The Fugitive Kind

There's both a shimmer of greatness and an eye-rolling pomposity to the dialogue, almost simultaneously; all leading up to an incredibly unsuccessful finale. The performances pull it through with the obvious standouts being the two most powerful forces of acting in all of film history - Anna Magnani & Marlon Brando.

Very clearly the work of Tennessee Williams, this slow burn film might be a bit too on the slow side at times, but that slowness really imparts the inevitable explosion into violence of the ending with an extra punch it might not otherwise have. Brando's calm, measured performance, like the film itself, really makes the parts where he explodes stand out. These choices lead to parts where the film feels like it's dragging a bit, though, so while it's a good film, it's not quite great.

This Tennessee Williams stuff just isn’t for me really

Tennessee Williams' plays are almost instantly recognizable with their downtrodden characters in the deep South dealing with their own demons. Lumet's depiction reinforces these ideas with shadowed faces and a supremely dirty town for these characters to inhabit. Brando is quite spectacular with those sad eyes and his subdued speech. A lonely movie about lonely people

There is not one likable character to be found in this overdramatic Tennessee Williams creation filled with hopelessness, lust, and hate.

Intense and moody performances in this steamy southern drama.

No one saw the movie in 1959. It received no Oscar nominations. It squandered a fortune. Nevertheless it may be one of the most interesting Tennessee Williams filmizations.

Uneven but generally well-done version of problematic source material is full of highs and lows; Brando seems occasionally ill at ease with his enigmatic character (and characterisation) and Woodward is a borderline overwrought embarassment. However Magnani is magnificent as the desperate older woman, and Lumet's skill behind the camera does much to patch up the problems inherent to the play, chiefly too many characters and therefore a lack of central focus.

Brando is pretty good, and Lumet makes the most of the inherent staginess, but it's hard to ignore how much of a ludicrous melodrama it is. It's more over-the-top than a soap opera, and it's not helped by Magnani's incomprehensible line-readings and Woodward's ridiculous jack-in-the-box flailing and self-consciously broad enunciating. It had some great moments, especially some of the long theatrical conversations, but overall it really wasn't my cup of tea.

67.000

Slowly broke my heart. I loved the dialogue, didn't think it felt overdone at all. I expected things would turn out bad in the end, but what happened shocked me more than I would have imagined. For a film of this age to have this much emotional impact on me really speaks to the powerful performances.

Well-paced, interesting story with superb performances from all involved.

not bad.

Not one of the best by Tennessee Williams, a lot of overwritten speeches and blatant metaphors. The core cast are all very good, and Stapleton is wonderful in her small role. The characters are the usual bunch of wild cards and frustrated souls, and the drama involves some pretty heady subject matter. Lumet's direction is strong too, with some wonderful camerawork and staging. It's just the dialogue that stinks. Still, worth seeing for the performances and Brando fans shouldn't be disappointed.

65.375

Tennessee Williams is only ever sultry melodrama and liberal hyperbole, plodding in tone, pathetic when it finally touches down.

Marlon Brando and Anna Magnani. Universe remains intact. Scientists baffled.