User reviews

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 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.

There's something very rewarding about discovering a well-acted mid-20th century movie you never heard about, in this case, Autumn Leaves starring Joan Crawford and Cliff Robertson, which I saw on TCM. In some ways dated, this movie shines with excellent acting by the two leads - one a star of the film noir era, and the other, a future star making his film debut. The story involves a romance that work-at-home secretary Joan Crawford only reluctantly embraces because her lover is a much younger man. Cliff Robertson falls head over heels in love with her and they marry. Of course, you know the wheels are going to come off this match. The young man becomes traumatized by the appearance of his father, played by a distinguished looking but thoroughly evil Lorne Green and his femme fatale, Vera Miles. Crawford is confused by the bizarre situation and her husband suffers a complete mental breakdown. There is some surprisingly strong language and domestic violence for a movie of the 1950's. Crawford and Robertson deliver strong performances, particularly as the movie moves to its climax. For his first movie, Robertson shows surprising range and strength as an actor. Presented with a husband who is now unhinged, Crawford, takes action to help him, knowing it might have unintended consequences for both of them. Directed by Robert Aldrich, this is a movie that keeps its momentum and doesn't disappoint. Highly recommend.

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 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.

I thought this movie was fabulous. It is a woman's picture, but the tag line made it seem like some William Castle horror flick. By no stretch of the imagination is this a silly little weepy. Parts of it seem to be designed to disturb (the typewriter scene), and even the tender moments are edgy to me. (I just used the word "tender" in a sentence. Kill me now.)

Joan Crawford (one of my favorites) plays Millicent Weatherby, a 40ish spinster who spent most of her life taking care of her invalid father and bemoaning her ridiculous name. Score one for Joan already, as she was not 40ish, but 50ish. Cliff Robertson (I tell everyone "Uncle Ben" from "Spiderman") is the 20ish fella she meets in a restaurant. I think he was 20ish, but score one for him too; he's adorable. Cliff hides some horrible secret, and he's a major liar, but Joan falls for him anyway. He takes her to the beach, where they make out in the sand. (I love it when the surf comes crashing up against Joan and boy! does she flinch. Must have been chilly out that day.) They trot off to Mexico and get hitched. Then Joan starts to realize that maybe she doesn't know Cliff as well as she thought she did. He lies and then tells the truth, and who's to know the difference? Even he doesn't. Eventually Cliff's relatives get involved and then things get really sticky. Is Joan out to get Cliff? Tune in to the next episode to find out!!! Seriously, I felt for Joan. She had a rough time. First the invalid father that caused her to lose all contact with the outside world, and then this guy who can't get his lies straight. Oh, but she manages beautifully. At this point in her career, Joan believed that acting and hand gestures didn't have to go together. You sometimes begin to wonder if her arms even function. (I suspect this was a jab at the arm-flailing Bette Davis, but that's just a hunch.) Just watching her stand there, all broad-shouldered and strong, makes you realize that of course she is going to get through. Former chorus girls always do, because they've got guts and know how. Best moment--after Joan decides she's no good for Cliff, she goes back to that aforementioned beach and just sits there. It's a lovely shot, and Joan looks less ironclad than usual.

By the by, a note to the other reviewer whose name I can't remember. Joan Crawford would not DARE say "And you, YA slut." She says, very precisely, "And you, YOU slut." Enunciation was very important to the Texas-born Lucille LeSueur/Joan Crawford. Bette Davis might say "ya slut," but never Joan Crawford.

Autumn Leaves finds Joan Crawford as fortyish unmarried woman living alone in a court bungalow with landlady Ruth Donnelly for occasional company. A chance meeting with young Cliff Robertson at a concert brings two people with needs together.

Cliff's needs are much bigger than her's however. For all his surface charm, the man has some deep issues. Part of which is that he's grown up without a mother another part of which his father Lorne Greene did him one terrible hurt.

The film was Cliff Robertson's breakout role and he does a fine job, running the whole emotional alphabet from the charming and shallow young man who overcompensates a lot to his mental breakdown with Crawford which is terrifying. Crawford gets one of her best late career roles as well. Not much is said about her mental state, but the way she interprets the part, Joan's needs are as much maternal as romantic and Robertson seems to fill the bill.

For those of you who expect to see wise and patriarchal Ben Cartwright, that is not the Lorne Greene you see here. In fact before being cast in Bonanza, Greene played a nice variety of nasty people in such films as The Buccaneer, Tight Spot, and this one. Vera Miles is also here as Robertson's ex-wife and a piece of work herself.

Robert Aldrich does a good job with Joan Crawford and the rest of the cast. But the film really belongs to Cliff Robertson, after this performance, his career was assured.

Trashy delight about the ill-fated marriage of a naïve middle-aged woman and an enigmatic younger man. Director Robert Aldrich worked surprisingly well with a latter-day Joan Crawford, taming the Hollywood queen bee and bringing her volatile personality down to scale. This gusty, absorbing nonsense gives Crawford a solid role as a single, stay-at-home typist who falls for shifty Cliff Robertson, a pathological liar. Florid melodrama filled with overripe dialogue, overheated set-ups (like the infamous thrown typewriter), fluttering hands and fluttering eyelashes. Aldrich keeps it all simmering nicely, and the entertaining results are certain to please soap buffs. *** from ****

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 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.

Saw 'Autumn Leaves' as somebody who admires Joan Crawford, 'Mildred Pierce' being a prime example of what made her such a good actress. It was interesting seeing Cliff Robertson in an early role and a large part of me was very intrigued in seeing how he would fare alongside the more experienced Crawford. Also seeing how one of Robert Aldrich's earlier films would rank with his other films. Melodrama does vary in execution and always has done, but there has never been any personal bias against it as there are some great ones out there.

'Autumn Leaves' is not going to connect with everybody, am aware that some respected critics and fellow prolific reviewers didn't care for the film. For me though, it was very good and a near-must see for anybody that likes Crawford, Robertson and Aldrich. Can totally see why Crawford herself thought highly of the film and her reasoning mirrors my feelings on it (also agree with her that it should be better known), and to me it is among Aldrich's better films if not quite in the same league as the likes of 'Whatever Happened to Baby Jane' and 'Attack'.

It is not a perfect film. With my biggest reservation being the ending, which for me and some others was too abrupt and tonally was completely at odds with what came before. For a quite dark story to end on such a jarringly pat note was a shame.

Maybe the film is a little too long as well.

Crawford on the other hand is in a role that she was born to play and pulls out all the way. Robertson gives a very distinguished turn in a not easy role to play and actually appreciated that he doesn't go over the top, a big trap for a character that changes as much as he does here. He works very well together with Crawford and personally didn't think that they were too much of a mismatch together in age and acting style and that their styles of acting didn't clash too much, actually thought that the more understand acting of Robertson contrasted well with Crawford's. Lorne Green and particularly Vera Miles are very good in support and Aldrich directs beautifully with material that he is completely at ease with, thematically this is already classic Aldrich.

Visually, 'Autumn Leaves' is handsomely mounted and photographed with a real sense of atmosphere. The music is haunting and sears in intensity, without intruding too much. The script is soap opera but intelligently written and naturally flowing soap opera that doesn't get too overwrought or heavy-handed. The story deserved a much better ending, but the psychological aspect is hard-hitting and pulls no punches (regardless of any debate on how well it has dated) and it is very intense and moving.

On the whole, very good with a lot of things that come off greatly. 8/10

When this film was released, Joan Crawford's career was affected by her age. She was around 50, her best years as a seductive beauty were over, and she was looking rather weird. As for Cliff Robertson, he was in his early 30s and this was his first starring role. Robert Aldrich's forte was definitely not melodramas centered on suffering women. So this film is kind of silly, unrealistic, and Crawford and Robertson are very good competing for the best ridiculous scene (watch his "trembling lip work" to project lunacy when she tells him she visited his father) and yet... I could not help sobbing a little when Cliff kisses Joan's hand... Robert Aldrich was a chamaleon.

(A line from one of the characters of the movie)

Wow! I watched this on TV on a lark - the movie had a "To Be Announced" and no description, so I didn't know what to expect; I didn't know the story line. My only previous experience with Joan Crawford as an actress was "Baby Jane", and I really don't know much about her.

This was an unexpected treat - the acting throughout is superb, and since it is B&W, the use of dramatic lighting and use of unusual camera angles adds depth and drama to the story.

When Millicent begins to realize that Burt is a pathological liar, it made me want to say, "Run, girl, RUN!". But then, the villains appear on the scene (Vera Miles and Lorne Greene), and the awful truth is revealed. (BTW, I only knew Greene as Ben Cartwright, but when he was younger, he was HOT! And, that VOICE! But, I digress...). One of the best lines - that made me laugh out loud - that other viewers have mentioned, "And YOU....you SLUT!" - is so good because of how Crawford delivers it. Such dignity.

It is a true phenomenon that when a mind is faced with an unspeakable trauma, the creation of a 'fantasy life' can be created to make the trauma more "manageable". Burt's breakdown is understandable, but the horrific truth of how most psycho-therapy was conducted back in the day (drugs and electro-shock therapy) makes the sanitarium scenes difficult to watch.

But...the deep strength of Millicent is the true face of love. To love another so much that she wanted Burt to have a happy future, even if it didn't include her, is what this reviewer sees as the very heart of love. Although actors are trained to portray a wide range of characters and emotions, I believe that a woman must be truly strong to be able to portray Millicent - and that gives one insight as to Joan Crawford's own character.

And, how does it end? That is for you to find out. Watch it - it's gripping, entertaining, engaging - and the kind of movie you can watch with someone special. And, watching how they respond to this movie will give YOU some insights!

Something is very wrong here. How is it possible for such an intelligent woman of high presence and awareness not to see from the beginning that something is wrong with this so much younger and immature man so persistently making love to her without even knowing her? The story is not credible, and it gets worse all the time. It is a cinematic masterpiece, one of both Robert Aldrich's and Joan Crawford's best, and the splendid direction and cinematography conceals the psychological flaws. Worst of all is the end, which gives you the impression of pasting up a psychological failure. Of course, if the story had been more realistic, it would not have made the same brilliant and fascinating film, which indeed at least keeps you on edge until the dreadful final scene, which ruins everything. I am sure Hitchcock would have called this false ending a disaster. Lorne Greene and Vera Miles add to the story and make it really interesting, but they are too soon disposed of. It's definitely worth seeing for the sake of Joan Crawford, her beauty and splendid acting, but everything else is just put there for the enhancement of her performance.

As the opening credits of "Autumn Leaves" are benignly rolling by, the viewer is treated to listening to the golden, mellow voice of Nat "King" Cole as he effortlessly sings this melodrama's title song.

And even though there were no autumn leaves anywhere to be found in "Autumn Leaves", this song and its lulling effect played (surprising enough) a somewhat significant part when it came to setting the pace and mood of this film's stormy plot-line.

Many years following this picture's 1956 release, Joan Crawford stated, in an interview, that of her later films, "Autumn Leaves" was, indeed, her #1 favourite.

I think that that was kind of a funny thing for Crawford to say, since, from my perspective, I clearly found her to be miscast in her role as Millie Wetherby, the longing, lonely, middle-aged typing-dynamo who finally finds her man (who's half her age) only to discover that an unbalanced mind lurks behind those twinkling, baby-blue eyes of his.

From my point of view, even though "Autumn Leaves" had all the makings of being a fairly intriguing picture and its subject matter was certainly handled in a mature fashion, I found that a lot of the story (especially the ending) just didn't ring true.

Like I said earlier, Joan Crawford just wasn't well-suited for her role as a woman who would allow a man (regardless of how cute he was) to slap her around and brutalize her. And, then, after all was said and done, actually come crawling back for more. (Oh? Yeah!?)

Yes. "Autumn Leaves" was a decidedly flawed affair and its dead-serious dramatics contained some unintentionally humorous moments, but, all the same, I think that this 1950's Chick Flick was certainly well-worth a view just to see how mental illness was looked upon in the realm of Hollywood movies nearly 60 years ago.

Filmed in b&w, "Autumn Leaves" was directed by Robert Aldrich whose other notable films included - Kiss Me Deadly, Whatever Happened To Baby Jane and The Dirty Dozen.

Cliff Robertson's film career began on a high note with the 1955 movie version of William Inge's "Picnic." He had only a supporting role but he was co-starred with Oscar-winner William Holden and he got to kiss leading lady Kim Novak. In some ways "Autumn Leaves" was a bit of a come-down but he now moved up to leading-man status and he played opposite, (and kissed), another Oscar winner, Joan Crawford. He also had the opportunity, in a beach scene that grows reminiscent of "From Here to Eternity," to display a fair amount of "beefcake." He stood shirtless next to William Holden in a locker-room scene in "Picnic" but in that movie, both actors shaved their chests. In "Autumn Leaves" his chest hair has been left intact but the clear peak of his "beefcake" footage came three years later in the colorful "Gidget" which showed off his suntanned torso to memorable effect.

"Autumn Leaves," of course, is very much a Joan Crawford vehicle and it's at its best in the early sequence which shows her attending, all by herself, a performance in a concert hall. Rarely has middle-aged loneliness been better depicted on the screen. Things become a bit "soapy" after that but in a way that satisfies rather than disappoints.

The main problem is that the approximately 20 years which separate Joan from Cliff is simply too great a gulf to make this a plausible romance. This problem became even more pronounced in the 1967 "Berserk" in which Joan played opposite the far-younger Ty Hardin. Come to think of it, Ty had a nifty "beefcake" scene in "Berserk" but that, as they say, is another story.

The unconvincing romance between an older woman and a younger man in "Autumn Leaves" might have been improved with different casting. Unfortunately, credibility is strained beyond the breaking point when a young Cliff Robertson supposedly falls for the explicitly mature Joan Crawford. Crawford's age is not the critical problem, but her makeup, coiffure, and hard character certainly are drawbacks to affection. Crawford's ominous black eyebrows and mannish hair would have intimidated Attila the Hun. Although only 19 years separated the two actors, Robertson seems younger than his years, while Crawford appears much older than hers. A softer, warmer actress such as Jane Wyman or Loretta Young might have made this melodramatic fluff more compelling.

Despite the miscasting, Crawford offers a brave performance and perhaps realized the absurdity of her role. She is strong and independent in the mold of Mildred Pierce and not the nurturing maternal woman that young Robertson needs. Cliff Robertson, however, is quite effective and convincing as the handsome suitor with a ton of baggage that begins to spill out soon after he has captured Crawford's affections. Hinting at his later success as "Charley," Robertson shows range in his performance that evolves from the appealing boyish stranger, who works his way into Crawford's life, to the enigmatic husband, whose personality cracks widen into chasms. Unfortunately, dated mumbo-jumbo about psychiatric treatment and Freudian malarkey about incestuous relationships further destroy what little credence the melodramatic proceedings retain.

Fans of Joan Crawford will likely revel in her performance here, because she displays all of her trademarks from the thick eyebrows to the teary-eyed self-sacrifice. While not at the level of camp, "Autumn Leaves" does get the eyes rolling at times, and the syrupy title song, which is echoed during the film and reprised at the end, will provoke a gag reflex in sensitive viewers. However, the pleasures of watching Cliff Robertson at the beginning of his career and a wonderful Ruth Donnelly nearing the end of hers may be enough to warrant a viewing. For Crawford devotees, however, "Autumn Leaves" is essential.

Self-employed typist Joan Crawford gets more than chicken salad when she decides to treat herself to a post-concert snack. The only empty seat is in her booth, and Cliff Robertson wants to sit there. Proper down to her white gloves, she rather frostily discourages him, but he's not one to take a hint. She thaws a bit, and he walks her back to her shabby-genteel courtyard bungalow. Next they're spending afternoons at the beach and evenings at the movies.

Still Crawford, who missed several marital boats while caring for her invalid father and has resigned herself to spinsterhood, encourages him to date women more his `age' (at the time of filming, Crawford was 52, Robertson 31). But she succumbs to his persistence and marries him in Mexico. Soon, however, she catches him in little white lies, some of which turn out to be not so little, such as the fact that he was married before, to Vera Miles, and that his supposedly dead father (Lorne Green) is very much alive.

When confronted with the truth, Robertson goes wacko, sobbing in the bedroom for days on end or smashing Crawford's hand with her typewriter (he was aiming for her head). The men in white coats come to take him off for a restful spell of electro-shock treatments, while Crawford is left to deal with the ugly secrets from his past, involving his ex-wife and his father....

Autumn Leaves (Nat King Cole sings the title song) is a women's weeper, not the sort of movie associated with Robert Aldrich – especially not hot on the heels of Kiss Me Deadly and The Big Knife. And though he tries to play up Robertson's mental instability and the dirty duplicity of Green and Miles, he fails. Not only is the material too sodden, he's up against long-suffering victim Joan Crawford, who had all but patented this kind of role. She inevitably prevails, as she always would (at least until Aldrich next directed her, in What Ever Happened to Baby Jane). That memorable turn aside, she had but one `top movie' (The Story of Esther Costello) to go before she sank into also-starring roles and shockfests like Strait Jacket, Berserk! and Trog. But Autumn Leaves marks the beginning of her decline.

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 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.

JOAN CRAWFORD was approaching that phase of her career where women of "a certain age" don't have much of a choice in being able to find good scripts. If they do, it's usually a bit of a comedown from the kind of roles they were offered in their heyday.

AUTUMN LEAVES is no exception. While it's by no means a disaster, it does strain credibility and proves to be a rather over-baked vehicle for an actress who was by now getting to suffer more and more in stylish women's films that suited her screen persona.

Here she is teamed with newcomer CLIFF ROBERTSON, new to films after a brief stint on stage in plays like "Picnic". He plays a young charmer she befriends at a diner (after a concert) and before you know it they're an item at the local beach-front. Hastily, impulsively swept off her feet by this twenty-year younger man, she allows herself to marry him but then discovers that he has a troubled past that makes him turn into a monster when he doesn't get his way.

It's the kind of role Crawford was born to play and she goes through all the motions beautifully under Robert Aldrich's direction. Women fans will especially enjoy the fantasy aspect of such a story and will probably pine away with wistful longing when they watch Robertson take Joan in his arms. Some unexpected turns by LORNE GREENE (as Robertson's father) and VERA MILES (as a woman Crawford calls "a slut").

Summing up: A good Joan Crawford melodrama--but SUDDEN FEAR was better.

Some movies make it especially easy to enjoy them. The first stretch, the first two-fifths, are endlessly charming, with strong good feelings counterbalancing the darker airs of loneliness. Joan Crawford, towering legend that she is, bears warmth and substantial presence at least as much if not more than she has elsewhere in her career; I readily admit I'm not used to seeing Cliff Robertson so young, but he matches Crawford toe to toe with a surprisingly versatile display. And between Robert Aldrich's welcoming, firm direction, and the rich screenplay of Jean Rouverol, Lews Meltzer, and Robert Blees, rather from the start 'Autumn leaves' is splendidly absorbing. As the turn in the narrative comes around the 45-minute mark, throwing everything into question, the mood entirely flips as piercing, ferociously darker airs take over and the warmth tries nevertheless to shine through. All the while the feature commands one's undivided attention, both for the excellence of everyone's contributions as well as for the severity of the story. This is all around superb!

One might reasonably ponder if the drama doesn't become too intense for its own good, becoming overbearing and melodramatic as the third act slowly rolls around. Even within the last ten minutes, through to the ending, there are times when it seems like the movie has a hard time finding exactly the right tone. As great as this is at its best, I can't say it's 100% perfect. Even at its most difficult, though, the proceedings are tremendously compelling, tragic and heartrending but also endearing. And everything about this film is marvelous, each part in and of itself making a bigger impression than I ever anticipated from the outset, bent toward amplifying the torrent of emotions on hand, and working in concert to complement one another. Aldrich is all but brilliant in orchestrating scenes, imbuing even some specific shots with outstanding personality, though his task is made easier by an exceptional cast that reaches deep to give sharp, complex performances on down the line. Crawford, Robertson, Vera Miles and Lorne Greene, Sheppard Strudwick - no matter the size of the part of the nature of the role, from one to the next every actor is terrific, and I adore them all. Hans J. Salter's original score lends powerful ambience to the course of events, and Charles Lang's cinematography is just as vivid as Aldrich's direction. Production design, art direction, hair and makeup, Michael Luciano's editing, and more are all fantastic.

And still none of this would be possible without tight writing, but Rouverol, Meltzer, and Blees have indeed done a fine job. The dialogue is vibrant, and the characters come off as very real and complicated. The tale at large is relatively small, concise and specific, yet in both its lighter facets and in its more tense, harrowing aspects there's a measure of universality in the telling that makes the plot terribly engrossing. And along with all this, I must also point out the scene writing, which at select points is especially crucial to the impact that the film has. The "walk" that leads to an injury is almost excruciating for the turns that are taken in the span of a few minutes; a later moment in which certain sounds trouble Milly emphatically recalls one of the most resonant, haunting moments from all six seasons of 'Breaking bad,' and took my breath away. As if all this weren't enough, I must also compliment the writing team, and all involved, for delicate handling of subject matter that even today is often managed poorly in cinema; for the 1950s, 'Autumn leaves' feels well ahead of its time. There is no judgment, no condescension, and no prejudice or persecution, except from those who are clearly awful people. The feature tries very hard to be balanced and considerate, presenting such a condition in a way that serves up the intended drama for storytelling while very pointedly never losing sight of the character's humanity. I'm in no position to offer absolute judgment, but I'm inclined to think the movie has a definite leg up on many others in this matter.

I can safely say I didn't know anything about this before I sat for it, save for the involvement of the chief stars. I'm so pleased with what this feature actually is. From the blithely pleasant first length, to the dire, heavy turns to follow, this is overall exceedingly well-rounded and thoughtful, and crafted with care and intelligence. There might be instances when the saga doesn't meet with total, pure success, yet these are fleeting and minor in comparison to the wonderfully robust viewing experience it otherwise represents. Everyone in front of the camera and behind it turned in stupendous work to make this just about the very best picture it could be, and the result is unquestionably enjoyable as a movie-goer, satisfying, and rewarding. I suppose a content warning may be necessary for those with particular sensitivity to topics of mental illness, but beyond this 'Autumn leaves' is so very well done that as far as I'm concerned it earns a solid recommendation for all comers. If you have the opportunity to watch, this holds up quite well even decades later and is certainly worth checking out!

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 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.