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Bezig met laden... Suddenly, Last Summer [1959 film]door Joseph L. Mankiewicz (Director), Gore Vidal (Screenwriter), Tennesse Williams (Original play)
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...the film initially captured divisive reviews during its time because of its themes of insanity, cannibalism and homosexuality but as those have neutralized over the course of time, its appraisal remains critically mixed though with the criticisms towards commonly being judged at having suffered of being stretched out to feature length and having its content toned down from that of the play. Nonetheless, it does have its strengths as Mankiewicz creates an engrossing gothic thriller bringing out capricious atmospheric tones that’s anchored with a superb cast and first-rate performances by Taylor, Hepburn and Clift in this psychodramatic mystery delirium paradigm. There's no doubt that a great deal of the feeling of dank corruption that ran through the play has been lost or pitifully diluted by a tactful screening of the words. And certainly what should be thoroughly shocking in the flash-back scenes of the focal character's death is only confusing and baffling, because you can't really see what's happening, and the lady who is describing the occasion is much less vivid and exact than she could be.But, in this viewer's estimation, the main trouble with this picture is that an idea that is good for not much more than a blackout is stretched to exhausting length and, for all its fine cast and big direction, it is badly, pretentiously played.In structure, as well as in content, the drama is a simple mystery, a psychological whodunit—or howdunit, to be exact....Mr. Williams and Gore Vidal, who helped him prepare his play for the screen, have indulged in sheer verbal melodramatics which have small effect on the screen and are barely elevated from tedium by some incidental scenes of inmates of a mental institution....Joseph L. Mankiewicz' direction is strained and sluggish, as is, indeed, the whole conceit of the drama. It should have been left to the off-Broadway stage. Perversion and greed, Tennessee Williams’ recurrent themes, are worked over again in Suddenly Last Summer. The play was concerned with homosexuality and cannibalism. The cannibalism has been dropped, or muted, in the film version. It has some very effective moments, but on the whole it fails to move.... Although Joseph L. Mankiewiez’ direction is inventive in giving the essentially static narrative some movement and rhythm, it must be faulted for blunting Taylor’s final scene so it fails to match Hepburn’s opening monolog. (The play was actually only two monologs of almost equal power and length.) Is een bewerking van
Beautiful Catherine Holly is committed to a mental institution after witnessing the horrible death of her cousin at the hands of cannibals. Her rich aunt tries to influence a young neurosurgeon to surgically end Catherine's haunting hallucinations. By utilizing injections of truth serum, the neurosurgeon discovers that Catherine's delusions are in fact true and must confront the rich aunt about her own involvement in her son's violent death. Geen bibliotheekbeschrijvingen gevonden. |
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 Google Books — Bezig met laden...GenresGeen genres Dewey Decimale Classificatie (DDC)791.43The arts Recreational and performing arts Public performances Film, Radio, and Television FilmLC-classificatieWaarderingGemiddelde: (3.95)
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Le film de Manikiewicz reflète bien une époque qui, dans l'histoire de la psychiatrie, oscillait entre la tentation de développer de nouveaux procédés pour traiter les maladies mentales (ici à travers les fameuses lobotomies) et les traitements fondés sur la libération de la parole, d'ordre plus psychanalytique.
Le thème de la folie se double d'une histoire de manipulation orchestrée par une veuve extrêmement riche et mystérieuse qui a également perdu son fils, avec lequel elle semblait entretenir une relation fusionnelle. Elle est prête à verser une somme d'argent conséquente à l'hôpital -qui manque cruellement de moyens- si un chirurgien prometteur et reconnu pour ses lobotomies acceptait d'opérer rapidement sa nièce qui semble avoir sombré dans la folie depuis la mort de son fils.
Le chirurgien, qui comprend lors de sa première entrevue avec la jeune femme, qu'elle n'est pas folle mais qu'elle souffre visiblement d'un traumatisme important, mettra tout en œuvre pour raviver ses souvenirs et la forcer à relater la scène traumatique.
Névrose familiale, refoulement sexuel et prédominance des questions d'argent : les ressorts qui sous-tendent l'histoire sont assez classiques mais les éléments qui composent cette dernière le sont moins. La scène traumatique, heureusement filmée à distance et plus suggérée que montrée, est d'une effrayante cruauté. (