Shirley Booth was 54 when she won the Academy Award as Best Actress for her performance as Lola in the screen version of William Inge's "Come Back, Little Sheba". It was also her screen debut in a role that had previously won her a Tony on the stage and, quite frankly, she was magnificent. It launched her on a short-lived movie career and a slightly longer career on television. It's a fine film, well directed by Daniel Mann and adapted by Ketti Frings and it has three other good performances from Burt Lancaster as the alcoholic Doc, Terry Moore as the young lodger who, unwittingly, is the cause of Doc's hitting the bottle again and Richard Jaeckel as the athletic stud Moore is dallying with. Admittedly Lancaster, who at 39 was 15 years younger than Booth, isn't really right for his role, (he was too young for starters), but he handles it very effectively. Nevertheless, this is Booth's show. If she had never done anything else on screen she would still have earned her place in the pantheon of great performances.
76 Reviews
Fantastic performance by Shirley Booth
nnnn4508919124 October 2006
Shirley Booth's performance in this movie is one of the best I've seen.From the moment she appears as Lola Delaney you know almost everything you need to know about her character.It's quite rare that I get moved to tears by a performance,but Shirley Booth managed that feat. She conveys all the emotions of a simple woman who's life didn't turn out the way she dreamed and her realization that the springtime of her life has long gone.Burt Lancaster might have been a bit young for the part of Doc Delaney,but I think he's really good and powerful and frightening in the drunk-scene.Terry Moore was a charming acquaintance for me.Her performance was quite assured and natural. Although this movie is more like a filmed play, I enjoyed it a lot.
Shirley Booth gives Oscar-Performance (got Kleenex?)
mdm-1121 May 2005
William Inge's play transfers nicely to the big screen, with perfectly cast leads Shirley Booth and Burt Lancaster.
A middle aged, childless couple struggles with the husband's periodic alcoholic "episodes". When they rent out a room in their house to a young college girl, the audience learns a lot about the couple just by observing their reactions to "the young people". "Doc" Delaney exhibits fatherly, protective feelings toward the young woman, expressing disgust when she brings a young man to her room. A regular at AA meetings, he eventually "gets sick" again. Determined never to give up, his devoted wife Lola stands by her man. The ending leaves us hopeful that all will turn out well.
There are many beautiful moments in this film, assuring a lover of tearjerkers a full pay-off! Shirley Booth deserved her 1953 Oscar for her portrayal of Lola Delaney. Oh, and don't look for little Sheba, she won't be back.
A middle aged, childless couple struggles with the husband's periodic alcoholic "episodes". When they rent out a room in their house to a young college girl, the audience learns a lot about the couple just by observing their reactions to "the young people". "Doc" Delaney exhibits fatherly, protective feelings toward the young woman, expressing disgust when she brings a young man to her room. A regular at AA meetings, he eventually "gets sick" again. Determined never to give up, his devoted wife Lola stands by her man. The ending leaves us hopeful that all will turn out well.
There are many beautiful moments in this film, assuring a lover of tearjerkers a full pay-off! Shirley Booth deserved her 1953 Oscar for her portrayal of Lola Delaney. Oh, and don't look for little Sheba, she won't be back.
Forget "Hazel" - And Bring Tissues
Harold_Robbins21 August 2004
Shirley Booth was a remarkably versatile actress - she did comedies, musicals, and dramas - and won the adoration of critics and audiences in all. But as with Agnes Moorehead and Eve Arden, her success in a TV comedy, "Hazel" tended to over-shadow her work on stage or film. A well-liked comedic actress on Broadway since the 1930s, she reinvented herself as a dramatic actress in 1949 with COME BACK, LITTLE SHEBA, winning every award in sight. Although the film version was offered to the likes of Bette Davis (who turned it down because she felt she couldn't bring to the role the "gorgeous vagueness" Booth had), Hal Wallis wisely went with Booth to recreate her stage role, casting Burt Lancaster for box-office appeal.
Booth's performance as Lola is astonishing, filled with nervous energy and anxiety, living on the edge - ask anyone who's ever lived with an alcoholic - every gesture, every emotion she plays, is honest and accurate. When I finally saw this film in the early 1990s, I was floored by Booth - where in heck had she done her research? Help for families of alcoholics (the Al-Anon Family Groups) was still several years off when the stage version was done - the resources available to Booth would have been "open" AA meetings and perhaps talking with family members. (Incidentally, the director, Daniel Mann, wasn't finished with AA - a more realistic AA meeting figured in his 1956 I'LL CRY TOMORROW, in which he directed Susan Hayward to an Oscar nomination - ironically, she lost out to Anna Magnani's Mann-directed performance in THE ROSE TATTOO!)
Booth was still alive at the time I first saw this film (around 1991-92), and I knew after watching that, unfortunately, her great success as TV's "Hazel" over-shadowed SHEBA, and that when she died, the obit's would begin, "Shirley Booth, TV's HAZEL, is Dead..." and I was right. Agnes Moorehead had a similar fate - the generation which grew up on "Bewitched" was clueless that Moorehead was one of the finest, most versatile and respected actresses around and, like Booth, every bit the equal of the other leading ladies (whom she'd usually supported). I remember attending a screening for the 50th anniversary of CITIZEN KANE and hearing gasps of astonishment as the cast's names appeared "That was AGNES MOOREHEAD!!!!"
Yes, indeed. And THAT was Shirley Booth, breaking our hearts in COME BACK, LITTLE SHEBA. Forget "Hazel," and bring tissues.
Booth's performance as Lola is astonishing, filled with nervous energy and anxiety, living on the edge - ask anyone who's ever lived with an alcoholic - every gesture, every emotion she plays, is honest and accurate. When I finally saw this film in the early 1990s, I was floored by Booth - where in heck had she done her research? Help for families of alcoholics (the Al-Anon Family Groups) was still several years off when the stage version was done - the resources available to Booth would have been "open" AA meetings and perhaps talking with family members. (Incidentally, the director, Daniel Mann, wasn't finished with AA - a more realistic AA meeting figured in his 1956 I'LL CRY TOMORROW, in which he directed Susan Hayward to an Oscar nomination - ironically, she lost out to Anna Magnani's Mann-directed performance in THE ROSE TATTOO!)
Booth was still alive at the time I first saw this film (around 1991-92), and I knew after watching that, unfortunately, her great success as TV's "Hazel" over-shadowed SHEBA, and that when she died, the obit's would begin, "Shirley Booth, TV's HAZEL, is Dead..." and I was right. Agnes Moorehead had a similar fate - the generation which grew up on "Bewitched" was clueless that Moorehead was one of the finest, most versatile and respected actresses around and, like Booth, every bit the equal of the other leading ladies (whom she'd usually supported). I remember attending a screening for the 50th anniversary of CITIZEN KANE and hearing gasps of astonishment as the cast's names appeared "That was AGNES MOOREHEAD!!!!"
Yes, indeed. And THAT was Shirley Booth, breaking our hearts in COME BACK, LITTLE SHEBA. Forget "Hazel," and bring tissues.
Heartbreaking, heartfelt film with a world-class star turn
ecjones195131 August 2006
Warning: Spoilers
Not everyone can make four films in an entire movie career and win an Oscar for one of them. Shirley Booth was already a 3-time Tony-winning actress when she repeated her stage success in the film "Come Back, Little Sheba," and she would go on to win two Emmy Awards as the title character in the long-running TV series, "Hazel." Shirley Booth was born to play Lola Delaney, and deserved every accolade that came her way for her performance.
The secret to playing Lola Delaney is something that we don't see enough of in contemporary American movies, and that is great acting, pure and simple. Shirley Booth simply becomes Lola. She isn't playing a real-life character, so there are no models by which to judge her skill at mimicry. She isn't playing a monster, or a woman triumphing over crippling adversity; she isn't a tragic figure or a powerful woman.
The Lola Delaneys of this world are so ordinary they practically fade into the wallpaper. They live their lives through and for other people. Lola is composed of bits of all such women. She is lonely in a childless marriage, desperate in her desire to please, overly sentimental, naive, guilt-ridden and utterly lacking in self-esteem. She and her husband, Doc (Burt Lancaster) have a marriage that consists mostly of tolerance of each other's foibles and occasional forced gaiety.
William Inge, the last century's most unjustly forgotten playwright, probably knew a great many Lolas growing up in Kansas. But many of Inge's female characters are stronger than they realize, including Lola. Madge in "Picnic" and Cherie in "Bus Stop" also come to mind. Many of them know what they want from life and have a clearer, more pragmatic idea of how to get it than the men around them.
Most of Inge's plays are deceptively simple not only in the characters they depict, but in setting and structure as well. "Little Sheba" derives a lot of its power from its author's constraints, and it's a bit more true to its source than some other movies adapted from his plays. As with most Inge plays, this one "starts in the middle", and as the story plays out we see how the characters got to where they are, and whether they will stick with what they've got or make a break for an unknown future.
In "Come Back, Little Sheba," we meet Lola and Doc at a time when their marriage has become purely an exercise. It was the product of teenage lust, lived in shame and out of a sense of convention its first year. Gradually the couple lapsed into codependency --- not a word that Lola and Doc would have known- -- but appropriate to describe their existence as she made excuses for his alcoholism. He has been sober for a year, but he's on a slippery rope.
And now, Lola and Doc are in a holding pattern, that is, until they take in a college student, Marie (Terry Moore), as a boarder. Her mere presence, her youth and vitality -- -not to mention the overt sexuality that she represents -- -forces the Delaney house into crisis. It is likely that Marie leaves the Delaney home under the same cloud the Delaneys came into it, but her brief stay and sudden departure have grave lessons to teach both Lola and Doc.
Lola learns to stop dwelling in the past and yearning to undo past mistakes. Marie's smoldering affect- (although to be fair she really does not try to lead Doc on) -sends him reaching for the bottle again. In the end, Marie may never know that she has forced the Delaneys to re-examine their marriage. The final scene ends on an optimistic note, brighter than anything Lola has ever said in an effort to be a lively conversationalist or to feign happiness. It rings quite true, just as does everything in Shirley Booth's brilliant performance.
The secret to playing Lola Delaney is something that we don't see enough of in contemporary American movies, and that is great acting, pure and simple. Shirley Booth simply becomes Lola. She isn't playing a real-life character, so there are no models by which to judge her skill at mimicry. She isn't playing a monster, or a woman triumphing over crippling adversity; she isn't a tragic figure or a powerful woman.
The Lola Delaneys of this world are so ordinary they practically fade into the wallpaper. They live their lives through and for other people. Lola is composed of bits of all such women. She is lonely in a childless marriage, desperate in her desire to please, overly sentimental, naive, guilt-ridden and utterly lacking in self-esteem. She and her husband, Doc (Burt Lancaster) have a marriage that consists mostly of tolerance of each other's foibles and occasional forced gaiety.
William Inge, the last century's most unjustly forgotten playwright, probably knew a great many Lolas growing up in Kansas. But many of Inge's female characters are stronger than they realize, including Lola. Madge in "Picnic" and Cherie in "Bus Stop" also come to mind. Many of them know what they want from life and have a clearer, more pragmatic idea of how to get it than the men around them.
Most of Inge's plays are deceptively simple not only in the characters they depict, but in setting and structure as well. "Little Sheba" derives a lot of its power from its author's constraints, and it's a bit more true to its source than some other movies adapted from his plays. As with most Inge plays, this one "starts in the middle", and as the story plays out we see how the characters got to where they are, and whether they will stick with what they've got or make a break for an unknown future.
In "Come Back, Little Sheba," we meet Lola and Doc at a time when their marriage has become purely an exercise. It was the product of teenage lust, lived in shame and out of a sense of convention its first year. Gradually the couple lapsed into codependency --- not a word that Lola and Doc would have known- -- but appropriate to describe their existence as she made excuses for his alcoholism. He has been sober for a year, but he's on a slippery rope.
And now, Lola and Doc are in a holding pattern, that is, until they take in a college student, Marie (Terry Moore), as a boarder. Her mere presence, her youth and vitality -- -not to mention the overt sexuality that she represents -- -forces the Delaney house into crisis. It is likely that Marie leaves the Delaney home under the same cloud the Delaneys came into it, but her brief stay and sudden departure have grave lessons to teach both Lola and Doc.
Lola learns to stop dwelling in the past and yearning to undo past mistakes. Marie's smoldering affect- (although to be fair she really does not try to lead Doc on) -sends him reaching for the bottle again. In the end, Marie may never know that she has forced the Delaneys to re-examine their marriage. The final scene ends on an optimistic note, brighter than anything Lola has ever said in an effort to be a lively conversationalist or to feign happiness. It rings quite true, just as does everything in Shirley Booth's brilliant performance.
Best film about the problem of Alcoholism.
yenlo21 May 1999
Days of Wine and Roses and The Lost Weekend deal with the problem of those afflicted with Alcoholism. Both are fine films. This movie is better than those two and that's only part of the story in this picture. Shirley Booth gives a most certainly well deserved Academy Award winning performance as the wife of a recovering alcoholic husband. Burt Lancaster in a role he is not often remembered for is the husband. A once proud and respected person who falls by the wayside due to his drinking has picked himself up and is determined to start over again even though various demons still linger inside him. I first saw this motion picture on New Years eve back in the late 60's on NBC's Saturday Night at the Movies. During the week preceding the showing NBC advertised it with the clip of Lancaster going after Booth with a kitchen knife. My older sibling and I not really old enough to know about such things joked about the scene. When we watched the movie and it came to that part we were no longer joking. I didn't see it for many years until it aired on AMC. The film is as powerful today in its story and it's acting performances as when I first saw it and I'm certain when it was first released in 52. A must see.
Great for the most part
d_m_s4 March 2022
Warning: Spoilers
I found this a very interesting and watchable film. Burt Lancaster's character was an interesting enigma and I felt engaged throughout, feeling like he was going to do something unexpected and possibly horrific. There were lots of mysteries at first, which slowly revealed themselves throughout the film. I really enjoyed it up until the end where it suddenly seemed to get wrapped up very quickly in a clean, nice and happy way, which was out of kilter with the pace and tone of the film up until that point. It really let it down.
My heart shattered into a thousand pieces
Boyo-211 November 1999
Shirley Booth is so convincing in this movie that it makes me think she was wasted in cinema because she was never given an opportunity to display her magnificent talent. She is completely heartbreaking in the movie and deservedly won the Oscar, over such heavyweights as Bette Davis and Joan Crawford. Burt Lancaster is great also but its Shirley's show all the way and she does not disappoint.
The gentleman caller knocks the Wingfields off the stage
Handlinghandel7 August 2007
A decade or two of not having last seen this, I found it disappointing. Shirley Booth, of course, is brilliant. Hers is one of the great screen performances. (And what a shame she made so few movies!) Rating this it based solely on her performance, I'd give it a 10. But the rest is not so hot.
Burt Lancaster does a creditable acting job but he just isn't believable as the beaten-down husband of a woman Booth's age. His presence may have helped sell some tickets but this is miscasting of a serious sort. (Lancaster is an actor I like very much, from his early films in the 1940s through, especially, to his later roles in "Atlantic City" and "Conversation Piece." Even in those, though, when he was around the age he was playing in this movie, he seems wrong for the temperament of Doc -- even though he plays a frustrated older man in each.)
One of the major flaws of "Come Back Little Sheba" is the focus on Terry Moore and her romances. Her acting is all right for what it is but the balance of this delicate story is tipped and the movie at times seems like one of the many forties romantic comedies tracing the dating lives of high school or college girls.)
The way I see it, the Shirley Booth character is a little bit of Blanche DuBois and a little bit of Amanda Wingfield. Doc is little like Tom Wingfield (Amanda's song.) And Moore and her boyfriends, neither of whom is particularly likable, are all like the gentleman caller. Hollywood was full of movies about characters like the gentleman caller and the Moore character. Sometimes these movies work. In this case, they all but sink a small, delicate story whose highlight is the heartbreakingly lovely performance of a character actress who was also a major Broadway star.
Burt Lancaster does a creditable acting job but he just isn't believable as the beaten-down husband of a woman Booth's age. His presence may have helped sell some tickets but this is miscasting of a serious sort. (Lancaster is an actor I like very much, from his early films in the 1940s through, especially, to his later roles in "Atlantic City" and "Conversation Piece." Even in those, though, when he was around the age he was playing in this movie, he seems wrong for the temperament of Doc -- even though he plays a frustrated older man in each.)
One of the major flaws of "Come Back Little Sheba" is the focus on Terry Moore and her romances. Her acting is all right for what it is but the balance of this delicate story is tipped and the movie at times seems like one of the many forties romantic comedies tracing the dating lives of high school or college girls.)
The way I see it, the Shirley Booth character is a little bit of Blanche DuBois and a little bit of Amanda Wingfield. Doc is little like Tom Wingfield (Amanda's song.) And Moore and her boyfriends, neither of whom is particularly likable, are all like the gentleman caller. Hollywood was full of movies about characters like the gentleman caller and the Moore character. Sometimes these movies work. In this case, they all but sink a small, delicate story whose highlight is the heartbreakingly lovely performance of a character actress who was also a major Broadway star.
A fascinatingly well done tale of alcoholism.
KennethEagleSpirit31 January 2007
Burt Lancaster, Shirley Booth, and Terry Moore shine in this very fine flick. In watching it, if you know anything at all about denial, projection, alcoholism, and Alcholics Anonymous, this is a wonderful telling of the psychological and spiritual truths behind the disease. Certain attitudes and comments, projected so well by both Booth and Lancaster, along with the innocent bystander Moore, are dead on. The activities of the men who come to deal with Lancaster while he is in his cups are straight out of the "Big Book". And the resultant coming to grips with the thing, a turn around in out look, are perfect examples of "progress, not perfection" and "having had a spiritual awakening". For the plot, the great acting ability, the talent both in front of and behind the camera, and, for me anyway, the psychology of the thing, it just doesn't get much better than this.
Shirley Booth Earned That Oscar
PCC092117 November 2023
Come Back, Little Sheba (1952), is another one of those dramatic, 1950s films, that explores the awful corners of the disease, known as addiction. In this case, alcoholism, a hot topic, that was explored in many films of the 1950s. This one however, has Oscar-power behind it. Our character in mind, the one who is facing the terrors of alcoholism, is one-year recovered AA member, Doc Delaney (Burt Lancaster), the local chiropractor in town. His wife, is a loyal, stay-at-home, disheveled, wifty housewife, named Lola (Shirley Booth). Shirley Booth's fantastic performance as Lola, won her the Best Actress Oscar for this film.
In fact, all the acting is done well in, Come Back, Little Sheba (1952). A college student, Marie Buckholder (Terry Moore), rents a room in the Delaney's house and for all practical purposes, starts to become, somewhat, of a daughter figure, to the Delaney's. If you do not know who Terry Moore is, most of you may recognize her as Jill Young, the young woman, who's able to tame the mighty one, in Mighty Joe Young (1949). Her performance in Come Back, Little Sheba (1952), won her an Oscar nomination, but she lost to Gloria Grahame for the Bad and the Beautiful (1952).
So, the acting performances for this film, are definitely there. Other than a slow-pacing issue, this film gives an excellent depiction, of a dramatic, tension-filled situation, that many people have to deal with in life. It also, creates a conclusion, that involves, coming full circle for some. We learn very early in the film, that Sheba is Lola's dog, who disappeared months before the events of this story, so I am not giving anything away here, but yeah, the symbolism is thick, everywhere in this film. Come Back, Little Sheba (1952), is definitely a strong one to see.
7.6 (C+) = 7 IMDB.
In fact, all the acting is done well in, Come Back, Little Sheba (1952). A college student, Marie Buckholder (Terry Moore), rents a room in the Delaney's house and for all practical purposes, starts to become, somewhat, of a daughter figure, to the Delaney's. If you do not know who Terry Moore is, most of you may recognize her as Jill Young, the young woman, who's able to tame the mighty one, in Mighty Joe Young (1949). Her performance in Come Back, Little Sheba (1952), won her an Oscar nomination, but she lost to Gloria Grahame for the Bad and the Beautiful (1952).
So, the acting performances for this film, are definitely there. Other than a slow-pacing issue, this film gives an excellent depiction, of a dramatic, tension-filled situation, that many people have to deal with in life. It also, creates a conclusion, that involves, coming full circle for some. We learn very early in the film, that Sheba is Lola's dog, who disappeared months before the events of this story, so I am not giving anything away here, but yeah, the symbolism is thick, everywhere in this film. Come Back, Little Sheba (1952), is definitely a strong one to see.
7.6 (C+) = 7 IMDB.
Brilliant, sad and very well written.
planktonrules19 January 2011
Warning: Spoilers
"Come Back, Little Sheba" is a picture that will sneak up on you as you watch it. At first, it seems a bit mundane---perhaps even a bit dull. And, you'll most likely become annoyed with the wife. However, as the film slowly unfolds you suddenly see that it is brilliant--brilliantly written as well as acted.
Shirley Booth received an Oscar for her performance of a dowdy and not particularly interesting or effective housewife. In essence, she is a sloppy and particularly unattractive woman. The handsome Burt Lancaster (wearing makeup and playing a much older man than he really was) is married to this woman--and down deep this loveless marriage to a sad and rather annoying woman is eating him alive. He maintains a placid demeanor--stuffing his anger and resentment down deep as he consumes antacids and complains of stomachaches. He also is a recovering alcoholic who is on edge--and appears setting himself up to drink again. It's a living hell for him, as he is silently bitter about being forced to marry Booth decades before when she became pregnant. The fact that she subsequently lost the baby and is unable to have more doesn't make things any better. Booth's way to cope with this sad marriage is through her dog, Sheba, but since the dog has disappeared, the loneliness of their marriage has become more apparent. It also becomes more apparent when they take in a young boarder (Terry Moore), as she's young, vivacious and has an active and happy love life. All these factors (and more) work together to create a very sad and realistic portrait.
It's obvious that the writers knew a lot about psychology and alcoholism--and this is why I love this film. Not only are the characters wonderfully real, but they are realized correctly--and they definitely get the little details right. For example, it's one of the best films when it comes to alcoholism. Why this man drinks is fascinating--it's not just because he likes the booze, but it's to temporarily escape this awful life--something rarely talked about in films. It's also very interesting how all his hidden rage is released when he drinks--a year of pent-up anger comes exploding from him. Also, the way his sobriety and AA are shown is exceptional--it's a lot more realistic than the more famous (and overrated) "Lost Weekend" (which has a ridiculously upbeat ending). They show an open meeting, talk about the 12 Steps, the Serenity Prayer and the job of AA sponsors.
What's more fascinating for me are the psychological elements--and the writers clearly were putting in a lot of analytic psychology and symbolism. The juxtaposition of Moore's happy life to theirs is symbolic of the emptiness of the couple. It's also creepy and symbolic how this sick couple refer to each other as 'Baby' and 'Daddy'--especially since they cannot have kids. But what really made me excited was listening to Booth's dream at the end of the film--it was chocked full of Freudian symbolism and showed they knew a lot about the psyche. Booth's dream was symbolic of so much--you could listen to it and interpret the meanings at great, great length.
Aside from the exceptional writing, there are some other things to note. Moore is very sexual throughout the film--she is not some stereotypically nice college student but seethes with sexual desires--something very rare in 1950s films and not really seen much until the late 1960s. This helps the story a lot since Booth and Lancaster completely lack this element in their marriage. Also, I loved the acting of Booth and Lancaster. She is able to express so much with her face and body language--you really have to see it. Also, while Lancaster's performance is much more subdued, I loved how he walked through the house when he was intoxicated--slightly touching things to steady himself as he slowly makes his way though the house. It was a little thing--but the director did a fine job as did the actors as lots of little things were used to give the film a rich texture.
So is the film worth seeing? Of course--it is magnificent. But be forewarned that it isn't exactly fun viewing. Often you'll find yourself cringing and by the end there is a pervasive sense of sadness and emptiness that many will find disturbing. Plus I could imagine that the film could kick up a lot of baggage in some viewers.
Shirley Booth received an Oscar for her performance of a dowdy and not particularly interesting or effective housewife. In essence, she is a sloppy and particularly unattractive woman. The handsome Burt Lancaster (wearing makeup and playing a much older man than he really was) is married to this woman--and down deep this loveless marriage to a sad and rather annoying woman is eating him alive. He maintains a placid demeanor--stuffing his anger and resentment down deep as he consumes antacids and complains of stomachaches. He also is a recovering alcoholic who is on edge--and appears setting himself up to drink again. It's a living hell for him, as he is silently bitter about being forced to marry Booth decades before when she became pregnant. The fact that she subsequently lost the baby and is unable to have more doesn't make things any better. Booth's way to cope with this sad marriage is through her dog, Sheba, but since the dog has disappeared, the loneliness of their marriage has become more apparent. It also becomes more apparent when they take in a young boarder (Terry Moore), as she's young, vivacious and has an active and happy love life. All these factors (and more) work together to create a very sad and realistic portrait.
It's obvious that the writers knew a lot about psychology and alcoholism--and this is why I love this film. Not only are the characters wonderfully real, but they are realized correctly--and they definitely get the little details right. For example, it's one of the best films when it comes to alcoholism. Why this man drinks is fascinating--it's not just because he likes the booze, but it's to temporarily escape this awful life--something rarely talked about in films. It's also very interesting how all his hidden rage is released when he drinks--a year of pent-up anger comes exploding from him. Also, the way his sobriety and AA are shown is exceptional--it's a lot more realistic than the more famous (and overrated) "Lost Weekend" (which has a ridiculously upbeat ending). They show an open meeting, talk about the 12 Steps, the Serenity Prayer and the job of AA sponsors.
What's more fascinating for me are the psychological elements--and the writers clearly were putting in a lot of analytic psychology and symbolism. The juxtaposition of Moore's happy life to theirs is symbolic of the emptiness of the couple. It's also creepy and symbolic how this sick couple refer to each other as 'Baby' and 'Daddy'--especially since they cannot have kids. But what really made me excited was listening to Booth's dream at the end of the film--it was chocked full of Freudian symbolism and showed they knew a lot about the psyche. Booth's dream was symbolic of so much--you could listen to it and interpret the meanings at great, great length.
Aside from the exceptional writing, there are some other things to note. Moore is very sexual throughout the film--she is not some stereotypically nice college student but seethes with sexual desires--something very rare in 1950s films and not really seen much until the late 1960s. This helps the story a lot since Booth and Lancaster completely lack this element in their marriage. Also, I loved the acting of Booth and Lancaster. She is able to express so much with her face and body language--you really have to see it. Also, while Lancaster's performance is much more subdued, I loved how he walked through the house when he was intoxicated--slightly touching things to steady himself as he slowly makes his way though the house. It was a little thing--but the director did a fine job as did the actors as lots of little things were used to give the film a rich texture.
So is the film worth seeing? Of course--it is magnificent. But be forewarned that it isn't exactly fun viewing. Often you'll find yourself cringing and by the end there is a pervasive sense of sadness and emptiness that many will find disturbing. Plus I could imagine that the film could kick up a lot of baggage in some viewers.
This film is packed! So much to think about...
MyMovieTVRomance17 September 2023
Warning: Spoilers
This was described by one review I read here as being Shirley Booth lusting after a younger man. I thought going in, that I would be watching a drama about a May December romance of sorts, an age gap love affair. Boy, was I surprised!
This isn't really a romance film at all, or a film about any sort of affair. It's a film about secret longing, unfulfilled life, and getting older with regrets. It's a film about being haunted by memories, and trying to hold the present together through lessons of the past. Trying to carry on, persevere through regret and shame. Learning to live with the knowledge that things can't be changed sometimes, what's done is done - and still having hope for What is to come.
This is a film about regret, shame, longing, and hope. But it is not a romance film. It is, however, a reflection on aging and how it affects the way we see ourselves and the way the world sees us. It is a film about how in spite of our aging, we are still the same people on the inside - even with the world doesn't see it on the outside.
This is a painful film, but also a pretty film in a lot of ways. Bittersweet sums it up pretty well, yet I do think it's more better than sweet most of the time - except for Shirley Booth, who is always sweet throughout. I expected some great betrayal by the young girl in the film, but that didn't happen. It turns out, some people really are just how they seem, genuine and good. Despite the bitterness of the film, there is that undercurrent of giving people the benefit of the doubt, and how some people really are just good at heart.
This film gave me a lot to think about! There were some surprises, like they usages of the word s*** and w****. For a film made in the 1950s, I was shocked to hear that kind of language. Yet, this is very much a beautifully made product of its time. Interesting, soothing in the fact that it is a product of its time and therefore lacks the harsh edge that more modern films of the lake would have. This is just a very easy going little slice of Life movie. I do recommend it, for anyone that likes the kitchen sink type drama.
This isn't really a romance film at all, or a film about any sort of affair. It's a film about secret longing, unfulfilled life, and getting older with regrets. It's a film about being haunted by memories, and trying to hold the present together through lessons of the past. Trying to carry on, persevere through regret and shame. Learning to live with the knowledge that things can't be changed sometimes, what's done is done - and still having hope for What is to come.
This is a film about regret, shame, longing, and hope. But it is not a romance film. It is, however, a reflection on aging and how it affects the way we see ourselves and the way the world sees us. It is a film about how in spite of our aging, we are still the same people on the inside - even with the world doesn't see it on the outside.
This is a painful film, but also a pretty film in a lot of ways. Bittersweet sums it up pretty well, yet I do think it's more better than sweet most of the time - except for Shirley Booth, who is always sweet throughout. I expected some great betrayal by the young girl in the film, but that didn't happen. It turns out, some people really are just how they seem, genuine and good. Despite the bitterness of the film, there is that undercurrent of giving people the benefit of the doubt, and how some people really are just good at heart.
This film gave me a lot to think about! There were some surprises, like they usages of the word s*** and w****. For a film made in the 1950s, I was shocked to hear that kind of language. Yet, this is very much a beautifully made product of its time. Interesting, soothing in the fact that it is a product of its time and therefore lacks the harsh edge that more modern films of the lake would have. This is just a very easy going little slice of Life movie. I do recommend it, for anyone that likes the kitchen sink type drama.
A terribly over the top movie
geoff-maloney15 September 2012
I saw this movie 20 years ago and thought it was way over-acted. I saw it again tonight and enjoyed it a bit more. I still think that Lancaster is miss-cast and that Booth's acting is way over the top.
Rather than being the story of a recovering alcoholic I saw it as the story of a woman who irritated everyone - even her own parents - with her child-like imbecility. The fact that her husband could stay off the drink for a full year while living with such a woman is remarkable. Surely the only reason the husband didn't leave was that his own self-esteem had been completely negated by marrying such a woman in the first place.
Booth's acting is so melodramatic that it makes you cringe time after time. Not a movie for a modern audience.
Rather than being the story of a recovering alcoholic I saw it as the story of a woman who irritated everyone - even her own parents - with her child-like imbecility. The fact that her husband could stay off the drink for a full year while living with such a woman is remarkable. Surely the only reason the husband didn't leave was that his own self-esteem had been completely negated by marrying such a woman in the first place.
Booth's acting is so melodramatic that it makes you cringe time after time. Not a movie for a modern audience.
Timeless, well-acted classic
HotToastyRag27 May 2018
Come Back, Little Sheba is one of the finest old movies ever made. It's not an epic or resplendent in Technicolor, but it's such a fantastic representative of a 1950s classic in every element-and it's stood the test of time amazingly well.
Based on William Inge's Broadway play, Ketti Frings adapted the script for the screen, and although it's clear it used to be a play, the lines aren't wooden, artificial, or boring like many play adaptations are. The acting, like the script, is clearly stylized and old-fashioned, but at the same time it's realistic and heartbreaking to the most modern audiences. Shirley Booth played the lead on Broadway, won a Tony, then starred in the film and won an Oscar-not bad for her film debut! If you don't know who she is, or you only associate her with the tv series Hazel, you need to watch Come Back, Little Sheba so you can appreciate her true talent. Every time I see her in a movie, she brings tears to my eyes. She's instantly sympathetic, and you can see all the pain and hope in her eyes during every moment.
Burt Lancaster, only thirty-eight years old at the time, plays Shirley's husband. Hollywood aged him up for the role rather than cast an older actor-and there were several vying for the part-and it's easy to see why they made that choice. This is one of his best performances, rivaled only by Birdman of Alcatraz, and the Academy snubbed him terribly during the awards season. When you watch this tortured, heartbreaking performance, you'll feel sick that he wasn't even nominated for an Oscar that year.
Now for the plot: Shirley and Burt play an older, unhappy, married couple. Burt is recently sober, and Shirley is recently distraught that their beloved dog Sheba has run away. While they struggle through, a young college girl rents a room in their house, attracting different attentions from each. There's much more to the story, but I'd rather describe the skeleton and let the rest unfold for you as the film plays. It's a very emotional experience, and I can't recommend this classic highly enough.
Based on William Inge's Broadway play, Ketti Frings adapted the script for the screen, and although it's clear it used to be a play, the lines aren't wooden, artificial, or boring like many play adaptations are. The acting, like the script, is clearly stylized and old-fashioned, but at the same time it's realistic and heartbreaking to the most modern audiences. Shirley Booth played the lead on Broadway, won a Tony, then starred in the film and won an Oscar-not bad for her film debut! If you don't know who she is, or you only associate her with the tv series Hazel, you need to watch Come Back, Little Sheba so you can appreciate her true talent. Every time I see her in a movie, she brings tears to my eyes. She's instantly sympathetic, and you can see all the pain and hope in her eyes during every moment.
Burt Lancaster, only thirty-eight years old at the time, plays Shirley's husband. Hollywood aged him up for the role rather than cast an older actor-and there were several vying for the part-and it's easy to see why they made that choice. This is one of his best performances, rivaled only by Birdman of Alcatraz, and the Academy snubbed him terribly during the awards season. When you watch this tortured, heartbreaking performance, you'll feel sick that he wasn't even nominated for an Oscar that year.
Now for the plot: Shirley and Burt play an older, unhappy, married couple. Burt is recently sober, and Shirley is recently distraught that their beloved dog Sheba has run away. While they struggle through, a young college girl rents a room in their house, attracting different attentions from each. There's much more to the story, but I'd rather describe the skeleton and let the rest unfold for you as the film plays. It's a very emotional experience, and I can't recommend this classic highly enough.
See this
david-5691 November 2004
I see this movie again and again as it comes on periodically.
If you want to see a great story, greater writing, and greater acting from Shirley Booth, see this.
Shirley Booth won a Tony and an Academy Award for her role. They should have given her 5, each. One of the finest performances ever.
Ever.
Make that 10, each.
To see her performance is to understand where the benchmark of acting starts.
See this. One of the finer exposures on alcoholism within family.
If you want to see a great story, greater writing, and greater acting from Shirley Booth, see this.
Shirley Booth won a Tony and an Academy Award for her role. They should have given her 5, each. One of the finest performances ever.
Ever.
Make that 10, each.
To see her performance is to understand where the benchmark of acting starts.
See this. One of the finer exposures on alcoholism within family.
Wonderful film will never date
Turridulover20 May 2002
This film is as powerful as when I first saw it as a teenager. One would think that after 50 years, the material would seem dated. But in fact, a lot of what was said then, seems even more relevant today. Inge is unfortunately a very underrated writer. He seemed to respond to things on a much more emotional level than many of his contemporaries and this is why his material has not lost interest. His plays never seem to go to an intellectual level. He wrote about what he knew and didn't try to be something he wasn't. Are there really Blanche DuBois and Willie Lomans today? Just listening to those plays, as wonderful as they might be, is something we can no longer relate to. But there will always be Lola Delaneys. Everyone knows a few of them. The film was obviously made on a very tight budget and we are lucky for that. Imagine how it would have been had they cast Rosiland Russell and Jimmy Stewart. Though Burt Lancaster was miscast, the simple fact that he was a great actor, means his performance comes off amazingly well. And what more can be said about Booth, except the extreme regret we who never saw her in the play onstage must feel. The power of that performance is beyond description. Anyone who likes this movie should try to get hold of the new recording of the musical version. It was obviously written by people with tremendous love and respect for Inge's work.
Come Back, Little Sheba
CinemaSerf8 May 2024
I'd never heard of this film until I stumbled upon it today, and boy - what a stumble. Shirley Booth turns in one of the most intense performances I have ever seen. "Lola" is married to recovering alcoholic "Doc" (Burt Lancaster) and they live a meticulously ordered life with her the housewife and he at the hospital. As the story transpires, we learn a little more of what has driven them to their current scenario whilst she yearns for companionship. To that end she rents out their spare room to student "Marie" (Terry Moore). Initially, "Doc" isn't sure, but he takes a shine to the girl - if not to her all-American boyfriend "Turk" (Richard Jaeckel). She seems set on him, though, and as his paternal concern for her choices starts to mount his need for that lone bottle sitting in the cupboard starts to mount too! It's only really in the last fifteen minutes that the story all falls into place and we realise just why both of these characters are as they are. Lancaster plays his role in a measured and entirely convincing fashion as he foils the almost perfect effort from an entirely convincing Booth who elicits sympathy and exasperation in almost equal measure. What's also quite effective here is that the story isn't full of contrived pitfalls and disasters. It's a story of humanity with it's roots in a plausible scenario (of the time, anyway) that has provided these two, perhaps despite themselves, with a true and lasting affection. It's much more of a drama than a romance, and really is worth an hour and half of your time.
Shirley Booth won the Tony and the oscar for her portrayal. Burt was great too!
greghoroski17 March 2018
Hard to say too much to laud this movie. It plays much like a Broadway play and is lovely on film.
If you only have a vague remembrance of Shirley Booth as the domestic Hazel in the early TV comedy, then you don't know her well.
Terrific story, great acting and a very intricate story woven by masters of screenplay.
Revel in the classics so you can demand better of today's entertainment fare.
If you only have a vague remembrance of Shirley Booth as the domestic Hazel in the early TV comedy, then you don't know her well.
Terrific story, great acting and a very intricate story woven by masters of screenplay.
Revel in the classics so you can demand better of today's entertainment fare.
Stark melodrama. Humanity in state of depression.
michaelRokeefe24 September 2008
Warning: Spoilers
A very gloomy Hal Wallis production based on the play by William Inge. The focus being on a couple of less glamorous people; Doc Delanely(Burt Lancaster) is a recovering alcoholic sharing a mundane life with his frumpy and unkempt wife Lola(Shirley Booth), who lives in anticipation of her runaway little puppy Sheba returning home. She also holds herself guilty for their troubled wedding twenty years ago. When Lola rents out a room to an attractive college student Marie(Terry Moore) Doc becomes bothered by her youth and her activities with a boyfriend(Richard Jaeckel).
The household already in stress changes its dynamic and the emotional disturbance causes Doc to wobble off the road of sobriety. Lola, precariously needy and a bit backward, all but completely comes unhinged. Doc and Lola in the need of each other suffer their nagging feelings of failure. This movie still packs a wallop. The characters draw you in rather quickly then hang your emotions out to dry. The role earned Booth an Oscar. Lancaster seems rather young for the role, but believable as Doc. Also in the cast: Philip Ober, Edwin Max and Walter Kelley.
The household already in stress changes its dynamic and the emotional disturbance causes Doc to wobble off the road of sobriety. Lola, precariously needy and a bit backward, all but completely comes unhinged. Doc and Lola in the need of each other suffer their nagging feelings of failure. This movie still packs a wallop. The characters draw you in rather quickly then hang your emotions out to dry. The role earned Booth an Oscar. Lancaster seems rather young for the role, but believable as Doc. Also in the cast: Philip Ober, Edwin Max and Walter Kelley.
Shirley Booth's Tour de Force!
JLRMovieReviews17 September 2015
Shirley Booth (of "Hazel" fame) and Burt Lancaster are married, but don't really communicate in "Come Back, Little Sheba." The film opens on Shirley who gets out of bed and moves about with no motivation to do anything, to dress, to clean. She has a likable disposition, but she doesn't have much drive. Her husband is a chiropractor, who never finished his medical schooling as a doctor, for reasons that are shown to us slowly throughout the film. Little Sheba is a dog they had that ran away and that Shirley has been praying will return. Burt Lancaster is excellent as the husband who just goes through the motions day by day without feeling. Terry Moore is a boarder who they take in for more income, of whom Burt takes a liking to. And, also, he is an alcoholic who has been sober for years and whose world will soon shatter. But this is Shirley Booth's picture, as she breaks your heart. She is both pitiful yet strong in conjuring up the depths of depression. Shirley deservedly won an Oscar for this film. What secrets are behind this façade? Will she come out of her delusions? This film is definitely worth your time. Please look for "Come Back, Little Sheba." It's an experience you won't forget.
Lancaster Miscast
SwollenThumb12 May 2018
Packs a punch still but somehow the ending is unsatisfying. Is it too pat? The young cast threaten to steal the movie from the Delaneys. Shirley Booth's character really doesn't grow throughout the film. In that sense her role is pretty one-dimensional. And Lancaster just doesn't look the part. He is too good-looking and young. The years of self-abuse don't show in his physique. For most of the movie he is subdued and asexual. As a couple they don't seem to fit. (viewed 8/16)
Sheba Like Our Youth Ain't Coming Back
bkoganbing30 July 2007
For those of you who only know Shirley Booth from the television series Hazel, I would strongly recommend you look at the list of her Broadway credits which date all the way back to the twenties. She appeared in so many Broadway plays that later went on screen without her recreating the role. For example she created parts in The Philadelphia Story, Goodbye My Fancy, and Desk Set that were later played by Ruth Hussey, Joan Crawford and Katharine Hepburn respectively.
Booth joined that select group of players who won both Tony and Oscars for playing the same role in Come Back, Little Sheba. The play by William Inge ran for 190 performances during the 1950 season and co-starred Sidney Blackmer with Booth. Like the Lunts when they filmed The Guardsman, we get to see but one of her performances preserved on film, maybe her best role.
William Inge's play concerns two very ordinary people, Doc and Marie Delaney, a seemingly quiet middle aged couple. But like George and Martha in Who's Afraid of Virginia Woolf, there's a lot of skeletons in the Delaney closet. Doc was forced to marry Marie when she became pregnant and then the baby was lost anyway. Both made the best of the situation. Doc, unfortunately turned to drink. But when we meet him he's been sober for a year and involved with Alcoholics Anonymous.
Marie is this dowdy middle aged housewife who's forever tuned into the radio and constantly reminiscing of her youth. Doc is just the opposite, he doesn't like to talk at all about the past. But he gets a bit of nostalgia going when pretty and stacked Terry Moore boards with the Delaneys.
Her presence in the house sets of a chain of events that knocks Doc off the wagon. We then see what Marie's been living with before AA.
Another reviewer remarked at how well Shirley Booth caught the attitudes and mannerisms of the wife of an alcoholic and where had she done her research for the part. The answer is she lived it. Her first husband, Ed Gardner from radio's Duffy's Tavern, was a notorious alcoholic, Booth got all the material she ever would need to create Marie Delaney with him.
For movie box office Burt Lancaster played Doc Delaney and he got rave notices himself for the part. Doc was such a change from the aggressively masculine heroes like Lancaster played in The Crimson Pirate or The Flame and the Arrow. I wouldn't doubt that his performance may have led to Lancaster being cast in From Here to Eternity and winning his first Oscar nomination. In a sense Lancaster plays two roles because the sober Doc is a totally different individual from the raging drunk when he gives in to temptation.
The title comes from their dog Sheba who up and ran away one day. Marie calls for him constantly, thinks she sees him at times. But Sheba's a metaphor for their youth which is never to return.
Cinema acting don't get much better than Burt Lancaster and Shirley Booth in Come Back, Little Sheba.
Booth joined that select group of players who won both Tony and Oscars for playing the same role in Come Back, Little Sheba. The play by William Inge ran for 190 performances during the 1950 season and co-starred Sidney Blackmer with Booth. Like the Lunts when they filmed The Guardsman, we get to see but one of her performances preserved on film, maybe her best role.
William Inge's play concerns two very ordinary people, Doc and Marie Delaney, a seemingly quiet middle aged couple. But like George and Martha in Who's Afraid of Virginia Woolf, there's a lot of skeletons in the Delaney closet. Doc was forced to marry Marie when she became pregnant and then the baby was lost anyway. Both made the best of the situation. Doc, unfortunately turned to drink. But when we meet him he's been sober for a year and involved with Alcoholics Anonymous.
Marie is this dowdy middle aged housewife who's forever tuned into the radio and constantly reminiscing of her youth. Doc is just the opposite, he doesn't like to talk at all about the past. But he gets a bit of nostalgia going when pretty and stacked Terry Moore boards with the Delaneys.
Her presence in the house sets of a chain of events that knocks Doc off the wagon. We then see what Marie's been living with before AA.
Another reviewer remarked at how well Shirley Booth caught the attitudes and mannerisms of the wife of an alcoholic and where had she done her research for the part. The answer is she lived it. Her first husband, Ed Gardner from radio's Duffy's Tavern, was a notorious alcoholic, Booth got all the material she ever would need to create Marie Delaney with him.
For movie box office Burt Lancaster played Doc Delaney and he got rave notices himself for the part. Doc was such a change from the aggressively masculine heroes like Lancaster played in The Crimson Pirate or The Flame and the Arrow. I wouldn't doubt that his performance may have led to Lancaster being cast in From Here to Eternity and winning his first Oscar nomination. In a sense Lancaster plays two roles because the sober Doc is a totally different individual from the raging drunk when he gives in to temptation.
The title comes from their dog Sheba who up and ran away one day. Marie calls for him constantly, thinks she sees him at times. But Sheba's a metaphor for their youth which is never to return.
Cinema acting don't get much better than Burt Lancaster and Shirley Booth in Come Back, Little Sheba.
Living In The Past
strong-122-47888523 April 2015
If nothing else - I think that this stark, sad, and very despairing drama (that touches on such subject matter as - alcoholism, bad marriages, loneliness, and youthful lust) is well-worth a view since it gives the spectator a very clear idea of the distinctive and dynamic acting-styles of the early-1950s.
In particular - This 1952 film (which was adapted from a stage play of the same name) seems to exemplify that era of movie-making quite commendably as it attempts to faithfully portray "realism" without the usual Hollywood fluff & glamour thrown into the mix.
Yes. This film contains its fair share of both terrific, as well as terrible moments - But, in the long run, I'd say that it hit its intended mark more often than it missed.
54 years old at the time, actress Shirley Booth was, to me, quite believable in her part as Lola Delaney, the gabby, frumpy, lonely wife of Doc Delaney, a secretly resentful, recovering alcoholic.
This would be Booth's first film as an actress (though she had performed on stage for many years prior). For her in-depth portrayal as Lola, she won an Oscar for "Best Actress".
In particular - This 1952 film (which was adapted from a stage play of the same name) seems to exemplify that era of movie-making quite commendably as it attempts to faithfully portray "realism" without the usual Hollywood fluff & glamour thrown into the mix.
Yes. This film contains its fair share of both terrific, as well as terrible moments - But, in the long run, I'd say that it hit its intended mark more often than it missed.
54 years old at the time, actress Shirley Booth was, to me, quite believable in her part as Lola Delaney, the gabby, frumpy, lonely wife of Doc Delaney, a secretly resentful, recovering alcoholic.
This would be Booth's first film as an actress (though she had performed on stage for many years prior). For her in-depth portrayal as Lola, she won an Oscar for "Best Actress".
Lancaster steals the show!
Elizabeth-32817 March 2000
Warning: Spoilers
Although it was Shirley Booth who won an Academy Award for "Come Back, Little Sheba", I think it's Burt Lancaster who really shines. He had to fight to get the part of Doc Delaney, a middle-aged alcoholic. The studios thought that it would damage his reputation as a leading man. But I think it just showed me that he was not only incredibly attractive, but also a magnificent actor. His best part is the scene that is really the turning point of the movie, where Doc gets drunk after being sober for almost a year. He tells his wife exactly what he thinks is wrong with their marriage: the fact that she never does the cooking and the cleaning. In fact, she never does anything. Of course, it's more that just constructive criticism when Doc pulls a knife on Lola. But that event changes both of them for the better, and the ending is beautiful. This is definitely a movie worth seeing, so I recommend it to anyone!
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