The Fugitive Kind (1960) ***1/2
I've seen six films based on plays and/or written by Tennessee Williams by five different directors, and yet they all bear Williams' stamp. In the 1950s and 60s his tragic southern gothic melodramas attracted incredibly talented filmmakers who translated his works to the silver screen with flourish.
The previous (and first) time that I watched Sidney Lumet's The Fugitive Kind (1960) was just five days after the director's death in 2011. I remember liking the film but finding it slow and a bit long. Orpheus Descending (1957), originally written in 1940 as Battle Of Angels, is the Williams play that served as the inspiration for Lumet's film. The play was a flop in both versions when they originally ran. In addition, Lumet's film was no great box office or critical success either, especially considering it was the first time that an actor (Marlon Brando) was ever paid a million dollars for a movie role.
One thing that grabbed my attention more this time around is Boris Kaufman's expressive black & white cinematography, which perfectly compliments the heightened emotions of the characters. Kaufman collaborated on seven Lumet films and another top notch Williams adaptation, Elia Kazan's Baby Doll (1956).
TFK is overall a very quiet and subdued film, a true slow burner. Brando and Magnani famously clashed off camera (as did Brando and costar Joanne Woodward) but their awkward chemistry works for the most part. They certainly both give excellent performances. I still can't quite say I love this film but I appreciate it more on this second viewing. If anything (and I can't believe I didn't notice this the first time), I now know where Barry Gifford and Nicolas Cage pulled wardrobe inspiration from for the latter's portrayal of Sailor Ripley in David Lynch's Wild At Heart (1990) (my review here).
You can find my Sidney Lumet Feature Films Ranked list here.
You can find my Tennessee Williams Feature Film Adaptations Ranked list here.
The previous (and first) time that I watched Sidney Lumet's The Fugitive Kind (1960) was just five days after the director's death in 2011. I remember liking the film but finding it slow and a bit long. Orpheus Descending (1957), originally written in 1940 as Battle Of Angels, is the Williams play that served as the inspiration for Lumet's film. The play was a flop in both versions when they originally ran. In addition, Lumet's film was no great box office or critical success either, especially considering it was the first time that an actor (Marlon Brando) was ever paid a million dollars for a movie role.
One thing that grabbed my attention more this time around is Boris Kaufman's expressive black & white cinematography, which perfectly compliments the heightened emotions of the characters. Kaufman collaborated on seven Lumet films and another top notch Williams adaptation, Elia Kazan's Baby Doll (1956).
TFK is overall a very quiet and subdued film, a true slow burner. Brando and Magnani famously clashed off camera (as did Brando and costar Joanne Woodward) but their awkward chemistry works for the most part. They certainly both give excellent performances. I still can't quite say I love this film but I appreciate it more on this second viewing. If anything (and I can't believe I didn't notice this the first time), I now know where Barry Gifford and Nicolas Cage pulled wardrobe inspiration from for the latter's portrayal of Sailor Ripley in David Lynch's Wild At Heart (1990) (my review here).
You can find my Sidney Lumet Feature Films Ranked list here.
You can find my Tennessee Williams Feature Film Adaptations Ranked list here.
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