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Marlon Brando,
Anna Magnani,
Joanne Woodward,
more...
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Sidney Lumet
see all cast/crew...
: Not Rated
: Criterion
: Drama, Criterion Collection
: English
: English, French
see additional details...
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The Fugitive Kind (Criterion) (1960)
Fugitive Kind began life as Battle of Angels, a never-produced 1939 play by a young Tennessee Williams. Nearly 20 years later, Williams refined this rough-hewn theatrical effort into Orpheus Descending, which enjoyed a respectable Broadway run. The renamed film version stars Marlon Brando as Valentine "Snakeskin" Xavier, a trouble-prone drifter who wanders into a deliciously Williamsesque Mississippi town. Here he becomes involved in the problems of alcoholic Carole Cutrere (Joanne Woodward) and unhappily married Lady Torrence (Anna Magnani) and also runs afoul of Torrence's vicious husband (Victor Jory). Sexual symbolism abounds in this tempestuous drama, which offers Brando at his most inscrutable and Magnani at her earthiest. Maureen Stapleton, in real life one of Brando's best friends and severest critics, plays an avant-garde artist. ~ Hal Erickson, All Movie Guide
The Fugitive Kind (Criterion) (Bonus Disc) (1960)
Special Features:
- New video interview with Lumet
- Three Plays by Tennessee Williams, an hour-long television presentation of one-act plays, directed by Lumet in 1958, with Ben Gazarra and Lee Grant, among others
- New video program discussing the playwright's work in Hollywood and The Fugitive Kind
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| The Fugitive Kind (Criterion) (Bonus Disc) (1960) |
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| A Sedate Evening
by randomcha
May 27, 2006 - 6:44 AM PDT
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5 out of 5 members found this review helpful
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| ... that is, if an overheated, melodramatic Tennessee Williams concoction involving racism, bisexuality, and violence starring Marlon Brando, Anna Magnani and Joanne Woodward can be considered sedate. Despite the non-stop histronics and rampant unsubtle symbolism I actually liked it better than I would have thought. Definitely the most scathing treatment of racism I've ever seen in a Williams piece. Anna Magnani is the raison d'etre for this film; her scenes with Brando are electrifying and she puts over every line with shocking believablity, no matter how over-the-top the words are. Brando was awfully good too, every bit as good as in "A Streetcar Named Desire" (even though the material itself is not). Sidney Lumet's direction is restrained and thank god for that; the last thing the script needed was acrobatic camera moves or whiplash cutting. I mean, can you imagine Baz Luhrmann doing a remake of "Streetcar"? Best not to. Boris Kaufman's razor-sharp cinematography is 100% southern baroque, adding to the pungency. |
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