Directed by
Richard Brooks
I've known about Cat on a Hot Tin Roof for quite a while and have always been somewhat interested in seeing it, but something always kept my interest at bay. I'm not sure what I expected, but what I got was a fabulous film.
At its heart, Cat on a Hot Tin Roof - a Best Picture nominee at the Oscars in 1959 - is a simple story about a crumbling marriage, family politics, and the relationships between fathers and sons.
Brick (Paul Newman) and Maggie (Elizabeth Taylor) seem to be in a loveless marriage, only staying with each other for convenience and to keep up appearances. They visit Brick's parent's estate to celebrate Big Daddy's (Burl Ives) birthday. Also in attendance are Big Mama (Judith Anderson), Brick's older brother Gooper (Jack Carson), Gooper's wife Mae (Madeleine Sherwood), and their brood of annoying, bratty children.
In addition to celebrating Big Daddy's birthday, they're also celebrating good news from Big Daddy's doctor - the patriarch is not deathly ill, as was feared, but rather only has a mild stomach illness. It's revealed rather quickly, to everyone except Big Daddy, the doctor has lied to his patient and that Big Daddy does have terminal cancer and isn't expected to survive the year. This revelation causes much in-fighting between Gooper, Mae, and Maggie in regards to what will happen with Big Daddy's fortune, including his massive land and business holdings. Maggie just wants to make sure that Gooper doesn't cut Brick out of the family business, but Brick is too busy drinking away his sorrows to care much about it.
Adapted from the Pulitzer Prize-winning play written by the legendary Tennesee Williams, Cat on a Hot Tin Roof is filled with interesting characters with bizarre names or nicknames. It's a very small point, but I did have some trouble taking people called Brick, Gooper, Big Daddy, Big Mama and Sister Woman (Mae's oft-cited nickname) seriously. Even Maggie has a nickname - "the Cat", where the film gets its title. I guess these types of names were common in the South during the time, but as a modern "Yankee", they all seemed a little silly to me.
Like I said, though, that's a small qualm. The characters themselves are so interesting, so well written that I was immediately pulled into the story. One of the things I really liked about the writing was how three-dimensional all the characters were. Everyone is flawed, everyone is at times likable and unlikable, and everyone grows as the film goes on. The dialogue is sharp - at times so sharp that you can feel the barbs ripping into whoever is on the receiving end - and the plot moves along at a brisk pace. I'm not sure who to credit more, Tennessee Williams or director Richard Brooks, who adapted the stageplay along with James Poe. I've never seen the play performed on stage, but I know lots of changes were made - much to the disappointment of Williams and Newman. Most of these changes, from what I've read, were made to eliminate the homosexual undertones in relation to Brick's character. I understand why this was done - the film had to comply with the limitations set forth by the Hays Code - but I can't help but feel that subplot would have added even more depth and intrigue to the film. Regardless of the differences between the film and original material and which writers deserve the credit, Cat on a Hot Tin Roof is a wonderfully written film from start to end.
Even a great script, though, can be completely undone by shoddy actors. Luckily, that's not the case here. I would say the film has three lead characters - Brick, Maggie, and Big Daddy. Each performer is sublime in their roles.
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| * Newman's distinctive blue eyes glare up at one of his many adversaries * |
Paul Newman has long been a favorite of mine, but in the last year I've discovered or rediscovered a wealth of his earlier performances that have made me love him even more. In Cat on a Hot Tin Roof, Newman gets to show a slightly different side than I am normally used to seeing. Brick is an alcoholic, mean-spirited, and almost petty man. Even though he's thirty years old, he often times acts like a teenager. He's downright cruel to his wife in some scenes and I found myself - for the first time I can remember - hating a character played by Paul Newman. Of course, that's a sign of a good actor. Newman disappears into the role, rarely if ever exuding the charm and wit that accompanies most of his characters. Brick's constant drinking - though he oddly never becomes drunk - and petulant attitude slowly fade away, but there's no magical resolution for the character. Newman plays each scene terrifically and delivers every line with vigor and emotion. For a lot of actors, this would be a career-defining performance, but Newman is so good in so many other films that it might not even make my top five favorite performances from the actor. At the time, Newman was not the studio's first choice - or second or third, for that matter - as they originally wanted James Dean (who had died well before filming actually began), Robert Mitchum, Elvis, and Montgomery Clift (who all passed on the role). I'm sure Mitchum or Clift could have played Brick admirably, but I can't imagine any of them portraying the character as well as Newman did. For his work in the film, Newman received his first Oscar nomination for Best Actor, but like he was about to do time and time again, he lost to (I think) inferior competition.
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| * What a sight! Taylor could really wear a slip back in the day * |
On a completely different side of things, Elizabeth Taylor is an actress I had essentially no experience with prior to this film. The only thing I had seen her in was The Flintstones, which isn't exactly representative of her abilities. Taylor shines as Maggie, a beautiful, determined, and loving woman who only wants to make up for past mistakes and hold her family together. Like I mentioned earlier, though, none of the characters are completely pure or innocent and Maggie is no different. The audience learns early on that Maggie comes from a poor family and her newfound wealth might play a big part in why she struggles so mightily to stay with a Brick, a man who seemingly hates her. Is she a "golddigger" or just in love? We don't ever get a real, concrete answer and Taylor makes us believe either could be the case. Maggie is often confident but fragile, expressive but timid, hateful but loving. Like Newman, Taylor also wasn't the original choice for the role. Marilyn Monroe, Lana Turner, and Grace Kelly all were considered or turned down the role before Taylor got the nod. I consider Kelly one of the most beautiful actresses ever, but even I don't think she would have been able to capture Maggie's smoldering sexuality and emotional openness like Taylor did, who was nominated for the Best Actress Oscar.
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| * Ives, looking powerful in a dark suit, laying down the law * |
When Tennessee Williams wrote the role of Big Daddy, he had Burl Ives in mind. This shocked the theater community as Ives was known just as a folk musician at the time, but he more than vindicated Williams' decision as he earned rave reviews for his performance. When it came to cast the film adaptation, no one else was considered for Big Daddy. Ives, who I only knew as a singer and as the voice of Sam the Snowman in Rudolph the Red-Nosed Reindeer, was a delight in this film. His performance is full of charisma, humor, hostility, sadness, despair, and hope. Ives was a big man and occupies a lot of space when he's on screen, but even if he wasn't physically large, I still think he'd take up a lot of space - his vibrant personality seems like it would be all encompassing. Some performers just grab and hold your attention, no matter what, and Ives - just based on his portrayal of Big Daddy - strikes me as one of those performers. Big Daddy is a big character in many ways, but Ives' performance contains so many small, subtle moments, as well. It really is a remarkable performance and one that took me by complete surprise.
Cat on a Hot Tin Roof is essentially a film with six characters. The three performances above are the leads, but without a talented supporting cast, it would not work nearly as well as it does. Big Mama, Gooper, and Mae all play important parts in the story and all three actors perform well throughout, though they don't have anywhere near as flashy characters.
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| * This lobby card shows a tender moment between Sherwood, Anderson, and Taylor * |
Madeliene Sherwood has, by far, the most thankless role in the cast. Mae is an annoying, jealous, scheming, and small minded person. Her character is specifically designed to antagonize Brick and Maggie and to suck up to Big Daddy. She makes snide comments about Brick's drinking and Maggie's inability to bear children. She instructs her children to sing songs about how much they love Big Daddy and how he's so wonderful. Even if the kids genuinely believe these things - and I don't think they do, they seem like the type of kids who only care about themselves - Mae comes across as horribly desperate for Big Daddy's time and affection and it's a delight when he doesn't fall for it. Mae is the closest thing to a villain that Cat on a Hot Tin Roof has and Sherwood, who also originated the role on Broadway, plays her perfectly. Rarely have I seen a character so in need of a slap to the face or, at the very least, a good telling off. Throughout the film, I was rooting for Mae to get her comeuppance. Sherwood had not only the acting chops for this type of role but also the face. It's the face of a woman who would instantly get on your bad side, which works perfectly for Mae.
Judith Anderson is probably the weakest member of the cast but still plays Big Mama fairly well. Big Mama is a bit of a stereotypical 1950's Southern housewife - she sides with her husband on everything and if he's not there, she's more than likely to follow the lead of her two grown sons, plus she's a bit of a harpy towards her daughter-in-law - but the character has moments of growth and rebellion. Anderson goes over the top a little too often for my liking as her acting style is much more theatrical. I'm not sure of Anderson's background, but it wouldn't surprise me if she was a stage actress before moving into films. That's obviously not necessarily a bad thing, but for me, that style has the tendency to become too much at times. Anderson never made me really believe in her character, even though she has some very good moments throughout the film.
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| * What kind of nickname is "Gooper" anyway? * |
Jack Carson is yet another cast member who was totally new to me, even though he had acted in 90 films by the time Cat on a Hot Tin Roof was released. Since I'd never seen him in anything, I didn't have any preconceived notions about Carson as an actor and he really surprised me. Gooper, as the older brother, should have had the family business handed to him, but has spent his life being compared to Brick and falling short for his parents' attention and support. Gooper is a good, kind man who only wants what's best for the family and it's burgeoning company. Of course, maybe he's not that good. If Maggie's correct, Gooper will simply cut Brick out of the company if he takes over. Carson's performance and the writing allow the character to go both ways, but I'd like to think Gooper is on the good side of things. Carson is charming and funny in his own peculiar way but carries heavy, emotional scenes just as well. There's a scene near the end where his performance had me near tears and the whole thing kind of snuck up on me. I think a lot of this has to do with Carson's work as Gooper - he is sneakily effective. He's never overly showy or dramatic, but instead just lets the character shine through. It's some very nice work, for sure.
Considering the film is an adaptation of a stage play, it's not surprising to find that Cat on a Hot Tin Roof isn't a very cinematic film. For the most part, the action takes place indoors, in Big Daddy's huge house, but only three or four rooms are used. There aren't any flashy camera tricks or editing techniques, either. Richard Brooks, as a director, seemed to understand the most important aspects of this film were the writing and performances, and he stepped back and allowed them to shine. If Brooks had wanted to put his own spin on the film, it might have backfired, so I'm glad he knew how to use restraint. His work paid off, too, as Cat on a Hot Tin Roof earned him an Oscar nomination for Best Director.
That's not to say Cat on a Hot Tin Roof isn't an interesting film to look at. A great aspect is the gorgeous costume and set design. Since the characters are all wealthy, they are all decked out in beautiful clothes and surrounded by wonderful pieces of furniture in a glorious mansion. There's a scene in the basement with Big Daddy and Brick where they are practically overtaken by antiques and rugs and works of art. I think I could watch the film again and only pay attention to the background details and be almost as entertained as I was while watching the narrative unfold.
The cinematography work by William Daniels - an Oscar winner who had a long career and was equally adept at shooting in black and white and color - is understated, but effective, a lot like Cat on a Hot Tin Roof's direction, now that I think of it. There are some wonderful shots, but when the film you're shooting stars two beauties like Taylor and Newman, those shots are probably going to be overlooked. While watching the film, I couldn't take my eyes off the stars, but while looking back at some stills, I became very impressed with the shot composition and lighting. I especially liked the way Daniels used shadows to help create a mood. Daniels was nominated for Oscar for Best Color Cinematography for Cat on a Hot Tin Roof but lost out to Gigi, the much flashier musical that won nine Oscars that year.
Here are some of my favorite shots, showing off the costumes, set design, and/or cinematography:
The music, what little there is, is one of the only failings of Cat on a Hot Tin Roof. Since there was a union musicians strike going on at the time, the film wasn't able to get its own personalized score and instead had to use bits of pre-existing music. This in of itself isn't a bad thing, but the way the music was used is what bothered me. For the vast majority of the film, there is no background music at all. When there is music, it swells melodramatically to underscore an emotional moment in the narrative. Very few things irk me as much as cheesy, over the top, unsubtle music. It's especially noticeable in Cat on a Hot Tin Roof as the music kicks in right at the emotional part, as if the audience wouldn't know to be moved by what's onscreen without a forceful nudging from the soundtrack. The music doesn't last long enough to be overbearing, but it's rather obviously manipulative. Honestly, I would have preferred no music to what was actually used.
When I watch a film, I'm much more concerned with the writing - including plot, characters, and dialogue - and the acting performances than with any of the other more technical aspects of filmmaking, so a film like Cat on a Hot Tin Roof is right up my alley. There are no fistfights or explosions, but it's still an exciting film. There's no nudity or sex, but it's still an unbelievably sexy film. And there's nothing otherworldly, exotic, or magical, but it's still a captivating, intriguing film that I hope to return to several more times.
Today, I rarely hear or read anything about it, which is a shame. I think if more people gave it a chance, they'd really enjoy it as I have.
I wish someone would have urged me to check it out sooner.
Consider yourself urged.
