|
|
Post by spiderwort on Aug 30, 2019 21:23:04 GMT
What are your favorite films based upon Tennessee Williams plays?
My favorite is A Streetcar Named Desire. In my opinion, it's one of the great American films, adapted from one of the great American plays, and directed by one of the great American directors, Elia Kazan, the man generally acknowledged to be the best actors' director of all time. I love the film because of its poetic bent, its lyrical direction by Kazan despite the difficulty of the subject matter, the beautiful Franz Waxman score, and the wonderful lighting by Harry Stradling. Despite the fact that it is self-contained like the play (Kazan's choice after trying at first to "open it up"), it's remarkably cinematic, a canvas full of close-ups, bodies in shadows, eyes in moonlight, streetlights in windows, etc. There are so many beautiful moments in it, some filled with rage and terror and some so delicate they would disappear if you blew on them - two of my favorites in that regard: the young man coming to the door to get the newspaper money and Blanche seeing in him her young husband lost to her now; and the scene with Blanche and Mitch after dinner at Moon Lake when she tells him the story of her husband. At the end of that scene comes for me the most beautiful line in the film, "Sometime there's God so quickly." I regret that because of the censors at the time the ending had to be changed, along with one part of the truth about Blanche's husband. But in general the film fulfills the immense artistry of Tennessee Williams' greatest work. I love it and will be forever grateful that it was made and that Kazan directed it, the only one of the many stage plays he directed ( Death of a Salesman, Cat on a Hot Tin Roof, Sweet Bird of Youth, Tea and Sympathy, The Dark at the Top of the Stairs, among others) that he chose to film. Here's an interesting, very brief interview with the exceptional actress Kim Hunter talking a little about how Kazan directed her and Vivian Leigh. It's an actor's dream to have a director like that. jamesgrissom.blogspot.com/2014/07/kim-hunter-something-kazan-whispered.html
|
|
|
|
Post by Doghouse6 on Aug 31, 2019 0:05:50 GMT
I generally find Williams's works relentlessly dreary, mired in self-pity and as heavy as the Southern humidity amid which many of them are set. There's no denying his greatness as an American writer; it's just that the atmosphere they present isn't one that's usually to my tastes.
There are two notable exceptions. One is Night Of the Iguana. There's a spark to it; a colorful energy to which John Huston's direction must certainly have contributed, but which is also apparent in the text and more profoundly challenges the intellect as well as engaging the emotions. The other, not as energetic but at least as colorful, perhaps to a fault, is Suddenly, Last Summer. The element common to both that might account for my finding them more accessible than some of his other work is an "outsider's" point of view (that of Hannah Jelkes in Iguana and Dr. Cukrowicz in Suddenly) cutting through the edge-of-madness neuroses that fuel their drama.
Another with which I was taken was the 1966 TV production of The Glass Menagerie, primarily for the outstanding and inventive work of Pat Hingle as The Gentleman Caller (yet another "outsider"), bringing an elevating and infectious vitality to it that bowled me over. It occurs to me that Hingle would have made an excellent Big Daddy at an appropriate time of life in a latter-day Cat On A Hot Tin Roof.
|
|
|
|
Post by petrolino on Aug 31, 2019 0:10:48 GMT
I'm excited to see how this topic evolves because Tennesse Williams is my favourite classic American playwright (among today's writers it'd be David Mamet). I think a lot of us who are film fans were probably knocked out by different adaptations we saw when we were young. It feels like Williams was made for pushing against censorship and cinema's imposed boundaries. Some of the great screen icons appeared in these movies and television works and I've rarely seen one I didn't at least find interesting.
I can mention my favourite film though. 'Baby Doll' (1956) is my favourite Williams movie, my favourite Kazan movie, and it would be among my top 10 movies of all-time, every time, were I to make such a list. Its influence on fringe cinema is huge. John Waters is perhaps the film's most famous fan in this regard, but many independent filmmakers have borrowed from its salacious tone, improper suggestion and incandesent imagery.
This film also inspired one of the most important underground rock 'n' roll movements which started in California and Oregon, the highly controversial "baby doll" musical movement (figureheads in baby doll dresses emerged from the band Sugar Babydoll with dangerous doll obsessions). This in turn inspired the essential feminist arts movement "riot girrrl" which also produced a ton of great music. Many other notable musicians have recorded a 'Baby Doll' song, including Lydia Lunch, Laurie Anderson, Mariah Carey and Sabrina Ellis, and with these women, rampant experimentalism remains the key.
Jack Garfein visits the set of 'Baby Doll'
As a film, I find it electric. Explosive material is filmed and performed to within an inch of its life. It's a technical work shot by legendary innovator Boris Kaufman whose intricate tricks of the light add an extra dimension. There's jazz music from Kenyon Hopkins but the sound design is what crackles. Art director Richard Sylbert's gothic designs helped earn him the honour of the phrase the "Sylbert touch" (he was assisted here by his talented brother Paul Sylbert) and Baby's outfits have become iconic. It might not be the best regarded movie among Williams adaptations, but its cultural impact is undeniable and it spurs passion and madness in fans. It's also very funny.
|
|
|
|
Post by spiderwort on Aug 31, 2019 0:20:37 GMT
I generally find Williams's works relentlessly dreary, mired in self-pity and as heavy as the Southern humidity amid which many of them are set. There's no denying his greatness as an American writer; it's just that the atmosphere they present isn't one that's usually to my tastes.
Thanks for the excellent post, doghouse. It's interesting how differently we view Williams. But in some cases I can see your points. Oh, and I recently stumbled across and watched that 1966 version of The Glass Menagerie and have to say that I think it's probably the best version of it I've seen.
|
|
|
|
Post by spiderwort on Aug 31, 2019 0:22:50 GMT
Jack Garfein visits the set of 'Baby Doll'
As a film, I find it electric. Explosive material is filmed and performed to within an inch of its life. It's a technical work shot by legendary innovator Boris Kaufman whose intricate tricks of the light add an extra dimension. There's jazz music from Kenyon Hopkins but the sound design is what crackles. Art director Richard Sylbert's gothic designs helped earn him the honour of the phrase the "Sylbert touch" (he was assisted here by his talented brother Paul Sylbert) and Baby's outfits have become iconic. It might not be the best regarded movie among Williams adaptations, but its cultural impact is undeniable and it spurs passion and madness in fans. It's also very funny.
Another great post, petrolino. Thanks. And thanks for the picture of Jack and Carroll, who were newly married, with Kazan. Love that. TCM is playing Baby Doll next week, and I'm very much looking forward to watching it.
|
|
|
|
Post by petrolino on Aug 31, 2019 0:30:30 GMT
Jack Garfein visits the set of 'Baby Doll'
As a film, I find it electric. Explosive material is filmed and performed to within an inch of its life. It's a technical work shot by legendary innovator Boris Kaufman whose intricate tricks of the light add an extra dimension. There's jazz music from Kenyon Hopkins but the sound design is what crackles. Art director Richard Sylbert's gothic designs helped earn him the honour of the phrase the "Sylbert touch" (he was assisted here by his talented brother Paul Sylbert) and Baby's outfits have become iconic. It might not be the best regarded movie among Williams adaptations, but its cultural impact is undeniable and it spurs passion and madness in fans. It's also very funny.
Another great post, petrolino. Thanks. And thanks for the picture of Jack and Carroll, who were newly married, with Kazan. Love that. TCM is playing Baby Doll next week, and I'm very much looking forward to watching it.
You're too kind, spiderwort. I wanted to find a behind the scenes picture you might like for this thread, ended up finding a good one. Glad to hear this movie's playing on TCM.
|
|
|
|
Post by Doghouse6 on Aug 31, 2019 0:44:40 GMT
I generally find Williams's works relentlessly dreary, mired in self-pity and as heavy as the Southern humidity amid which many of them are set. There's no denying his greatness as an American writer; it's just that the atmosphere they present isn't one that's usually to my tastes.
Thanks for the excellent post, doghouse. It's interesting how differently we view Williams. But in some cases can see your points. Oh, and I recently stumbled across and watched that 1966 version of The Glass Menagerie and have to say that I think it's probably the best version of that I've seen.
And thank you, as always, for your generosity. Oh, and for noting in your reply to petrolino that Baby Doll is coming up. It's one to which I haven't previously given any time, and now will after reading his recommendation, for which I also thank him.
|
|
|
|
Post by OldAussie on Aug 31, 2019 0:54:41 GMT
I've seen
The Glass Menagerie (1950) - saw it at school as we studied the play - remember very little of it.
A Streetcar Named Desire (1951) - 9.5/10 brilliant.
Baby Doll (1956) - 7/10 Occasionally very funny.
Cat on a Hot Tin Roof (1958) - 8/10 loved the performances
Suddenly, Last Summer (1959) - 2/10 thought the entire premise was ridiculous. Clift wasted, Hepburn so-so, Taylor the shining light.
The Fugitive Kind (1960) - too long since I saw it
The Roman Spring of Mrs. Stone (1961) - 7/10
Sweet Bird of Youth (1962) - 8/10 Geraldine Page was sensational.
Boom! (1968) - 1/10 pointless
The Roman Spring of Mrs. Stone (2003) - don't remember much of it but Helen Mirren was good.
|
|
|
|
Post by spiderwort on Aug 31, 2019 2:32:13 GMT
I've seen The Glass Menagerie (1950) - saw it at school as we studied the play - remember very little of it. A Streetcar Named Desire (1951) - 9.5/10 brilliant. Baby Doll (1956) - 7/10 Occasionally very funny. Cat on a Hot Tin Roof (1958) - 8/10 loved the performances Suddenly, Last Summer (1959) - 2/10 thought the entire premise was ridiculous. Clift wasted, Hepburn so-so, Taylor the shining light. The Fugitive Kind (1960) - too long since I saw it The Roman Spring of Mrs. Stone (1961) - 7/10 Sweet Bird of Youth (1962) - 8/10 Geraldine Page was sensational. Boom! (1968) - 1/10 pointless The Roman Spring of Mrs. Stone (2003) - don't remember much of it but Helen Mirren was good. Love that you don't pull any punches, Aussie. I am in agreement with you about many. I just wanted to add one that hasn't been mentioned that I've also really appreciated but haven't seen in ages, Summer and Smoke (1962). Geraldine Page was brilliant in that, too. I have it recorded, but haven't looked at it yet. After decades, it will be interesting to see how I feel about it.
|
|
|
|
Post by Dirty Santa PaulsLaugh on Aug 31, 2019 2:42:02 GMT
Streetcar...but I have a soft spot for Summer and Smoke.
|
|
|
|
Post by BATouttaheck on Aug 31, 2019 3:36:30 GMT
|
|
|
|
Post by cynthiagreen on Aug 31, 2019 6:39:28 GMT
Well I have collected all the adaptations I can.
My top Five:
SUDDENLY LAST SUMMER (59) possibly my favourite movie - a "sweaty gothic melodrama" , expanded from the one act play to include plenty of asylum set thrills such as: schemes to have lobotomies performed on noisy cousins who have seen too much; a women's ward that makes THE SNAKE PIT look like a weekend at the Holiday Inn; and Liz being trapped in the men's ward with a mob of twitching, drooling lunatics grabbing at her stilettos. Taylor & Hepburn excel in their monologues. The remake more faithful but much less fun.
I have this poster hanging in my lounge 
Here's a rare picture of Sebastian (Julian Ugarte) - we never get to see his face in the movie: 
THE ROMAN SPRING OF MRS STONE (61) Williams' own favourite of the movies adapted from his work - perhaps significantly this was a novella not a play. Career best turns from Viven Leigh as ageing actress starting to "drift" and Warren Beatty as the gigolo who charms her. " A poem" said Tennessee. Remake is good - more explicit - but not up to this version. Magnificent Lotte Lenya, Coral Browne... even Jill St John was great in this.
THE NIGHT OF THE IGUANA (64) Yes - perhaps the least hysterical and most optimistic of his great works - and a splendid film. Huston doesn't put a foot wrong and gets marvellous turns from Burton, Kerr & Gardner. Great location work. So successful that nobody has attempted a remake! 
A STREETCAR NAMED DESIRE (51) Cracking adaptation by a director that had a natural affinity for the work - it is - inevitably - a bit "stagy" -but it is mesmerising to watch - and we often forget it is very funny in parts ("the Napoleonic code" scene etc). Of the remakes Jessica Lange's is worth a look - Ann-Margret's less so. 
THE GLASS MENAGERIE (50) Not highly rated by film guides -but it did quite well in the old imdb BEST OF 1950 poll ...... it was the first Williams film I saw and it was a magical, utterly beguiling introduction to his world- beautifully acted and the poetry mostly intact. I didn't even have a problem with Laura getting a happy ending. Superior to the 87 one or the 66 and 73 TV versions by a country mile. There is a wonderful radio version from 1964 with Jessica Tandy, Montgomery Clift, Julie Harris and David Wayne that is available on cd along with Williams reading some of his poetry and excerpts from MENAGERIE . I saw Gloria Grahame in it on stage a year or so before she died - she was surprisingly good. 
Next Five
CAT ON A HOT TIN ROOF 58 SWEET BIRD OF YOUTH 62 (Page offering one of the finest performances captured on film) THE ROSE TATTOO 55 BABY DOLL 56 (beautifully shot and scored) SUDDENLY LAST SUMMER 92 (TV)
I must admit I quite enjoyed BOOM the last time I saw it. I imagine they all got a nice holiday out of it.
Happy to offer views on any of the others I've seen -The only English Language adaptation I'm aware of missing is a BBC SUMMER AND SMOKE with Lee Remick from around 1972 - source welcome.
|
|
|
|
Post by teleadm on Aug 31, 2019 16:44:36 GMT
A universal talent, since what he wrote could be translated into almost any language in the world.
A Streetcar Named Desire:
Un tranvía llamado deseo, Uma Rua Chamada Pecado, Трамвай Желание, Omstigning til Paradis, Viettelyksen vaunu, Endstation Sehnsucht, Λεωφορείον ο Πόθος, Un tram che si chiama Desiderio, Tramlijn Begeerte, Um Eléctrico Chamado Desejo, Трамвай Желание, Linje Lusta, Ihtiras Tramvayi-
...and it's still played somwhere someplace
|
|
|
|
Post by petrolino on Sept 1, 2019 2:54:50 GMT
I can't verify this, but I watched a documentary film concerning Andy Warhol (there are many) many years back, and I'm sure it was mentioned by one of his company that he was a fan of 'Baby Doll'. The obvious reach is that Carroll Baker later starred in Paul Morrisey's film 'Bad' which was produced by Warhol, but I've long wondered if there wasn't a more obvious connection - Baker (born Piekarski) was from Johnstown, Pennsylvania and Warhol (born Warhola) was from the Pittsburgh area. Her co-star in 'Bad' was Ohio bad boy Perry King of Alliance. Warhol was very aware of his "factory" roots which informed his work as an artist. Anyway, just a thought to add, any conclusive information is appreciated.
Enjoying reading this thread, thanks.
|
|
|
|
Post by biker1 on Sept 3, 2019 0:55:08 GMT
gentleman caller...
Not only have I seen 3 movie versions of the glass menagarie, I've also seen it on stage twice. The Paul Newman directed 1987 version with Joanne Woodward & John Malkovich is the favorite.
T. Williams on film seen..5/10 = worth a look.
the glass menagerie (1950) 6
a streetcar named desire (1951) 8
the rose tattoo (1955) 7
baby doll (1956) (screenplay) 7
cat on a hot tin roof (1958) 6
suddenly, last summer (1959) 5
the fugitive kind (1959) 4
summer and smoke (1961) 5
the roman spring of mrs. stone (1961) (novel) 6
sweet bird of youth (1962) 6
the night of the iguana (1964) 6
this property is condemned (1966) 5
boom (1968) 2
the glass menagerie (1973-tvm) 6
the glass menagerie (1987) 7
|
|
