“Mendacity!” That was most-likely what Tennessee Williams said of the 1958 film version of his successful 1955 Broadway play, Cat on a Hot Tin Roof. Williams did not care much for the film, finding that the toned-down sexuality of the picture strayed too much from his original concept. Still, the film is a triumph from a cinematic standpoint and features excellent performances from its principal cast which includes Elizabeth Taylor as “Maggie the Cat,” Paul Newman as “Brick,” Burl Ives as “Big Daddy,” Judith Anderson as “Big Mama” and Jack Carson as “Gooper.”
Much like the play, the film explores the interpersonal relationships of a wealthy Southern family as they weave in-and-out of discussions about truth, loyalty and fidelity. Newman is perfect as Brick—the aging, alcoholic, former football hero/favorite son and frigid husband. Taylor is the ideal, overwrought Maggie who wants nothing more than her husband’s love. Taylor wasn’t the first choice for “Maggie.” The role was originally offered to Grace Kelly who probably wouldn’t have been as deliciously neurotic in the part. Similarly, the role of “Brick” was first offered to Elvis Presley who turned down the part. That would have been quite a different film. Burl Ives reprises the role he made famous on stage and he’s joined by the always-excellent Judith Anderson as the melodramatic and misunderstood “Big Mama.”
The film is particularly interesting when one considers the back-stage drama. Taylor became a widow during the film’s production when her husband at the time, Mike Todd, was tragically killed in a plane crash. She took a brief break from the production, seeking solace in the company of her friend, Monty Clift. When she returned to the production, she was considerably thinner and more fragile, but nonetheless gave an excellent performance.
Cat on a Hot Tin Roof offers up just the right amount of tawdry, steamy Southern drama and is the perfect way to spend a chilly Sunday afternoon.
Oh, Sebastian, what a lovely summer it's been. Just the two of us. Sebastian and Violet. Violet and Sebastian. Just the way it's always going to be. Oh, we are lucky, my darling, to have one another and need no one else ever.
--Katharine Hepburn as “Violet Venable”
In 1958, Southern playwright Tennessee Williams, debuted a double-bill of one-act plays at an off-Broadway theater. The two plays were Something Unspoken and Suddenly, Last Summer and were presented under the titleGarden District (a reference to the elite neighborhood of New Orleans).
Suddenly, Last Summer was a dark play with disturbing themes that concerned a wealthy Southern family. Violet Venable—a domineering widow—was still reeling from the death of her only son, Sebastian. Her niece, Catherine Holly, was the last person to see Sebastian alive when he died “suddenly, last summer.” In order to silence Catherine’s less-than-flattering recollections of Sebastian’s last days, Violet has ordered that the girl be lobotomized. She contracts a gentle doctor, John Cukrowicz, to perfom the surgery. Soon, Dr. Cukrowicz finds himself embroiled in this sick family drama and realizes that it isn’t Catherine who needs the lobotomy.
When Columbia Pictures bought the film rights to the play and began to develop their cinematic production, Tennessee Williams was against the casting of Elizabeth Taylor as the vulnerable Catherine Holly. He stated, "It stretched my credulity to believe such a 'hip' doll as our Liz wouldn't know at once in the film that she was 'being used for something evil.” Nevertheless, Taylor gives one of her best performances—an achievement which brought her a Golden Globe Award for the role and an Academy Award Nomination.
Taylor urged director Joseph Mankiewicz to cast her long-time friend Montgomery Clift as Cukrowicz. Clift, who had been struggling with an addiction to pain killers and alcohol, was deemed too difficult and erratic to be a good risk for the studio. However, Taylor got her way. Joining Clift and Taylor is Katharine Hepburn who gives Violet Venable the necessary bite and wit. Hepburn and Taylor were very protective of Clift who was often mistreated by the director. At the end of the production, Hepburn politely asked if they were finished. When told that they were, she walked up to Mankiewicz and spit in his face, saying, “That’s for Monty.”
The behind-the-scenes drama continued as composer Malcolm Arnold walked off the project after finding the film too upsetting. His work was finished by Buxton Orr. Furthermore, the studio met with resistance from the Catholic Legion of Decency who objected to the many references to Sebastian’s homosexuality. By their command, these references were largely removed or made as vague as possible. Furthermore, you’ll notice that we never see Sebastian’s face nor hear his voice in any flashbacks. This was also due to the Catholic Legion of Decency who ordered that the character not be recognizable as any particular person.
Though it’s a watered-down version of Williams’ original play, the film is gripping and emotional. Spectacularly acted, it’s a film that, while disturbing, is one that everyone interested in cinematic history should see.
“Mendacity!” That was most-likely what Tennessee Williams said of the 1958 film version of his successful 1955 Broadway play, Cat on a Hot Tin Roof. Williams did not care much for the film, finding that the toned-down sexuality of the picture strayed too much from his original concept. Still, the film is a triumph from a cinematic standpoint and features excellent performances from its principal cast which includes Elizabeth Taylor as “Maggie the Cat,” Paul Newman as “Brick,” Burl Ives as “Big Daddy,” Judith Anderson as “Big Mama” and Jack Carson as “Gooper.”
Much like the play, the film explores the interpersonal relationships of a wealthy Southern family as they weave in-and-out of discussions about truth, loyalty and fidelity. Newman is perfect as Brick—the aging, alcoholic, former football hero/favorite son and frigid husband. Taylor is the ideal, overwrought Maggie who wants nothing more than her husband’s love. Taylor wasn’t the first choice for “Maggie.” The role was originally offered to Grace Kelly who probably wouldn’t have been as deliciously neurotic in the part. Similarly, the role of “Brick” was first offered to Elvis Presley who turned down the part. That would have been quite a different film. Burl Ives reprises the role he made famous on stage and he’s joined by the always-excellent Judith Anderson as the melodramatic and misunderstood “Big Mama.”
The film is particularly interesting when one considers the back-stage drama. Taylor became a widow during the film’s production when her husband at the time, Mike Todd, was tragically killed in a plane crash. She took a brief break from the production, seeking solace in the company of her friend, Monty Clift. When she returned to the production, she was considerably thinner and more fragile, but nonetheless gave an excellent performance.
Cat on a Hot Tin Roof offers up just the right amount of tawdry, steamy Southern drama and is the perfect way to spend a chilly Sunday afternoon.
Oh, Sebastian, what a lovely summer it's been. Just the two of us. Sebastian and Violet. Violet and Sebastian. Just the way it's always going to be. Oh, we are lucky, my darling, to have one another and need no one else ever.
--Katharine Hepburn as “Violet Venable”
In 1958, Southern playwright Tennessee Williams, debuted a double-bill of one-act plays at an off-Broadway theater. The two plays were Something Unspoken and Suddenly, Last Summer and were presented under the titleGarden District (a reference to the elite neighborhood of New Orleans).
Suddenly, Last Summer was a dark play with disturbing themes that concerned a wealthy Southern family. Violet Venable—a domineering widow—was still reeling from the death of her only son, Sebastian. Her niece, Catherine Holly, was the last person to see Sebastian alive when he died “suddenly, last summer.” In order to silence Catherine’s less-than-flattering recollections of Sebastian’s last days, Violet has ordered that the girl be lobotomized. She contracts a gentle doctor, John Cukrowicz, to perfom the surgery. Soon, Dr. Cukrowicz finds himself embroiled in this sick family drama and realizes that it isn’t Catherine who needs the lobotomy.
When Columbia Pictures bought the film rights to the play and began to develop their cinematic production, Tennessee Williams was against the casting of Elizabeth Taylor as the vulnerable Catherine Holly. He stated, "It stretched my credulity to believe such a 'hip' doll as our Liz wouldn't know at once in the film that she was 'being used for something evil.” Nevertheless, Taylor gives one of her best performances—an achievement which brought her a Golden Globe Award for the role and an Academy Award Nomination.
Taylor urged director Joseph Mankiewicz to cast her long-time friend Montgomery Clift as Cukrowicz. Clift, who had been struggling with an addiction to pain killers and alcohol, was deemed too difficult and erratic to be a good risk for the studio. However, Taylor got her way. Joining Clift and Taylor is Katharine Hepburn who gives Violet Venable the necessary bite and wit. Hepburn and Taylor were very protective of Clift who was often mistreated by the director. At the end of the production, Hepburn politely asked if they were finished. When told that they were, she walked up to Mankiewicz and spit in his face, saying, “That’s for Monty.”
The behind-the-scenes drama continued as composer Malcolm Arnold walked off the project after finding the film too upsetting. His work was finished by Buxton Orr. Furthermore, the studio met with resistance from the Catholic Legion of Decency who objected to the many references to Sebastian’s homosexuality. By their command, these references were largely removed or made as vague as possible. Furthermore, you’ll notice that we never see Sebastian’s face nor hear his voice in any flashbacks. This was also due to the Catholic Legion of Decency who ordered that the character not be recognizable as any particular person.
Though it’s a watered-down version of Williams’ original play, the film is gripping and emotional. Spectacularly acted, it’s a film that, while disturbing, is one that everyone interested in cinematic history should see.
Oh, Sebastian, what a lovely summer it's been. Just the two of us. Sebastian and Violet. Violet and Sebastian. Just the way it's always going to be. Oh, we are lucky, my darling, to have one another and need no one else ever.
--Katherine Hepburn as “Violet Venable”
In 1958, Southern playwright Tennessee Williams, debuted a double-bill of one-act plays at an off-Broadway theater. The two plays were Something Unspoken and Suddenly, Last Summer and were presented under the title Garden District (a reference to the elite neighborhood of New Orleans).
Suddenly, Last Summer was a dark play with disturbing themes that concerned a wealthy Southern family. Violet Venable—a domineering widow—was still reeling from the death of her only son, Sebastian. Her niece, Catherine Holly, was the last person to see Sebastian alive when he died “suddenly, last summer.” In order to silence Catherine’s less-than-flattering recollections of Sebastian’s last days, Violet has ordered that the girl be lobotomized. She contracts a gentle doctor, John Cukrowicz, to perfom the surgery. Soon, Dr. Cukrowicz finds himself embroiled in this sick family drama and realizes that it isn’t Catherine who needs the lobotomy.
When Columbia Pictures bought the film rights to the play and began to develop their cinematic production, Tennessee Williams was against the casting of Elizabeth Taylor as the vulnerable Catherine Holly. He stated, "It stretched my credulity to believe such a 'hip' doll as our Liz wouldn't know at once in the film that she was 'being used for something evil.” Nevertheless, Taylor gives one of her best performances—an achievement which brought her a Golden Globe Award for the role and an Academy Award Nomination.
Taylor urged director Joseph Mankiewicz to cast her long-time friend Montgomery Clift as Cukrowicz. Clift, who had been struggling with an addiction to pain killers and alcohol, was deemed too difficult and erratic to be a good risk for the studio. However, Taylor got her way. Joining Clift and Taylor is Jatherine Hepburn who gives Violet Venable the necessary bite and wit. Hepburn and Taylor were very protective of Clift who was often mistreated by the director. At the end of the production, Hepburn politely asked if they were finished. When told that they were, she walked up to Mankiewicz and spit in his face, saying, “That’s for Monty.”
The behind-the-scenes drama continued as composer Malcolm Arnold walked off the project after finding the film too upsetting. His work was finished by Buxton Orr. Furthermore, the studio met with resistance from the Catholic Legion of Decency who objected to the many references to Sebastian’s homosexuality. By their command, these references were largely removed or made as vague as possible. Furthermore, you’ll notice that we never see Sebastian’s face nor hear his voice in any flashbacks. This was also due to the Catholic Legion of Decency who ordered that the character not be recognizable as any particular person.
Though it’s a watered-down version of Williams’ original play, the film is gripping and emotional. Spectacularly acted, it’s a film that, while disturbing, is one that everyone interested in cinematic history should see.
“Mendacity!” That was most-likely what Tennessee Williams said of the 1958 film version of his successful 1955 Broadway play, Cat on a Hot Tin Roof. Williams did not care much for the film, finding that the toned-down sexuality of the picture strayed too much from his original concept. Still, the film is a triumph from a cinematic standpoint and features excellent performances from its principal cast which includes Elizabeth Taylor as “Maggie the Cat,” Paul Newman as “Brick,” Burl Ives as “Big Daddy,” Judith Anderson as “Big Mama” and Jack Carson as “Gooper.”
Much like the play, the film explores the interpersonal relationships of a wealthy Southern family as they weave in-and-out of discussions about truth, loyalty and fidelity. Newman is perfect as Brick—the aging, alcoholic, former football hero/favorite son and frigid husband. Taylor is the ideal, overwrought Maggie who wants nothing more than her husband’s love. Taylor wasn’t the first choice for “Maggie.” The role was originally offered to Grace Kelly who probably wouldn’t have been as deliciously neurotic in the part. Similarly, the role of “Brick” was first offered to Elvis Presley who turned down the part. That would have been quite a different film. Burl Ives reprises the role he made famous on stage and he’s joined by the always-excellent Judith Anderson as the melodramatic and misunderstood “Big Mama.”
The film is particularly interesting when one considers the back-stage drama. Taylor became a widow during the film’s production when her husband at the time, Mike Todd, was tragically killed in a plane crash. She took a brief break from the production, seeking solace in the company of her friend, Monty Clift. When she returned to the production, she was considerably thinner and more fragile, but nonetheless gave an excellent performance.
Cat on a Hot Tin Roof offers up just the right amount of tawdry, steamy Southern drama and is the perfect way to spend a chilly Sunday afternoon.
Taylor urged director Joseph Mankiewicz to cast her long-time friend Montgomery Clift as Cukrowicz. Clift, who had been struggling with an addiction to pain killers and alcohol, was deemed too difficult and erratic to be a good risk for the studio. However, Taylor got her way. Joining Clift and Taylor is Katharine Hepburn who gives Violet Venable the necessary bite and wit. Hepburn and Taylor were very protective of Clift who was often mistreated by the director. At the end of the production, Hepburn politely asked if they were finished. When told that they were, she walked up to Mankiewicz and spit in his face, saying, “That’s for Monty.”
