DID YOU READ

Remembering Elizabeth Taylor: “Cat on a Hot Tin Roof”

Remembering Elizabeth Taylor: “Cat on a Hot Tin Roof” (photo)

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The “Cat on a Hot Tin Roof” of the silver screen is a neutered one. The characters, scenario, and rough plot of this 1958 film are all identical to the 1955 Tennessee Williams play it is based on, but many of the finer details have been smudged, obscured, or removed altogether because of the restrictions of the Motion Picture Production Code of the time. Thus, the “Cat on a Hot Tin Roof” we can watch today (it’s currently available on Netflix Watch Instantly) starring Paul Newman, Burl Ives, and Elizabeth Taylor at the absolute apex of her beauty, is certainly not the one Williams’ would have preferred we watch. But while the omissions and changes make “Cat on a Hot Tin Roof” a less authentic reflection of the author’s vision, they also make it a more authentic reflection of the author’s times and that, in turn, gives the film a kind of an unusual power. You know the expression “a love that dare not speak its name.” This film works so hard not to speak its name, that it reveals it anyway through the desperateness of its evasions.

Let’s begin with Taylor herself, who deserves a good deal of the credit for the film’s success despite the fact that her role is supplementary to the ones played by Newman and Ives. She plays “Maggie the Cat” of the title, a woman who came from nothing to marry Newman’s Brick, the favored but disillusioned and alcoholic son of an extremely wealthy Southern family. Brick and Maggie have travelled to his family’s plantation on the eve of his father Big Daddy’s (Ives) 65th birthday, fearfully awaiting the test results from his trip to a clinic. Even after Big Daddy returns home with a clean bill of health, Brick, who’s broken his foot in a drunken attempt to recreate his past athletic glories, refuses to participate in the birthday party. Maggie, worried that Brick’s greedy brother Gooper (Jack Carson) will steal their inheritance, desperately tries to coax him from boozy stupor, but Brick rejects all her entreaties.

I don’t think it is an understatement to say that Taylor in “Cat on a Hot Tin Roof” is one of the most stunningly beautiful women ever photographed by a movie camera. A few scenes into the film, she peels off her already sexy outfit and saunters around in a cleavage-bearing white slip. The only word my vocabulary contains to accurately describe the sight of Taylor in this ensemble is one I learned from Tex Avery cartoons: “AwOOOOOOga.” Men throughout history have fought wars just for a glimpse of a woman like this but Brick barely notices her. Which is how we immediately know there is more to his depression than frustration over his bum foot. It’s how we also know, despite the screenplay’s frantic attempts to suggest to the contrary, that Brick is — or has at least contemplated life as — a homosexual.

This is the material from Williams’ play that the Production Code could not abide. As Big Daddy eventually confronts his wayward son about his drinking and his depression, the truth — or rather a truth — comes out. Brick recently lost a friend named Skipper, and that loss has, for some reason, sent Brick into his drunken tailspin. But why? Brick seems more emotionally invested in Skipper’s death than anyone would be for a simple friend, even a good one. Williams’ play never fully detailed the extent of Skipper and Brick’s relationship, but it strongly hinted at homosexuality on the part of one, or perhaps both. The film version is scrubbed clean of any direct references, but there some rather obvious allusions, always in lines of dialogue that are quickly silenced, like this evocative exchange between Brick and Big Daddy:

Brick: Skipper and I were friends. Can you understand that?

Big Daddy: Gooper and Mae said that Skipper —

Brick: Skipper is the only thing that I’ve got left to believe in. And you are draggin’ it through the gutter!

Big Daddy: Now just a minute!

Brick: You are making it shameful and filthy, you!

Censorship demanded many more changes to “Cat on a Hot Tin Roof”‘s text and subtext, particularly to its ending. But whether intentionally or not, the changes to Williams’ play by screenwriters James Poe and Richard Brooks (who also directed the film), turn “Cat” into an example of the exact thing that Brick rails against in his drunken argument with Big Daddy: mendacity. He drinks, he claims, to numb himself to the lies and liars of the world around him. It might have been nice to have all of the play’s original homosexual content transferred to the film. But the reality of 1958 America was not a kind one to gay men and women, who often had to live unhappy heterosexual lives against their will. Hiding Brick’s truth, relegating it to innuendos and entendres, reflects the sad world Brick lived in. In some ways, it makes it even sadder.

Though Taylor doesn’t provide the film’s best performance — that would be Ives’ in my opinion, as the boisterous, menacing, charming, obsessive, and extraordinarily complex Big Daddy — she more than earns her Academy Award nomination in the role (she ultimately lost to Susan Hayward for “I Want to Live!”). Even as its treatment of Brick’s possibly homosexuality date the film to the conservative 1950s, its treatment of Maggie belongs to a later, freer era. Or maybe an earlier one; in many ways, Taylor reminds me here of her character in 1944’s “National Velvet.” Once again, Taylor plays a self-made woman, willful and determined to carve out a place for herself over the objections of skeptical men. After watching just a few of her starring roles, it’s quickly becoming very easy to see what generations of American women saw in her (my grandmother was a huge fan). She was simultaneously strong and feminine during a time when those words were too often considered mutually exclusive.

Those words certainly describe Maggie in “Cat on a Hot Tin Roof.” But while the film’s title suggests Maggie as some sort prowling beast, the movie ultimately shows Maggie’s sexuality in a positive light. Note the way Maggie is always dressed in white, even while wearing some of the luckiest lingerie in movie history. Notice too how often Brooks lights her more brightly than her co-stars, particularly during the climactic scenes between Big Daddy and the rest of the family, where Maggie who provides the potential olive branch that will help repair Brick and Big Daddy’s broken relationship. Maggie isn’t a predator; she is a beacon and a healer, for Brick and for the entire family. Her ultimate effect on her husband may not be a realistic solution to Brick’s emotional turmoil, but in a mendacious film about mendacious times, it feels like a hopeful one.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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