Splendor in the Grass (1961)
Directed by Elia Kazan
A fragile Kansas girl's unrequited and forbidden love for a handsome young man from the town's most powerful family drives her to heartbreak and madness.
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What critics compared Splendor in the Grass to
And when, in the movie's final section, Chiron is reunited with a dear childhood friend, Kevin, the encounter becomes reminiscent of (though, admittedly, not as bleak as) the final meeting of Wilma and Bud in Elia Kazan's Splendor in the Grass.
In the close attention paid by their respective boarders, it recalls the opening moments of Splendor in the Grass; in Mrs. Chan's interactions with her boss and the just-off-screen conversations Mr. Chow has with his wife ("She went home early?
Clearly designed as a vehicle to take ‘tween idol Cyrus into the next phase of her career, Sparks latest saga (published just a year ago) is likely too PG homogenized to do for her what Elia Kazan’s seminal 1961 teen drama Splendor In The Grass did for Natalie Wood (a few years older than Miley then)—if that’s the idea—but it still remains a touching tale of family ties and young summer love.
McAdams ("Mean Girls") displays a passion that rivals Natalie Wood's gut-wrenching constancy in "Splendor in the Grass."
Half of "The Notebook" is a silly, syrupy romance about a pair of star-crossed lovers whose powerful attraction is threatened by such reliable obstacles class differences, mean old parents who just don?t understand and a world war-basically the kind of story that was already beginning to seem shopworn and cliched back in the days of "A Summer Place" and "Splendor in the Grass".
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Like the other Sparks adapted movies, Dear John is so old fashioned and it’s hyper romanticism such a rarity in cinemas these days it almost seems new again (there are heavy hints of Splendor in the Grass in the emotional journey the two leads endure).
Not since Splendor in the Grass has there been such a candid and sympathetic account of the mixed messages, double-standards, giddy highs and hormonal free falls experienced by teenage girls.
(See also: Polanski’s Repulsion and Kazin’s Splendor in the Grass; Aronofsky surely has.)