Autumn Leaves (1956) Other movies recommended for you
Autumn Leaves(in Hollywood Movies) Autumn Leaves (1956) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Autumn Leaves on your mobile, tablets and ipads
Plot: Millicent Wetherby is a middle-aged woman whose life is devoid of love and affection. Millicent's solitary existence changes when she encounters Burt Hansen a charismatic younger man. As Burt successfully woos her and wins her hand in marriage, rumors begin to surface that Millicent's newfound beau… Runtime: 107 min Release Date: 01 Aug 1956
And you, you SLUT! You're both so consumed with evil... (by Stormy_Autumn)
I first saw this movie, as a teenager, in 1965. It broke my heart then and I didn't even know or understand a third as much as I do now. But I did understand hurt, anger and violence. Lorne Greene and Vera Miles were just plain evil in this movie. Virginia Vera Miles married Burt Hanson Cliff Robertson , to get at his his loving, doting and very wealthy father Lorne Greene . Burt, left, totally disillusioned. But, down the road a bit, he met Millicent Wetherby Joan Crawford in a diner where she was having dinner. She was sitting alone at a table, he needed a place to set and <more>
insisted on joining her. Milly, finally, agreed.A bit of history on Milly. She didn't like her full name. She had stayed at home to care for her ailing, invalid father. Milly's job was an at-home-typist. She was a hard worker though somewhat reclusive. A beginning history on Burt. He was younger than Milly, 15 or so years. He was a sweet looker and a romantic talker. In spite of not knowing him or his past, he romanced her off her feet and they ran off to Mexico to get married.After their wedding, life became very uncomfortable very fast. Milly became the target of rage that Burt had pent up inside of him. She couldn't do anything right. There were beatings and the famous typewriter scene that left her hand smashed. It was obvious he was mentally ill. Burt's illness was the direct result of finding his wife in the arms of another man...his father. I don't think it takes much imagination to figure out what was going on. Of course, Milly didn't know any of this.After a period of time the 'wife who never was', Virginia, knocked on Milly's door. The 'father who was dead', Mr. Hanson, showed up, too. They wanted to talk to Burt. At that time Burt broke down. Milly learned exactly what happened to him. She became very protective of Burt no matter what he had done to her. She now understood.Milly came to realize that Burt was destroyed by the actions of his 'wife' and 'father'. She, also, came to realize that he needed more healing than her love alone could give. The look on her face as she followed Burt's doc's advice told all. Milly was letting go of Burt to receive the healing he deserved. She committed him to a psychiatric hospital for treatment. She knew that once healed he might never return. That would be Burt's decision but she loved him!Meanwhile, before making the decision, Milly had it out, in a big way, with Mr. Hanson and, especially, dear Virginia.....Milly's angry words to her: "And you, you SLUT! You're both so consumed with evil, so ROTTEN!" Quote from the "Autumn Leaves" fight scene. Curious about the ending? See the movie if at all possible. It's worth it."Autumn Leaves" directed by Robert Aldrich. Cliff's first starring role along side a pro. Joan is amazing. It stretched both of their emotional abilities. Lorne and Vera are people you usually love, not this time. Unusual hate-filled roles for 2 excellent actors."Theme from Autumn Leaves" sung by Nat 'King' Cole! It's beautiful.
Robert Aldrich, Joan Crawford and eerie direction equal a classic film, and do not miss. In fact, I woke up at 5 A.M. to watch Crawford for the third time in this intriguing and provocative film.Crawford is simply amazing, and really becomes a New England spinster, displaced in 1950's Los Angeles, who, per chance meets a young and seemingly normal war veteran, well-portrayed by a dashing, yet strange Cliff Robertson.Joan again delivers, as a woman used to living alone, working as a typist, and eventually meeting an interesting younger man. Look for veteran character actress Ruth <more>
Donnelly as Liz, Joan's landlady who hopes she will find true love with Robertson. Robertson is oddly menacing and believable in this story as well. Aldrich and his direction are superb. The cinematography, abstract camera angles at the beach, and bizarre scenes, are classic. This film was produced in the late 1950's, and very ahead of its time. Highly recommended. 9/10.
Watch with Jane Hudson and Charlotte Hollis for Robert Aldrich Triptych (by geheebers)
This movie provides some "between the lines" backstory on Joan Crawford prior to making "Whatever Happened to Baby Jane?" six years later. This was Crawford's first time working with director Robert Aldrich, and should be considered as part of a three-part set with "Baby Jane" 1962 and "Hush, Hush, Sweet Charlotte" 1964 ."Baby Jane" deals with fleeting fame and sibling rivalry, "Charlotte" is steeped in family jealousies, thwarted love, and small-town scandal, while in "Autumn Leaves" the horror is generated with the <more>
character revlations that follow a hasty marriage.As Cliff Robertson's character "Burt Hanson" self infantilizes, Joan's hair, makeup and wardrobe become disturbingly matronly. Joan is terrified that if her husband is cured of his neurosis he will no longer "need" her to change his diapers? and stop loving her.Watch for the scene in which Joan first realizes that her husband has a ...problem. There is also a great scene between Burt's father, Lorne Greene in his first feature film role and Joan in which it is clear that Joan's character would be a perfectly age-appropriate match for her father-in-law, if he were't already carrying on with his son's young ex-wife.This film is fascinating as the first of Crawford's decadent phase.Also watch for Marjorie Bennett as the waitress. She worked with Aldrich and Crawford again in "Baby Jane" "I'm Mister Flagg's sec'a'tary!" and had earlier worked with cinematographer Charles Lang, Jr. in "Limelight".
Fine performances from Joan Crawford and Cliff Robertson give this taught drama more emotional resonance than might be expected from the plot summary. Crawford is superb - all huge eyes and trembling lips, she makes the relationship with Robertson's character believable and moving. The tentative start to the relationship is especially effective.Burt Hanson's mental deterioration is quite graphically portrayed and at one point, I have to admit, I was peering through my fingers at the screen. It was purely by chance that I stumbled across this movie on late night television. Despite <more>
being a fan of classic movies all my life, I had never heard of this one and I have to say that I'm surprised. It deserves to be better known.
Crawford at her best and Aldrich close to his (by Handlinghandel)
Even 50 years after it was released, this movie is shocking. The betrayal is appalling. The incest is not romanticized or played for any sort of laughs. The physical violence is both subtle and horrifying: We don't quite see what Cliff Robertson does to typist Joan Crawford but we get the idea very clearly. And it is shocking almost beyond words.Crawford does a fine job. She may have been better in a couple other movies -- her signature, "Mildred Pierce"; "Sudden Fear." But as entertaining as "Mildred Pierce" is and as beautifully made as "Sudden <more>
Fear" is, I'd choose this as the best movie in which she appears if possibly not her single best performance. Cliff Robertson is perfectly cast as the handsome young man who woos her. He IS handsome. But this character is troubled, and Robertson plays that brilliantly. This is the movie for which he should have won as Oscar.Lorne Greene is a sneering villain. He's even farther from "Bonanza" here than Raymond Burr was from "Perry Mason" in the many film noir outings that predated that series.Vera Miles turns in a fine, evil performance too. She did well for Hitchcock but I think this is the best I've ever seen her.Ruth Donnelly is Crawford's landlady and pal. She is cast against the type she played in her standard movie. And she's very good. I'm not entirely sure the slightly light touch she gives the character is right in this context. But Aldrich knew what he was doing; so it must be.I saw "Whatever Happened to Baby Jane" when it first came out. I was a child and had never seen Bette Davis or Joan Crawford before. I was totally confused by the whole thing. In later years, I've seen it again and it's fun.But though it shares one star with Autumn Leaves," "Autumn Leaves" is closer to Aldrich's greatest picture in style: "Kiss Me Deadly." "Autumn Leaves" seems like a high toned soap opera on the surface. It's about an older woman who allows herself to fall in love. Etc. But that's not what the movie is. It's dark and it's deep.I can't quite figure out whether it could have been better with a less turgid actress. In a way, some of its themes presage those of "Room at the Top." Signoret could have blown us away in "Autumn Leaves." So could Jeanne Moreau. But would the movie have been as believable? Maybe not. It may be just about perfect as it is.
Filter the Clutter, Find the Love (by JLRMovieReviews)
Here, in "Autumn Leaves," Joan Crawford is a writer who prefers her own company over having just anybody – unlike so many today. She has been burned. So, when Cliff Robertson asks to sit down at her table, the only seat in a packed restaurant, she replies, "I'd prefer it if you didn't." But he stands right beside her table, waiting for an available table. She meant for him to go away. She can't have him stand there. She couldn't enjoy her lunch. She gives in. They get to talking and they start to form a relationship, quickly. He's a jovial and <more>
nice-lookin' guy, but there's something not quite right there. It seems that everything he says can't be taken at face value. Despite the fact she hasn't been this happy in years, there's something wrong. He has mood swings, and she takes it all on her shoulders, taking care of him. Then Vera Miles and his father Lorne Greene show up, telling her that he should be in a "home." If you love someone, you take care of them, she says. You can't just throw them away. Then an unsavory truth comes out. All actors are excellent in their roles, especially Cliff Robertson, who gives an eerily and captivating off-balanced performance. The quiet moments of his desperation and depression are most convincing. "Autumn Leaves" is not your usual romantic movie. Maybe it's not trying to be. Can love cure? Can one's sanity be found through the thick fog of muddle? "Autumn Leaves" is for those who appreciate good performances in good movies and who know that love can be found in dark places.
This 1956 drama was directed by the re known Robert Aldrich. He brings the old and the new to this film. The old, being the professionalism and experience of Joan Crawford and matching her with the new, up and coming young talented Cliff Robertson. This was his first starring role. Coming from Broadway he brought a very strong presence to the part. He and Joan were splendid together. In one of her rare underplayed roles, where she isn't playing the queen bee, she gives a sensitive and honest portrayal of a lonely woman who accidentally meets a young man and falls in love. Crawford and <more>
those wonderful expressive eyes are beautifully photographed with shadows in glorious black and white. Playing opposite her and definitely holding his own, Robertson goes from nice guy to a sort of psychotic mess. His slow changing from one to the other was masterful. He showed his abilities and what was yet to come his way, including his Academy Award performance in CHARLY. Together Joan and Cliff light up the screen in an almost melodramatic way, yet quite realistic. Reminded me of another Crawford film and another new young actor, Jack Palance in SUDDEN FEAR. Rounding out the cast is Lorne Greene as Cliff's no good father, Vera Miles as the wife asking for a divorce and veteran actor Shepperd Strudwick playing the doctor who heals our hero. Look for two well played supporting roles in this. Bringing comedy relief to the drama is veteran actress Ruth Donnely, as the manager of the apartment building Joan lives in. She just walks into the apartments, picks up newspapers and magazines and makes herself at home bringing all the gossip with her. She's a hoot. There's also a cameo performance by Marjorie Bennett as the waitress of a diner. Just her facial expressions as she waits on our lovers is worth the entire scene. She walks off with it. Remember her as the mother of Victor Buono in BABY JANE? Hats off to a seldom seen movie and one of Crawford's best.
Joan Crawford gives a real tour-de-force as Milly, a work-obsessed, but lonely spinster who meets a handsome man, Burt played wonderfully by Cliff Robertson , in a diner late one night. Their meeting turns into romance, and before Milly knows it, they are married in quickie Mexican nuptuals. When they return home, secrets from Burt's past began to come into the open. Before long, Burt turns into an abusive, dillusional schizophrenic. Crawford's performance is amazing once you get past the shoulder pads and butch haircut and Vera Miles' role as Burt's devious ex-wife is <more>
classic. Don't miss a vicious cat fight between Crawford, Miles, and Lorne Greene, in which Crawford spews at Miles, "And you, ya slut!" Director Robert Aldrich did a tremendous job of taking this melodrama, but never letting it turn into a total soap opera. Great show!
A fine film and a fine performance by Joan (by AlsExGal)
Joan Crawford aged like fine wine, and even at 51 she is quite believable as the romantic lead here. She plays Millicent Wetherby, a lonely 40ish woman who has sacrificed her youth taking care of her invalid father. Now he is gone and she feels like life has passed her by until Burt Hanson Cliff Robertson in only his second film appearance interrupts her chicken salad one night at a diner. He practically pries open her life, and they begin dating even though he is over ten years younger than she. She tries to be practical, but he sweeps her off her feet and the two elope to Mexico. Then she <more>
starts to notice little things...he has told her he was from Racine, now he says he is from Chicago. Burt meets Joan's employer and talks about all of the battles he saw in the military when he has told her previously that he was a supply clerk and never saw action during his time in the service, but the final straw is when an ex-wife she didn't even know about shows up at her door.This is a hard film to characterize. It's definitely not a soaper, but it has aspects of that. It has romance, dealing with mental illness, and even elements of a thriller to it. It deals with the self-doubt we all have about the choices we have made in life. No high-camp Johnny Guitar is this film. Although, don't get me wrong, I love Joan in her campy 50's films too.Cliff Robertson is almost at the bottom of the bill on this one, even though he really is the male lead. This is only his second film, yet he pulls off the part of the child-like Burt like a pro. It's also good to see Ruth Donnelly as Milly's ever-supportive older neighbor twenty years after she was a contract player over at Warner Brothers. I highly recommend this film for anyone who even remotely enjoys Joan Crawford's films. You don't have to be a big fan to appreciate this one.