Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry's friend Earl.
Toward the end of World War II, the allied secret service receives a partial message indicating that the Germans are researching nuclear energy to build atomic bombs. In Midwestern ... See full summary »
After a drunken binge on the San Pablo waterfront, longshoreman Bobo fears he may have killed a man. In his uncertainty, he takes a job on an isolated bait barge. That night, he rescues ... See full summary »
Jeff Warren, a Korean War vet just returning to his railroad engineer's job, boards at the home of co-worker Alec Simmons and is charmed by Alec's beautiful daughter. He becomes attracted immediately to Vicki Buckley, the sultry wife of brutish railroad supervisor Carl Buckley, an alcoholic wife beater with a hair trigger temper and penchant for explosive violence. Jeff becomes reluctantly drawn into a sordid affair by the compulsively seductive Vicki. After Buckley is fired for insubordination, he begs her to intercede on his behalf with John Owens, a rich and powerful businessman whose influence can get him reinstated. When Buckley suspects she has used sexual favors to persuade Owens, he stabs him to death in a jealous rage in a railroad compartment. Jeff, a potential witness to the homicide, becomes an accessory after the fact. Written by
Upon his return from Japan after the Korean War, veteran Glenn Ford brings Kathleen Case a kimono and jokingly refers to "The Teashouse of the Rising Moon," a clear reference to the then-current Broadway hit "The Teahouse of the August Moon" (1953-1956). Ironically Ford would star in the 1956 screen version two years later. See more »
In the opening scene, the train as seen from a high shot, is being pulled by a Baltimore and Ohio locomotive manufactured by Electro Motive. The locomotive Jeff Warren climbs down from is an ALCO manufactured locomotive lettered for Central National Railroad. While such a change of locomotives was certainly possible, the same engineer would never be operating it for two different railroads. See more »
Despite Lang's signature, I must admit I have been a bit let down. I say "a bit" because "Human Desire" is not a bad film in itself. Simply, it somewhat pales beside its admirable model, Jean Renoir's "La Bête humaine".
Here are a few shortcomings ( which will appear so only if we have seen the two versions ) : -To begin with, why this happy end, at least concerning Warren ( Lantier's American counterpart) ? It is downright unfaithful both to Zola's naturalism and Renoir's "poetic determinism".
More in keeping with the source material it was a commendable idea to
make Warren a Korea War veteran ( war CAN unsettle individuals) but the character basically remains an all-American good guy erring a little.And if to err is "human" then it doesn't at all make the character a "human beast". - Glenn Ford's interpretation is undistiguished compared to Jean Gabin's formidable presence in the former film. - Something equally amazing is choosing usually picturesque Edgar Buchanan to replace Carette and give him nothing to do ! No one can forget Carette's gift of the gab and drawling accent hiding a deep feeling of helpless sympathy. Whoever will remember Edgar Buchanan in this dull part ? [ sigh of helpless sympathy ! ]
There are good points, however, in this film, notably the convincing portrayal of the "cursed couple" by always reliable Gloria Grahame and Broderick Crawford as well as the opening sequences of tracks,switches, metallic bridges... with no other sounds than the clanking of wheels ,conjuring up ( this time like in Renoir's "Human Beast" )the inexorable progress of fate.
On the whole I didn't really dislike "Human Desire" but I found it less atmospheric, more matter of fact than the original. In other words, I wish I hadn't seen "La Bête humaine"...yet.
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