User reviews

I've seen this movie at least a dozen times and it never fails to make me cry. It's a simple love story, but the fact that it's two women in love in Nevada in the 1950's gives it special significance. Unlike a lot of lesbian movies that were made in the 1980's, this one isn't all doom and gloom. It's actually a movie that will make you remember being young, impulsive and in love. It leaves the

viewer feeling hopeful about the future. Vivian Bell is a professor who comes to Nevada in the 1950's for a quickie divorce from her husband. While there she

meets Cay Rivers and Cay opens up a whole new world to her and makes

Vivian realize there's more to life than her stuffy, professional existence in New York. In addition, this movie has the most touching, intimate, erotic, and soulful love scene that I have EVER seen between 2 women in a movie.

A stuffy professor heads to Reno for a quickie divorce and becomes infatuated with a young woman who lives at the ranch where she's staying. Helen Shaver and Patricia Charbonneau have sizzling chemistry as the romantic leads and this film has a nice distinction of being one of the few lesbian themed films that doesn't end in appalling tragedy or sugary sweetness. It's down to earth, smart, sexy, and incredibly entertaining.

The setting for this film is absolutely perfect. Gorgeous landscapes, and music (Patsy Cline, Elvis, Buddy Holly, Jim Reeves, and so much more) perfect for the period. Natalie Cooper wrote a great script that feels just right.

Patricia Charbonneau is just perfect as Cay, a free spirit that just wants to fly. She lights up the room every time she enters. She was the perfect tonic for the repressive Helen Shaver's ailment.

What I really liked was that this was a realistic love story. It wasn't about sex, but about two people finding out what they really want. It didn't end in a neat package, but with promise. It mirrored life in that respect; it just featured two women, that's all.

Audra Lindley was great as Cay's stepmother, and added more realism to the story. Andra Akers was really cool as her friend. Jeffrey Tambor was also featured in a bit part.

I just wish that I had six weeks to spend in the desert. It was so beautiful.

I was 17 when I first watched this movie and I had never seen a lesbian film before which treated the lesbian characters with such respect. Also, I had never seen such a passionate love scene between two women, needless to say after that scene I could no longer deny my own lesbianism. Great use of Patsy Cline's music.

Reading some of the other comments, and the reviews at the time it came out, I suppose my feeling about this movie must be extremely idiosyncratic. Yet, all the people I rope in to watching this film seem to agree with me - so this is to give a counterpoint to the tepid (at best) comments I've read so far.

This is a beautifully photographed film, from beginning to end. It perfectly captures the ambiance and look of the Reno area in 1959 (I know because I was there); not just in appearance, but in the characters as well. Period music is expertly used throughout the film, with the final choice of Ella Fitzgerald's "I Wished on the Moon" a haunting and perfect end. I can't help but think that because this film was one of the first to spend several uncompromising minutes devoted to lesbian lovemaking that people tended to focus almost exclusively on that scene - and make pronouncements based on their own comfort levels with how it was filmed. This scene is really quite beautiful, but it could be left out and the sex only hinted at without harming the flow of the film. The two main characters are well-thought-out and fully realized; both fine performances (Helen Shaver is near perfect). All of the supporting characters are interesting and perfectly believable. The intelligent, witty script gives deep insight into the characters with minimal time spent. The humor is subtle but satisfying. Two examples: 1) when "the professor" comes out of her room after brooding for several days she is asked by another guest what she has been doing in there - the eccentric, grizzled ranch manager (Audra Lindley - who looks like she has been burned into the Nevada landscape)answers like a schoolmarm, "whatever it is, it's too deep for us to understand" 2) while horseback riding in the desert a Marilyn wannabe in blue jeans gets off her horse and says "my girdle is killing me!" For me this is a near perfect film. The only thing close to a criticism I can muster is the Kay character seems a bit too contemporary (but his is a very minor point and the role is well played). Unlike the other commentors, I think the characters are fascinating, each scene stands on its own as a perfect little vignette, and not only did I find the film enjoyable when it first came out, I have watched it at least 18 times since and it always holds up beautifully. Watch this movie with an open mind, void of preconceptions and value judgements, and see if you aren't enchanted (or at least entertained).

While awaiting her divorce on a dude ranch outside Reno, a stiff and humorless New York City professor learns to appreciate life from the usual assortment of Silver State oddballs, finally letting her hair down for a young, uninhibited employee of one of the local casinos. It might have been just another routine romantic comedy but for the fact that the two lovers are both women, and the novelty value alone is enough to lift the film out of the ordinary. There's enough charm and offhand humor to match any mainstream, hetero romance, but make no mistake: this movie doesn't regard its lesbianism lightly, and there's an explicit bedroom interlude to prove it. The scene stops the film dead in its tracks, but director Donna Deitch (making her feature debut) has to be commended for approaching the subject with such candor and optimism (some of it a bit forced, to be sure), leaning only slightly on the awkward self-awareness usually found in a Hollywood coming-out story.

It was a really beautiful movie. The director really captures the beauty of 2 women and 2 women finding true love in 1950's in the least expected situation. As you watched the film, your emotions just followed the main characters'. It is a very touching, tender, romantic movie. This is my favorite movie. I have been watching it many times since I got it.

Thumbs up for Patricia Charbonneau for her stunning performance esp. this was her first performance on films. She played this young, dark haired, beautiful, free spirited, and passionate woman, Cay, who compelled Helen Shaver to look into her heart and finally allowed herself to admit her feelings for Cay. Patricia is really HOT in this movie. Her beautiful smile, her sparkling eyes, her sexy voice, and every move of hers is really attractive and charming. How can anyone not fall for her? I wonder why she didn't become a star after this movie?! She is absolutely Gorgeous and she can really act. It is a shame that she didn't get enough recognitions for her talents as she deserves in the film industry. Helen Shaver did an excellent job as well. She played a repressed English professor, Vivian, who went to Reno for a quick divorce. After closing herself up for years, meeting and knowing Cay finally forced her to face her true emotions and admitted her feelings for Cay. These 2 characters' personalities are really opposite of each other. One enjoys order and the other is free spirited but somehow they are able to find true love with each other. This movie described really well how Helen Shaver struggled with her own feelings and the society's expectations, and the hardship the society and Cay's family gave to the same sex couple. Yet, Cay is very courageous, facing her true feelings, and chasing after who she wants, Vivian. Although there was no clear ending for these 2 women, it is still hopeful since Patricia got on the train with Helen. One can only hope for the best for these 2 women and May they live happily ever after.

The scenery views are quite beautiful. The mountain, the lake views and horses running are extra plus. The other characters are quite good such as Frances Parker, Cay's step mother. The love scene between these 2 is amazing. You can feel these 2 women's desires for each other. Vivian is initially repressed but once she follows her heart, you can feel these 2 women are truly in love and enjoy being intimate with each other. There is Great chemistry between Patricia and Helen, which makes this movie very real. The glances they exchanged with each other, the way they look at each other, and the way they talk to each other are very convincing that they are in love with each other. I love to watch the scenes between them over and over. I think they build up a strong foundation with each other, which then leads to a very believable, amazing, and erotic love making at the end.

The director, Donna Deitch, did an outstanding job. The script is nicely written. The display of emotions is appropriate in 1950's. There are wonderful background musics. Donna Deitch is really successful bringing out the outstanding performance of these 2 lead actresses. It is not easy to direct a film such as this one in 1980's and she had to raise the fund for this movie herself. Overall, it is an excellent movie, something you can watch over and over. Highly recommended.

When it comes to love movies - usually we get a man loves a woman and hopefully vice versa. In this case we get two women ... or at least one that is quite sure what she wants and who she loves. At a time when love like that was more than just forbidden .... and even those who may have feelings of ... well let's just say even they had issues to deal with those things.

A womans touch - no pun intended - something the movie really needed and profited from. I'm not saying that a man wouldn't have done a solid job with the source novel, but you feel that it was crucial to have a woman for this. Not just for the intimate scenes. This really is an underrated movie, with superb performances - not just for the time it was made, but in general.

Solid lesbian-themed film from Jane Rule's book "Desert of the Heart" has an unusual ambiance and compelling desert locales. Set in Reno in the 1950s, Audra Lindley plays a salt-of-the-earth type who runs a ranch for women preparing their divorces. Prim and proper boarder Helen Shaver quickly becomes curious over sexy, smoky hellion Patricia Charbonneau, who enters the film driving in reverse down the wrong side of the road. A balky pace and several odd directorial touches detract, but the modestly-produced picture is frequently intriguing and absorbing. The love scenes are tasteful, while Charbonneau steals much of the acting thunder with a terrific performance. Not a landmark in gay cinema, but a step in the right direction. **1/2 from ****

Classic is an overused term, but not in the case of this movie!. I first saw it in 1990 when I was 17 and it had a huge impact on me, I had never really enjoyed romances before with the possible exception of "Marty", but this movie with the 2 very attractive, intelligent, charming leads(Helen Shaver & Patricia Charbonneau), insightful script, subtle direction and gorgeous landscape shocked and moved me. I had never seen women express such profound sexual yearning for one another before, and even in this day of lesbian chiqe this is THE lesbian movie in my mind. I would like to see this movie given the credit it deserves, for starters I would like to see a deluxe DVD re-issue, complete with a documentry including interviews with the cast and crew, background notes about the novel it is based on "Desert of the heart" by Jane Rule, etc, etc. With the 20th anniversery approaching I think a campaign should be started to rescue this movie from "cult" status and put it where it belongs.

An uptight professor goes to Reno in 1959 to get a divorce and starts having feelings for a brash, young lesbian. In an impressive debut as a feature film director, Deitch does a good job of evoking the place and the period. Shaver brings the right touch of restraint and subdued passion to the role of the professor while Charbonneau is a bundle of energy as the woman who aggressively pursues her. Also good are Lindley as Charbonneau's mother and Akers as Charbonneau's friend. Although not graphic, the love scene between Shaver and Charbonneau is quite steamy. There isn't much of a plot but it's worthwhile spending some time with these characters.

... Or, at least, until I stopped watching it. Lame dialogue, choppy story, and editing for which the word "cheesy" would be a glowing compliment. The acting was average at best; most of the performances were either cliche or stilted. The characters themselves were, to a person, unlikeable; I didn't care what happened to them. The movie limped along to its uninspired climax. (No pun intended, I assure you.) The word must have gone out: Give this movie good reviews; it's a lesbian flick.

"Desert Hearts" makes me feel all warm and romantic whenever I think about it, and this I attribute mostly to director Deitch. Credit is also due to screenwriter Natalie Cooper for making sense of Jane Rule's molasses-thick quagmire of a novel, and to a super cast of supporting players. Alex McArthur is James-Dean-cute in his fresh and much welcome film debut as Cay's charmingly sensitive brother Walter. Audra Lindley is great as Cay's dear gruff mom Frances, and Andra Akers, new to me, purrs and scintillates as Silver. The soundtrack is one-of-a-kind wonderful with Patsy Cline, Ella Fitzgerald and on and on. I can't tell you how many times I saw "Desert Hearts" in a theater but for months after, a certain song (or a lone train whistle) would evoke sweet haunting memories...

As for Cay and Vivian, Patricia Charbonneau and Helen Shaver portray two sympathetic and instantly familiar female characters, but I've gotta give this to Donna, too. Why? Because this is the only production in which Shaver and Charbonneau (sounds good when you say 'em together!) rise above their usual below-average efforts. (I've seen enough of their film and TV work to make an admittedly personal judgment.) My gut feeling is that Deitch created a safe environment of honesty and acceptance, and encouraged and nurtured the heck out of her allegedly straight stars. In return they offered her an intimate duet of performances that, like the sleek sexy tailfins on Cay's Buick convertible, gave us a classic.

While waiting for their Nevada divorce to come through, Helen Shaver and Patricia Charbonneau begin an affair.

It's a movie about repressed feelings, and the two women speak matter-of-factly about their unhappiness, which makes the performances far more telling. DP Robert Elswit puts a lot of grey in his sharply-lit images of the serene, seen-it-all desert.

This is possibly the best lezzie film made thus far. It has enough production values to be attractive, yet does not have the big Hollywood machinery that grinds everything into pablum. It's also not a sex film, but it is a fine indie effort. Both Shaver and Charbonneau are highly appealing.

Saw this film when it came out and at the time it was quite a shocker quite a revolutionary piece of filmmaking; society was a long way from what it is now in 2022 in socially-advanced countries

Although there was a community Of gay and lesbians it was not at all what it is nowadays. So I suppose I watched this in 1985 or six and watching it today in 2022 on VHS which I collect these days it felt pretty lame and a tad staid and slow-moving which is what films from 40 years ago which it nearly is now feel like.

A blonde and brunette to give us yin and yang a blue collar and a professor again for yin and yang Oh that is very nice and the acting is average to good never more than that.

And yes at the time this film was important. Nowadays not so much I would say it is not a great film it is an average+ film and I am sure it helped many people when it was released; I doubt very much society in 2022 needs this film at this point even in more out of the way places in the Western World and that is a good sign ...

If you have not seen it watch it for social history purposes but I will not personally recommend it as a must see feature.

with a nice sound track (I love Patsy Cline). It has a good feel for the period in which it takes places (the late Eisenhower years.)

The theme of a lesbian coming to terms with her identity, as in this movie, is still relevant today - for a lesbian or gay man. And it is great to see finally a gay-themed movie that is NOT exploitative (like all those kinky lesbian vampire flicks) and has a happy and "gay" ending!

It is 1950s Nevada, and Professor Vivian Bell arrives to get a divorce. She's unsatisfied with her marriage, and feels out of place at the ranch she stays on, she finds herself increasingly drawn to Cay Rivers, an open and self-assured lesbian, and the ranch owner's daughter.

"Desert Hearts" is notable for being the first film to depict a lesbian relationship where both characters enjoy a satisfactory ending, in contrast to previously released films such as "Personal Best" that focus less on the relationship of the main characters, and where one returns to a relationship with a man.

The history of gay and lesbian film themes is interesting in how it shifts over time, and I have to wonder if the representations are in any way accurate. Does this film show the 1950s or simply how the 1980s saw the 1950s? How interesting that until this point, any lesbian romance was doomed. Today (2016) we have lesbian themes on film that are not doomed or successful, but just exist as a matter of fact.

"I don't act this way to change the world. I act this way so that the world won't goddamn change me." what a wonder line!!! A neglected masterpiece, a milestone in lesbian movies, the rainy day's kissing scene is so romantic and touching.

This American indie curio from 1985 is a bracing Lesbian romance, a trailblazer of the controversial genre and an accomplished feature-length doesn't make concessions with sensationalism of the subject matter and dramatise of the homosexual sub-culture.

Set in 1959, Vivian Bell (Shaver), a 35-year-old uptight literature professor from NYC arrives to Reno, Nevada to obtain a quick divorce. She stays in a ranch house hosted by Frances Parker (Lindley) and meets Cay Rivvers (Charbonneau), the daughter of Glenn, Frances' significant other who died years ago, so biologically Cay and Frances are not related, but Frances is like a surrogate mother to her and deems her as the last remnant of Glenn. Cay is a free-spirited sculptor, a decade younger than Vivian and works in the local casino, she is pretty frank about her sexuality and defies all the unkindness for her lifestyle, although it creates discord with Frances.

A mutual attraction between Vivian and Cay is germinating secretly, which slowly awakes Vivian's dormant homosexuality, yet she is a woman shackled by orders and social conventions, that's why the new sensation is equally exciting and scary for her, she has to battle against her rational sense to even accept their passionate first kiss after a night alone with Cay al fresco, when she finally opens up herself unconditionally, their passion is inextinguishable. Shaver instils a considerably nuanced showcase of Vivian's dilemma, while Charbonneau strikes gold in bringing Cay to life for her bravery and honesty, as well as her irresistible vitality, the steamy sex scenes are rendered with even-handedness, neither too coy nor a blatant lesbian pornography to suffice straight men's fantasy, Vivian's frisson of pleasure is vented through a series of creditable niceties, quite an achievement if we take the year of its making into account.

One might find it is quite pleasing that a jaundiced eye has never become prominent in the plot, no homophobic straight hillbillies, everyone is pretty cool with regard to Cay's unconventional conducts, and being a gorgeous beauty like her, men can easily one-sidedly mad about her, which could have served as a fertile ground of jealousy and violence, fortunately it is not being tapped into the script, which unerringly homes in on Vivian and Cay's romantic bonding, only Andra Lindley's Frances, is the ostensible exemplar of malice, yet whose growing hostility towards Vivian is more originated from her own selfish possession of Cay than any other objective arguments.

So, in a nutshell, DESERT HEARTS deserves a re-discovery 3 decades after its release, it is tender, heartfelt, sincere, in spite of telling a conventional same-sex love story with every predictable twist and turn, this low budget labour-of-love of Donna Deitch even manages to pull off an entirely satisfactory coda which defies to be a stereotyped Hollywood ending and leaves a sweet taste in our imaginations.

I respect the fact that this film was made in a mature way, since movies with lesbian characters often contain silly jokes or numerous stereotypes. Unfortunately, that's the best thing I can say about this picture. Despite obviously good intentions, this film is just plain dull. There's not a person that I cared about, not a scene that was particularly interesting. It was a movie that I wanted to like, but it didn't take long for me to get VERY bored.