Ephraim Cabot is an old man of amazing vitality who loves his New England farm with a greedy passion. Hating him, and sharing his greed, are the sons of two wives Cabot has overworked into ... See full summary »
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Peter Mark Richman
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Ephraim Cabot is an old man of amazing vitality who loves his New England farm with a greedy passion. Hating him, and sharing his greed, are the sons of two wives Cabot has overworked into early graves. Most bitter is Eben, whose mother had owned most of the farm, and who feels who should be sole heir. When the old man brings home a new wife, Anna, she becomes a fierce contender to inherit the farm. Two of the sons leave when Eben gives them the fare in return for their shares of the farm. Meanwhile, Anna tries to cause some sparks by rubbing up against Eben. Written by
Ray Hamel <firstname.lastname@example.org>
The original Broadway production of "Desire Under the Elms" by Eugene O'Neill opened at the Greenwich Village Theatre on November 11, 1924 and ran for 420 performances which including using the Earl Carroll Theatre, George M. Cohan's Theatre and Daly's 63rd Street Theatre. The play was revived in 2009. See more »
In several outdoor scenes, people cast two (or more) shadows showing that there are two light sources. See more »
Eugene O'Neill is an author where virtually everyone seems compelled to pan any movie versus the stage production of any of his works -- and professional critics almost alway seem to have to criticize (endlessly) any subsequent stage production versus predecessors.
Whatever... this film is excellent - and now, as with any from its period of original release, provides a substantial nostalgic bonus, to view the work from its original period, as well as seeing these actors (some now gone, all others much older) as they were "then."
The scenes between Loren and Perkins - an unlikely pairing when viewed "on paper," are surprisingly engaging and steamy now (and with a CAPITAL "S" then).
Burl Ives is a conceited, domineering, hypercritical, even cruel, sort of "Big Daddy to the umpteenth power." In fact, he makes Big Dady, and, say, Orson Welles' Will Varner in "The Long, Hot Summer," look like pussycats.
To classify O'Neill's drama as dark probably is redundant - but that's his appeal, which he carries-off superbly, here and in his other works, whether on screen or stage. This is a real classic.
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