BootDigest Such a frustrating disappointment

AniInterview Sorry, this movie sucks

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Hot 888 Mama " . . . to the meaning of young love: Drain-O," boosts the narrator of the trailer for BY LOVE POSSESSED, in the clearest indication that this misclassified "melodrama" was originally released in 1961 as a screwball comedy. There was a time when someone could have called Judy Garland and Mickey Rooney or Errol Flynn and Olivia De Havilland "two of the screen's finest young stars," but NO ONE ever said such a thing about Susan Kohner and George Hamilton with a straight face! Furthermore, during this slap-stick BY LOVE POSSESSED flick, Ms. Kohner finds Mr. Hamilton's character so insipid and lacking in sex appeal that she does herself in by drinking a can of Drain-O off-screen. The rest of the cast simply observe at such a usually sad occurrence that Susan's role was as a Detweiler, and "Detweilers always off themselves." So after Susan's tragic-comical disappearance, they simply go about their business for the rest of this farce without missing a beat. The fact that Ms. Detweiler was the richest gal in town, and that she willed her fortune to her kindly guardian lawyer (who's been embezzling steadily from every trust that he controls) can only work as a plot device in the Darkest Recesses of Black Humor. As Mr. Hamilton plays a rich kid debating with HIS lawyer dad whether he nailed "the Three Elements of Rape" with his "let's play 'Veronica says'" one-night stand chick, BY LOVE POSSESSED morphs into something perhaps better titled BY EVIL POSSESSED.

bkoganbing By Love Possessed is your high gloss soap opera 50s early 60s style. Had it been done at Universal it would have had Douglas Sirk directing and Rock Hudson in the lead. Here we have Efrem Zimbalist starring and John Sturges who's a bit lost in this genre directing.Possibly Sirk passed on this one. The drama centers around the law firm in a most conservative small town. Senior partner is Thomas Mitchell who does not look well at all, possibly at the beginning of his final illness and his partners are son-in-law Zimbalist and Jason Robards. Zimbalist is your hail fellow well met and a bit stuck up Ivy League type, a bit thick in his dealings with wife Barbara Bel Geddes and son George Hamilton.As for Robards he's married to Lana Turner, but he's not been up to that challenge recently. This was still the era of the Omnipresent Code and impotence and its causes are not spoken of by polite movie characters. Turner turns to Zimbalist for some action.Young Hamilton repeats his sensitive youth character from his role in Home From The Hill in the previous year. He's got good, but neurotic girl Susan Kohner on the string, but his hormones cry out for the town teen tramp Yvonne Craig. She and her mother Claire Carleton are the ones you really remember from this film, their performances have some real bite to them.Efrem Zimbalist was starring in 77 Sunset Strip at the time at Warner Brothers and they were hoping to transition him to a big screen name like they did with James Garner. That was not in the cards for Zimbalist, but he did get to co-star with a screen legend in Lana Turner.Not his fault, but the way Zimbalist's role was written I could never develop a rooting interest for him to overcome and deal with his problems. Quite frankly, he's a fathead. Turner also seemed a bit off kilter for a screen sex symbol in this film.But Lana's fans will love her.

secondtake By Love Possessed (1961)In the vein of a Douglas Sirk film this is bordering on some kind of flawed masterpiece. It's flawed, it has some stumbles in the writing and story, and it really is awfully conversational and slow--but there is a very serious probing soap opera tone here that's wonderful. Maybe the single largest limitation is that the nexus of all these searching yearning people is a law firm, which lacks a level of romanticism (no offense to all those attorneys out there). And it's all filmed with a flat bright light that smacks of indifference--something you could never accuse Sirk of.But the best of this is fabulous and cumulative. It gets better as it goes. The writing--the story and the dialog both--is stunning. It might be melodrama, but it has nuance and truth on its side. In fact, the ability to show the bottled up emotional train wreck that much of America experienced in the 1950s is remarkable. There are all these good people, yearning people, who can't quite express themselves. They're smart, they know their dilemma, but they've been so trained to simply be good and lead noble lives that they forgot how to express themselves. Except maybe through words, careful and precious words.The cast here is stellar. In the lead is an actor at his best, Efrem Zimbalist Jr., who became much better known as a t.v. actor (mainly in the ten year run of "F.B.I."). He's sort of perfect, even if you might find him restrained and polished and unexciting. That's exactly his part, and he plays it with inner conviction. Next to him in the law firm is Jason Robards, a more impressive Hollywood staple, who has a smaller role but another perfect one. Their boss is the aging and almost bumbling Thomas Mitchell, who is by 1961 a kind of legend in the industry, and he's great, adding depth and warmth to the place, as much as a brightly lit law firm has human warmth.The women are equally strong, from the ever understated and impressive Barbara Bel Geddes as the wife of one lawyer and Lana Turner (no less) as the wife of another. The two children of note are a somewhat dry George Hamilton and an increasingly convincing and moving and subtle Susan Kohner, who are struggling with a rocky relationship. But then, everyone is in a rotten relationship--that's what the movie is about, as the title suggests. Throw in the great Everett Sloane (from "Citizen Kane" and so forth) and Carol O'Connor (the lead in "All in the Family") and you see you have an uncompromising ensemble situation. Yes, you might say these are all actors of a certain stripe, and no Brando or Newman or Monroe or Janet Leigh or the other flashier names of the day. That's true, and it's partly why the movie eventually sinks in deep and is effective. By the end I was really moved. It seems I'm in mixed company here, as some reviews show a total disconnect (and disparagement) of the film. I can see why someone would say that--and even if you like the overblown and moody Sirk kind of movies (the second "Imitation of Life" above all) you might see this as a, uh, pale imitation.Maybe. Or maybe it's its own beast, with superb and probing writing, whatever the contrived situation might be behind it all. I also found the first half hour almost unbearable--it's so bland in the filming and so slow in the talk talk talk and so subtle in the non-emotional development of relationship. If you abandon ship too soon you'll miss the best of it. And if you expect a more naturalistic movie than this bottled up play-on-a-screen you'll be disappointed. It is actually based on a book which stormed the New York Times bestseller list in 1957, and was nominated for a Pulitzer (and was later condemned for its pro-establishment and slightly anti-semitic content). Take this movie for what it is, it might surprise you as much as it did me, giving it some effort after all.

misctidsandbits I had to see Lana Turner with Efrem Zimbalist, or the other way around. It was a curiosity – superstar with moderate actor. However, she did have some less than star quality leading men. Zimbalist is GQ for sure, and that voice - attractive shell but hollow performance.There have been other films with the same deficits of this one that have come across. Usually, the higher caliber actors can put it over. Someone must have called for flat line, and they all adhered. What comes out is exactly what one can find on daytime soaps. Everyone was at some stage of pathetic. That would except the Mitchell character, who was a breath of fresh air. They could have called this "All Fall Down." Too bad Helen didn't pass around the cleaning fluid and clear out all the suds. The simultaneous make-ups at the end were so low on the meter, they hardly registered. This one lacked a pulse from start to finish.