Natalie Wood is merely okay here, nothing special or particularly bad. That's kind of how the film is, all things considered. It worms its way into your skin as it goes on, but it's never exactly riveting.

Melodramatic to the core, and choppily paced, but still very effective and engaging for a film about young romance. The content has some meat to it, and Wood is very pretty so I liked it but it didn't feel great.

Impressive classic about young love and the mental distress it can cause. Really strong performance from Natalie Wood.

A melodramatic masterpiece that nails all these teenaged feelings in a way that seems over-the-top but really isn't that far off the mark. Natalie Wood gives one hell of a performance, while Warren Beatty makes his debut with class. Barbara Loden also has a nice turn as the party animal of the Stamper family. Why is it that Kazan's most critically-acclaimed have disappointed me, while the less-popular films have consistently blown me away?

(ótimo)

This was a long but heartbreaking film about young lost love.

#637

"Splendor in the Grass is a prestigious, top-of-the-line, sensitively-handled melodramatic literalization of the axiom "If you touch yourself too much, you'll go crazy."" - Eric Henderson

Elia Kazan'in "Splendor in the Grass"inda, kiz arkadasiyla 'birlikte' olamadigi icin hayatlarini mahveden gencler rolunde, gencecik Natalie Wood ve Warren Beatty'i izlemek nostaljik ama sonunda, Beatty'nin canlandirdigi Bud karakterinin takintilarina sinir olmamak mumkun degil. Yazik yazik..

Inspired moments and excellent acting, especially from Wood, who brings the depth of the character to surface in the best scenes of the film.

Uninteresting characters, not doing very much. I was bored to tears. Presumably those are not the sort of tears which Kazan and company were aiming to get

530

# 554

601

Impressive though curiously unmemorable addition to a nostalgic young sex cycle which was already played out; production and performances are well up to scratch.

A bit corny and a trifle dated, but mostly moving and surprisingly racy melodrama about young love and sexual repression. I had very low expectations for this film, but found it had a very Sirkian quality. Kazan doesn't have Sirk's eye for color or composition, but he handles the drama very well, keeps the pace moving, and tackles some controversial and slightly subversive subject matter. Warren Beatty, in his first film, manages to avoid being pigeonholed as a James Dean knockoff.