“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.
This 1658 painting by Gabriel Metsu shows the Seventeenth Century Dutch fascination with perspective. Metsu has boldly played with perspective here as he depicts a young woman descending a flight of stairs. The painting was also a bold declaration of physicality. The woman’s languorous pose as she seductively presents sheet music to the cello player was quite daring for the time.
The romantic nature of the painting was reinforced by the artist’s original inclusion of a painting of a nude above the head of the instrumentalist. Evidently, Metsu changed his mind and over-painted the nude with a map. However, a poor Nineteenth Century restoration of the painting partially revealed the nude, and what remains is a rather muddy, confusing patch on the wall.
The painting was purchased by George IV while still Prince Regent and is one of many Dutch treasures in The Royal Collection.
Never let it be said that Joan Crawford didn’t have opinions—about everything.In this continuation of a post-“Baby Jane” English interview with the lovely Miss Crawford, we get a look at her thoughts on acting, and on Elizabeth Taylor.
Last week in Punch’s Cousin, we found that, surprisingly, Julian/Mr. Punch had been shot by Arthur (who was following the orders of the delightfully bizarre Ulrika Rittenhouse). After being shot, Mr. Punch retreated back into himself where he had a long chat with Julian about the life that they share together.
Meanwhile, Barbara Allen—in a rare moment of compassion—pleaded with Marie Laveau to save her brother. Marie attempted to use her “magic” to revive Julian, but declared that she couldn’t save a body that was occupied by two spirits. Just when it seemed that they’d have to decide between Julian and Mr. Punch, Marjani came to the rescue. Showing inhuman strength, Marjani carried Julian/Mr. Punch to safety. Depositing Julian at St. Louis Cathedral, Marjani called upon “The Holy Mother.” Suddenly, Robert, Cecil and Adrienne appeared. When Punch weakly explained that Marjani had rescued him, the others found that Punch’s savior was nowhere to be seen.
Robert painfully removed the bullet from Mr. Punch’s chest and they brought him back to their borrowed house on Royal Street to recuperate as 1852 came to an end. At that very moment, Marjani returned to Iolanthe’s house with a New Year’s message for the “Elegant Ogress.” Just what does Marjani have in mind for Iolanthe? We’ll see this week.
Mr. Punch’s recovery will prove to be less-than-smooth as Robert realizes that there are some complications from the shooting. Meanwhile, Cecil and Adrienne fear Iolanthe’s retribution for their display at the masquerade ball. Edward Cage will find that the terms of his “adoption” of Barbara’s child are steeper than he realized, and Ulrika and Arthur embark on a new plot. Barbara Allen also has her hands full as she finds herself trapped between two very powerful forces.
This promises to be another exciting week with Punch’s Cousin. I look forward to sharing it with all of you.
Not even the King of the Monkeys can
control everything...
As I write this, my neighbors are having another fiesta. They have a lot of parties over there. They seem to think it’s necessary to crack open a beer at 10:00 in the morning as a means of celebrating—well, I’m not sure what, but they’re celebrating something. Of course, with the beer comes music—loud music…loud, awful music, and chatter…loud, awful chatter, and a curious series of what I imagine to be gleeful shrieks.
While I admire their plucky spirit, I’m a fan of quiet. Every sound echoes throughout this old house, so I’m pretty aware of what’s going on around me at all times. Still, I realize there’s not a lot I can do about it.
I used to allow myself to get really irritated by things over which I have no control. But, what good does it do me? It’s not going to make anything better. It’s only going to make me uncomfortable.
Today, as you go about your Sunday business, I have no doubt you’ll encounter myriad things which will irritate you. It’s inevitable. Instead of letting them bother you, just take a deep breath and carry on. Being bothered by trivial circumstances won’t solve anything. It’ll only raise your blood pressure. So, carry on with what you’re doing and know that this, too, shall pass.
Distributed by Tiffany & Co., this plate is one of a set of four. The series depicts antique hot air balloons. I’ve always had a fascination with hot air balloons. I was given this set when in my early teens and have always loved them.
Beautifully detailed, this particular plate shows a hot air balloon from 1785 which was a hybrid design incorporating both heated air and hydrogen. This set of plates was produced in Bavaria and is based on designs from the 1930’s.
Mary of Teck isn’t the only person who can find beautiful things and bring them home. This week, we’ll all have a chance to see some of the most beautiful objects, paintings, sculpture and jewelry from museums and collections around the world. We’ll continue our look into the amazing Royal Collection as we explore some of the gifts given to the Royal Family from foreign dignitaries over the centuries.
We’ll also visit William Randolph Heart’s breathtaking California Castle—the inspiration for Citizen Kane’s Zanadu. We’ll take a look at the ongoing career of an unlikely Hollywood legend and celebrate the contributions of one of the entertainment industry’s hardest working actresses.
All this plus the usual visits by Mr. Punch, some Bertie dog pictures and some truly unusual objects are in store for the upcoming week at Stalking the Belle Époque.
