Everyday people hear the phrase, “Times have changed.” What was once acceptably to talk about out loud with friends or family in 1958 was a closeted discussion. There were subject matters that were stuffed and compartmentalize for decades. It was difficult to know who to trust and who would gossip. The film industry was slow to recognize that not everyone loves the same way. The studio execs didn’t believe the public could handle the truth displayed across a giant screen. Novelists and play writers disagreed. They were ahead of the times. Thank goodness for their courage and honesty.
When I was a teacher, back in the 70’s, 80’s, and on into the new century, my theatre was a place of refuge for many who could not be their true selves anywhere else. The stage was a safe place since new characters were being created on a daily basis. My facility was a magnet and a home for those who struggled to say the words out loud. I would often find myself in deep conversations with young, struggling students on topics unthinkable to discuss with their own parents. I encouraged them to be open with their families, just as I would tell many a parent to just listen to their child. It was a constant burden for some. I had students who didn’t come out for years. I always felt such empathy and caring for their internal struggle and strain. Yes, I realize there were many who would never accept or hear these intimate thoughts with acceptance. What a loss.
I was a most unique kind of teacher. For me it about your talent, your willingness to learn and grow. It was about your spirit and soul. It was more important to me if the young people who stepped on my stage were sincere, kind, patient, hard-working, and loving. It was imperative for all to find joy and laugh heartily every day. The theatre was a place where no questions were asked and second chances were offered unconditionally. My doors offered a place of peaceful co-existence and where imaginations could soar. I am proud of this. I feel sad for anyone who was never allowed a reprieve or a gentle pause along their journeys.
Tennessee Williams was an honest author of those times who wrote a Broadway hit play that ran for over 600 performances. It delved into the forbidden subject of homosexuality. A man, whilemarried to a woman he didn’t love, (hiding true feelings for another man) grapples with his guilt, demons, and acceptance of his true identity. It was about the wife’s unrequited love. It brought out yearning, confusion, and holding unto secrets so no one could recognize the disgust and pain hiding in plain sight. It was lying to your family, friends, and anyone you meet, until you couldn’t anymore. It was a powerful play that was destined to become a movie. If only the studio had the balls to create it as it was written. Alas, it was not, but this does not diminish the strength and unspoken intent CAT ON A TIN ROOF had on the public when it premiered and subsequently nominated (no wins) for six Oscars including Best Picture, Actor, Actress, Director, Writer, and Cinematography.
COAHTR starred Paul Newnan as Brick (THE HUSTLER, BUTCH CASSIDY AND THE SUNDANCE KID) and Elizabeth Taylor (WHO’S AFRAID OF VIRGINIA WOLFE?) as Maggie. Sizzling chemistry exploded in every frame between the gorgeous, stunning Taylor and the perfectly chiseled, hunky, face of Newman. It was a battle between those beautiful, baby blues, and the deep, spectacular, violet eyes. It was filmed in color even though it was meant to be black and white. The director, Richard Brooks, (IN COLD BLOOD, ELMER GANTRY) would not deny the fans seeing their mesmerizing beauty in technicolor. Brick and Maggie’s verbal battles were spellbinding. Their attacks and reactions felt like a rapier sword fight. Every perry and repost was spoken with lightning speed. Newman’s understated performance was brilliant as was Taylor’s fiery attacks. They were a match made during Hollywood’s Golden Era, and could never be reproduced in all its genius acting glory. It is a masterclass in session when watching. Bravo.
Burl Ives (THE BIG COUNTRY) played Big Daddy. His name was repeated 104 times from start to finish. He was a popular folk singer going into this film and ended up achieving a long movie career after. He portrayed a larger- than-life character that was at the crux of Brick’s messy childhood. Their scene together in the basement of that Southern plantation was phenomenal with a tearful, emotional breakdown from Newman. My heart ached for both of them and all the love they missed out on for years. It was a testament to what happens in too many homes. Ives projected a powerhouse on that screen.
The ensemble of supporting actors were amazing as well which included Jack Carson, Judith Anderson, and Madeline Sherwood. Each actor knocked my socks off with their incredible characterizations of a family sinking in the mire of greed, avarice, and lies. It was a lesson of how not to behave at Big Daddy’s birthday party.
The intensity of the thunderstorm added to the tension of every scene. The downpours, the lightning and loud thunder made me jumpy and on edge as it was all intended to do. Great camerawork to be sure as Taylor and Newman were drenched and overcome with emotions.
Willians’ is a true wordsmith. The idea of hearing those “clicks” in our heads when wanting to find the peace we all so desperately desire was sheer artistry. “You can be young without money, but not when you are old” was a bulls eye moment, as was the constant repition of the word “mundacity.” Its message is stuck in my brain not fading away anytime soon. “A family crises brings out the worst in some and the best in others” is simply the honest truth. “I’ve got the guts to die, do you?” Oh, Tennessee, I have no comeback to offer.
CAT ON A HOT TIN ROOF refers to Maggie being stuck in the middle of too many relationships that makes it impossible to control especially when everyone is walking around on eggshells afraid to scream the truths. It is an enormous, dramatic, classic tale that pushes the buttons on alcohol abuse, defining love, coming to grips with your own mortality, and unspoken homosexuality. At one fleeting moment during the film, Maggie asks Brick an important question. “When is it a victory for a cat on a roof?” Brick replies, “Just stand-up and walk away.” Not everyone can, but I am hopeful this month is filled with PRIDE.
CAT ON A HOT TIN ROOF is available on TCM.
