Director:
Richard BrooksCámara:
William H. DanielsMúsica:
Charles WolcottReparto:
Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, Judith Anderson, Madeleine Sherwood, Larry Gates, Vaughn Taylor, Hugh Corcoran (más)Sinopsis(1)
Un autoritario terrateniente reúne a su familia para celebrar su cumpleaños tras un reconocimiento médico. En ese momento afloran los problemas y la tensión se hace insoportable. Probablemente una de las obras más famosas de Tennessee Williams que tuvo un gran éxito en España. El autor no estuvo conforme con el resultado de la película y recomendó al público que no fuera a verla. (Movistar+)
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Reseñas (6)
Cat on a Hot Tin Roof is a masterclass in turning a stage play into a cinematic triumph. It’s a sharp, emotional rollercoaster powered by the incredible performances of Elizabeth Taylor and Paul Newman. The film excels in those tense moments when a seemingly dysfunctional family lays bare their truths. One character speaks, another listens, yet the speaker remains unaware of being heard. It's pure brilliance. For a film from 1958, it's remarkably mature and timeless. This gem will continue to resonate for generations to come.
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I am reviewing Richard Brooks' film many years later, but even today I clearly remember most of the scenes and polished dialogues. The drama about crumbling family relationships and the pretense that must be played in the name of traditional conservative values of the Southern environment is built on the excellent acting of the central duo. Especially for Elizabeth Taylor, as it was her best performance on the movie screen, alongside the film Who's Afraid of Virginia Woolf? The film does not deny its theatrical roots, but Tennessee Williams is one of the best authors, making it an advantage. Overall impression: 95%.
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I searched my memory in vain for when I last saw such functional yet perfectly non-violent morality. And yet, when I looked into the unfolding story of the seemingly vain Elizabeth Taylor and the inexplicably worn-out Paul Newman, I surely did not expect the final emotional appeal to the viewer in the form of "It is important to be able to believe in family and genuinely love each other." In this film, there are surprisingly many unpredictable things, and even though it actually only consists of long dialogue with changing actors and alternating attention on the main characters, I had no hope of tearing my eyes from the screen. Thanks to Burl Ives's charisma and the drunken fervor in Newman's eyes, this brilliantly developed plot earned points on all fronts.
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If there was a ranking of films that only needed dialogue between a few characters and dreamlike performances to be perfect, this undying gem would probably be at the top. I'm sure that four years ago I would have had a hard time going through a whole 100 minutes of a captivating Newman, a charming Taylor and a sweaty Ives, but today, on the verge of adulthood, I can say that I had one of the most brilliant and smart experiences of my short career as a viewer. And I wonder what will happen when I watch this twenty years from now in the company of a childless wife with a glass of brandy at hand. It would be something that the star rating here has never seen. :)) 100%
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I was no stranger to Williams' whirlwind dialogue from the first time I saw the play in theaters, but the tight direction and engaging actors managed to make my knees buckle anyway. To elevate more than a hundred minutes of family dialogue in one house into a full-fledged cinematic fresco takes a serious piece of genius. Richard Brooks had it.
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