There were quite a few reasons for wanting to see 'The Fugitive Kind'. Have much appreciation and even love for Tennessee Williams, one of the great playwrights of the twentieth century, and there are some good and more film adaptations of his work (do think it lends itself better to stage or made for television). The cast is full of talented performers, especially love Marlon Brando. And it was directed by Sidney Lumet, a great director.
Found 'The Fugitive Kind' to be an interesting film. Not great but was actually led to believe that it wasn't even good, but it was better than expected and has a good deal to admire, especially the performances. There are far better film adaptations of Williams' work, have said more than once about considering 'A Streetcar Named Desire' being the definitive version and like the Paul Newman version of 'The Glass Menagerie' and 'Cat on a Hot Tin Roof' very much (although the latter is toned down from the play content-wise and thematically, the performances especially more than compensate for that). Consider it one of the lesser ones, 'Summer and Smoke' being a lesser one too, but a large part of the problem is the play, 'Orpheus Descending', itself which is very much lesser Williams.
Starting with what doesn't work, 'The Fugitive Kind' does have the same problems of the play, though it would in all fairness have been difficult to correct the problems. Although Williams is wordy, 'The Fugitive Kind' (and 'Orpheus Descending') is a case of it being particularly far too talky which bogs down the momentum quite a bit, so it does become a bit draining. Although there are moments thanks to the cast, the story doesn't always ignite, other Williams film adaptations and plays entertain, thought provoke and move much more and are bolder thematically.
Here, things do get over-heated and at times not always easy to follow, and the melodrama can get overdone. One example being the coda, that did have a tacked on feel to it as well. Joanne Woodward gives her absolute all and sears at her best, but her character is over-written and Woodward tries too hard in spots.
On the other hand, 'The Fugitive Kind' does look great, with one of the film's main attractions being that it is beautifully and atmospherically photographed without feeling like a filmed stage production. The bluesy score never intrudes in placement or mood and doesn't feel misplaced at all. Lumet is not at his best here, not like 'Network', '12 Angry Men' and 'Dog Day Afternoon' (nor is he at his worst, 'The Wiz' being among the biggest misfires for any great director), he does do nobly in opening up the play's drama and making the character interaction believable and he nails it on the visual front. There are some nice lines and some of the drama does have some fire while just about avoiding overdoing it.
Most of the above average rating goes to the cast, almost everybody giving immensely strong performances considering that the material is far from top Williams standard. Woodward is not always consistent but props have to go to her for making such a valiant effort in a problematic role. Anna Magnani is a big standout, with her touchingly vulnerable and also intensely fierce performance, while Victor Jory sends chills up the spine as Jabe. Brando is not at his best but he is always commanding and smolders in all the right places, and Maureen Stapleton brings a lot of heart to her character.
Summing up, not great but interesting. 6/10
Found 'The Fugitive Kind' to be an interesting film. Not great but was actually led to believe that it wasn't even good, but it was better than expected and has a good deal to admire, especially the performances. There are far better film adaptations of Williams' work, have said more than once about considering 'A Streetcar Named Desire' being the definitive version and like the Paul Newman version of 'The Glass Menagerie' and 'Cat on a Hot Tin Roof' very much (although the latter is toned down from the play content-wise and thematically, the performances especially more than compensate for that). Consider it one of the lesser ones, 'Summer and Smoke' being a lesser one too, but a large part of the problem is the play, 'Orpheus Descending', itself which is very much lesser Williams.
Starting with what doesn't work, 'The Fugitive Kind' does have the same problems of the play, though it would in all fairness have been difficult to correct the problems. Although Williams is wordy, 'The Fugitive Kind' (and 'Orpheus Descending') is a case of it being particularly far too talky which bogs down the momentum quite a bit, so it does become a bit draining. Although there are moments thanks to the cast, the story doesn't always ignite, other Williams film adaptations and plays entertain, thought provoke and move much more and are bolder thematically.
Here, things do get over-heated and at times not always easy to follow, and the melodrama can get overdone. One example being the coda, that did have a tacked on feel to it as well. Joanne Woodward gives her absolute all and sears at her best, but her character is over-written and Woodward tries too hard in spots.
On the other hand, 'The Fugitive Kind' does look great, with one of the film's main attractions being that it is beautifully and atmospherically photographed without feeling like a filmed stage production. The bluesy score never intrudes in placement or mood and doesn't feel misplaced at all. Lumet is not at his best here, not like 'Network', '12 Angry Men' and 'Dog Day Afternoon' (nor is he at his worst, 'The Wiz' being among the biggest misfires for any great director), he does do nobly in opening up the play's drama and making the character interaction believable and he nails it on the visual front. There are some nice lines and some of the drama does have some fire while just about avoiding overdoing it.
Most of the above average rating goes to the cast, almost everybody giving immensely strong performances considering that the material is far from top Williams standard. Woodward is not always consistent but props have to go to her for making such a valiant effort in a problematic role. Anna Magnani is a big standout, with her touchingly vulnerable and also intensely fierce performance, while Victor Jory sends chills up the spine as Jabe. Brando is not at his best but he is always commanding and smolders in all the right places, and Maureen Stapleton brings a lot of heart to her character.
Summing up, not great but interesting. 6/10