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How could a movie fanatic go wicked with this one? Sidney Pollack directing, with Francis Ford Coppola helping out with the adaptation of a Tennessee Williams play? A broad cast, with especially memorable performances from Natalie Wood, Kate Reid and Mary Badham (as younger sister, Willie Starr)? Roberts Redford and Blake and Charles Bronson thrown in for lagniappe? Sounds like enormous gumbo to me.
Natalie Wood is absolutely alluring in this one. She and Redford, who also teamed together in the memorable INSIDE DAISY CLOVER, did indeed appear to have a lot of cloak chemistry. He is the cynical company man who appears like the Grim Reaper in a puny, shabby, depression-era southern town, carrying pink slips with him, instead of a scythe. The role has a lot of resonance now, what with all the corporate downsizing currently going on. Needless to say, the townfolk don’t noteworthy cotton to Mr Owen Legate, with his appreciate suit and self-assured ways.
With a couple essential exceptions. Tom boyish Willie Starr is taken by him proper away and the petite her broad sister Alma sets eyes on him, she’s putty. Wood’s expression in that initial look is piece of film history.
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Owen further antagonizes the townfolk because they discover that Alma has taken a shine to an outsider. Alma’s been something of a tramp up this point, givining it up to varying degrees to most of the men in the town. Several of them, including an veteran geezer with an invilid wife, have been fantazising about further adventures with Alma. And Alma’s mother is upset with Owen, because she sees that he is going to retract away her gravy command. Hazel Starr is one of Williams’ substantial eccentric female characters, and perhaps his most unctuous (though Amanda Wingfield, in THE GLASS MENAGERIE, is no prize, either. Kate Reid is perfect in the role. This, to me is her most memorable performance, followed closely by her title role in AND MISS REARDON DRINKS A Miniature, which unfortunatley appears to be impossible to derive. It’s hard to hold she never won an Oscar or a Tony.
This was only the second feature film that Pollock directed. He of course went on to astronomical things with such films as THEY SHOOT HORSES DON’T THEY and TOOTSIE. He and Cinematographer James Wong Howe do a colossal job of capturing runt southern town lethargy, as well as 30′s Current Orleans ambience. The print, unfortunately, could definitely exercise a corpulent restoration. It’s weak noticeably over time. The film certainly warrants the extra work. Yet time cannot wither Natalie Wood. She’s aloof one of the most gorgeous women a camera ever made care for to. This film definitely belongs advance the top of the list for conceal adaptations of Williams’ plays.
BEK
When I first saw this film, as a preteen, I concept it was the ultimate romance. Well, I got older … and saw it again. And it’s detached glowing romantic. In fact, it’s peaceful a film I glimpse over and over.
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The performances are really juicy. Everyone in it seems to understand the over-the-top quality of Tennessee Williams, and no one disappoints. You’ll salvage Charles Bronson and a very young Robert Blake in supporting roles here. Both Kate Reid, as Wood’s driving, ambitious `Mama’ using her glowing daughter to hook the town’s men, and Mary Badham, as `Willie’, the not-so-beautiful younger sister who idolizes Wood, are quite simply friendly. Every fade, every recognize from both are truly sublime.
Natalie Wood has always been one of my well-liked stars, and she is every slouch the star in this one. It’s definite from her first closeup how special, how different, and how intelligent Alva Starr is to everyone she comes in contact with. She meets her match in Robert Redford, the man who has no dreams, who sees her in unvarnished shadowy and white but comes to bask in her need to color life … in fact, realizes he can’t live without it when he’s separated from her.
Is it big drama? No. But it’s exquisite soap opera. The best soap opera, the most memorable Southern soap opera, you’re likely to win. These people have accurate problems, exact needs, and they’re beautifully drawn by the screenwriters (thank you, Francis Coppola, among others) and by the actors who play them. We’re given a lot of time to know them and care about them, and we do care, very mighty.
It’s one of my celebrated guilty pleasures, and I inquire I’ll hold watching it for years to reach. Don’t miss it.
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