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Well now, what do we have here? It is nothing less than one of the best and sexiest southern fried dramas from the 1950’s. This adaptation of several works of William Faulkner is a tour de force for everyone enthusiastic. How lucky are we to have two large films on southern family life starring Paul Newman approach out in 1958? This film is a pretty companion part to “Cat On A Hot Tin Roof”, a bit more upbeat than “Cat” but tranquil chunky of sound and fury.
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As Ben Rapidly, Paul Newman ignites the conceal and fairly burns down half of Mississippi in the process with his wonderful magnetism. He brings to Hasty all he as to hold as an actor and creates one of his early memorable performances. Impartial gawk him as bare chested he hugs his pillow on the hot veranda while watching Joanne Woodward through a shroud door sitting up in her bed trying to ignore him, or his slip across the Varner yard early on in the film, his interactions with Orson Wells or Tony Franciosa. He is every move the “mean and dirty” barnburner everyone thinks he is. He is impartial what the Varner family and Clara Varner in particular need to feed their respective fever dreams brought on by the heat of this particular August in the south.
Hitting her marks in a expansive performance is Joanne Woodward. She being a legal daughter of the South comes to the table with and extra barrel loaded. As Clara Varner she is both needy and steely, a magnolia ready to be plucked but at that same time vexed that she will be passed over and left to wither on the vine. Her scene in the general store after closing time with Newman is unprejudiced about one of the steamiest cherish scenes ever filmed this
side of “Picnic”. Miss Woodward here in this film is pure magic to recognize and in combination with Paul Newman the pair become an alchemy of fireworks and lightning bugs on a summers night.
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Adding to the comely cast is Lee Remick, Tony Franciosa, the unbelievable Angela Lansbury and the equally and always impressive Orson Wells. I would go on about each of them but I reflect it best to let them surprise you. That’s half the fun of the film.
The derive by Alex North is memorable and one of his best. The cinematography by Joseph LeShelle captures the hazy heat of Mississippi. And Martin Ritt’s direction of all parties concerned is perfectly on target. Be clear to check some of his other collaborations with Newman, “Paris Blues”, “Hud” to mention only two.
Pour yourself a enormous sweet tea, kick off your shoes and initiate the veranda doors and let the chase of this long hot summer envelope you.
If it ain’t broke, don’t fix it. The TV-movie version of “The Long, Hot Summer” suffers from miscasting (Judith Ivey was passable, but unprejudiced, and I can’t determine if Don Johnson’s attempt to contain Paul Newman’s shoes represents touching bravery or misguided arrogance), abominable accents, and jarring anachronisms.
This film, the 1958 recent, leaves it in the dust. Newman and Woodward generate palpable heat, and Orson Welles–clammy, jowly, bullfrog-voiced, crudely vigorous–is unforgettable as a classically bullying, overbearing Southern patriarch. In dissimilarity to the pallid TV remake, it features a top cast whose work transcends the sometimes creaky melodrama of the spot. Nearly every white Southern archetype is brought to life: the brutish, domineering, castrating patriarch; the arch, charming, coyly seductive belle with hot pants; the aging good-time girl, simultaneously randy and prim, with her peruse on the prize of a rich widower; the hotheaded but extinct son and heir, goaded to jealousy by his seductive, flirtatious wife and utterly dominated by his father, whom he both adores and despises; the sharp-tongued worn maid, smoldering with repressed fire, who fair needs a “exact man” to occupy the spot of her suspiciously lukewarm long-term suitor; and, of course, the sportive, charming, sexy, potentially risky outsider, spiritual heir to Rhett Butler, who gets both the community and the heroine in a lather. There’s even a lynch mob–chasing a white man, for a change.
Skip the TV-movie remake, which at best is a clunky imitation, in favor of the classic–if for no other reason than to perceive Paul Newman, at the peak of his beauty, in an undershirt. If that’s not inducement enough, it’s also marvelously cast, scripted, acted, and directed, and it captures Southern family dynamics with humor, pathos, and wince-inducing accuracy. Florence King would be proud.
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Add comment December 4th, 2009