her performance was quite assured and natural. Although this movie is more like a filmed play, I enjoyed it a lot.

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5 out of 7 people found the following review useful:
Face reality -- it's the only truth, 29 June 2001
Author: Matthew Ignoffo (mermatt@webtv.net) from Eatontown, NJ, USA

This is an interesting study about the trials of people dealing with disappointment and alcoholism. Lost dreams have been Doc's excuse for turning to the bottle, and a lost little dog (Sheba) symbolizes his wife's search for herself.

The film based on the play is an early study of the pain of addiction. As Doc tells his wife, "Dreams are strange." There is redemption in the fact that Doc asks for forgiveness as his wife regains her sense of dignity.

Booth gives a very believable performance, and Lancaster is excellent playing a man far older than he was at the time. This is a touching, though simplistic, look at the dark side of human nature.

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7 out of 11 people found the following review useful:
A touching and sesitive film dealing with the effects of alcohol on a marriage., 2 November 1998
Author: Steve Richmond from Brea, Ca. USA

An acting triumph for both Shirley Booth and Burt Lancaster. This film will stay with you for a long time. Booth won a well deserved Oscar for this performance and it is well worth the time to view it. This is not a happy film obviously to look at but if you appreciate great acting as much as I do, you will really enjoy Come Back Little Sheba.

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