Carrie poster & wallpaper

Barry Kelley, Basil Ruysdael, Eddie Albert

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63% liked it

365 ratings

Unrated, 1 hr. 58 min.

Directed by: William Wyler

Release Date: January 1, 1952

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DVD Release Date: January 18, 2005

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Flixster Reviews (28)

  • groaningbitch
    January 22, 2008
    groaningbitch
    "carrie" is adapted from classic realism satirist theodore dreiser's "sister carrie" which parodies the metropolitan alienation on uptowners, and the essence of the novel is about the futility of dreams among a bunch of soulessly philistines without spiritual substance, estray in...( read more) the immense sphere abound with materialistic inquisitions. but somehow the movie production transmutes into a dirge of a romantic steer with the veil of overflowing sentimentality which invetibly leads to melodramaticity.

    it transforms into a showcast vehicle for laurence olivier as dashing middle-aged man suffering from a suffocating marriage to a cruel uncaring woman, then he seeks solace from a burgeoning fair carrie as the love of his life. depraved by his obnoxious wife's confinement, he commits thievery to elope with carrie by deceiving carrie into the train with false excuse. but the script grants abundant mercy to the olivier's hurstwood who is merely compelled by the relentless opressions of a frigid woman. and later hurstwood degenerates into street bum, but his torch for carrie remains flamy, at last he condescends himself into panhandling from carrie for a meal. but he rejects her further charity to embrace him back into her luxurious patronship.

    it totally neglects the core spirit of the novel and its severe philosophy of life's crude grimness which rots everyone, carrie for vanity and desire, hurstwood for cracked pride...etc. the movie interpretation is naive beautification to smoothen it into a tragic romance, hurstwood becomes a noble gentleman distressed in ill fate, and carrie is a simplistic ingenue with pious faith in love. in the novel, carrie is complicated with peacockish naivety and knee opportunitism which guide her into being a dishonorable mistress trading herself for the extravagenza. hurstwood under dreiser's pen is a duplicious liar who methodically guiles carrie with the complacency to flatter himself with the affair of a young lad, and he cannot take defeats well so he shuns away from frustraction with no backbone, a complete loser demised without name, title, not even a bit concern from carrie.

    hollywood is alsways inclined to capsulate literature with sugary romanticism despite the grittiness in the original work, same with "a place in the sun" which is dreiser's another masterpiece sweetened by the studio that transpires into another tear-jerking melodrama. only olivier's performance is worthy of praises for his dignified suaveness, but the whole flick is literarily written for him, isn't it?
  • Venieza
    July 19, 2007
    Venieza
    All CLASSICS are GOOD

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