Cat on a Hot Tin Roof (1958) - Drama

Hohum Score

5

Breathtaking

Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.

IMDB: 8
Director: Richard Brooks
Stars: Elizabeth Taylor, Paul Newman
Length: 108 Minutes
PG Rating: N/A
Reviews: 21 out of 172 found boring (12.2%)

One-line Reviews (77)

This is tepid and bland, with uninspired direction, and would make anyone wonder why this Tennessee Williams play is considered to be such a classic.

Yawn.

Burl Ives in particular gives a compelling and memorable performance as Big Daddy.

Hopefully, he was grateful for the casting of Ives and Taylor because they both deliver their lines with great intensity and conviction, redeeming what otherwise might have been a dreary affair.

The situations were bland to me.

Pitched about 10 decibels too high so that the audience can confuse loud talk with superior acting, the result is more annoying than thought-provoking or even, perish the thought, entertaining.

" Natasha thought "Guys might get bored".

Some of the highlights are just as wordy but thoroughly enjoyable rather than tedious (especially Maggie's story about Mae's reign as Cotton Carnival Queen and the entire scene in the basement).

Whilst they often chalked up respectable city seasons, they usually died in the suburbs and ended up playing to empty houses in rural areas.

Toned-Down Version of a Classic which Still Proves Riveting .

They were both absolutely breathtaking in it.

This is by far one of the most intense and well acted movies I have seen.

Yet even so, I found it to be it rather entertaining despite these weaknesses and I have rated it accordingly.

1958 was the year that saw the sudden, and unexpected, emergence of Burl Ives, previously better known as a country singer, as a film star.

As Intense as It Gets .

but the movie is still very exciting and a great watch.

The movie doesn't take too much time to draw the viewer in, thanks to a fabulously shot long opening scene which has at display the acting prowess of Newman and Taylor along with a continuous piano instrumental in the background which makes the conversation all the more interesting and intriguing.

Newman lounges about on one crutch, drink in hand, looking bored and disinterested; he was far more effective in The Long Hot Summer (1959) and Hud (1963) both directed by Martin Ritt.

Taylor is at least competent and her numinous beauty is stunning too.

Plain boring.

It's very engrossing.

And the film's rather simple story is certainly compelling enough so as not to be overwhelmed by the Ives tour de force near the end.

It is also very gripping and intense, like the play.

The involved situation of family conflicts and lies is interesting from the start, and it becomes more engrossing as things develop.

An emotionally crippled, "thirty-year-old boy," he refuses to face responsibility and truth, preferring to drown his memories in liquor…Newman and Taylor enact striking contrasts in temperament: she is fiery, loud, animated, sensual; he is cold, quiet, immobile, dispassionate… Brick and Maggie haven't been sleeping together, and she wants him desperately, but he keeps rejecting her advances… As she talks, he replies with sarcasm, contempt and mostly indifference, speaking in a dreamy, monotonous manner, as if only half-there… In conversations with her, as with Big Daddy (Burl Ives), he stares into space, or walks away (usually toward the liquor supply), turning his back on the other party and forcing the dialog to take place on separate planes… All of this places him in a private world, where he hides his torment and anxiety beneath a mask of detachment…If Newman is best at enacting Brick's unspoken thoughts and emotions, he's also effective in the more spirited moments, as when he screams at Maggie or Big Daddy, to prevent them from getting at the truth he wants kept buried… But exactly what the "truth" is remains unclear… In the play, Brick's fear of admitting a homosexual attachment led indirectly to his friend's death and explained his overall moodiness and passivity… But because of Hollywood's moral code, director-scriptwriter Richard Brooks had to eliminate this, and the character's motivations are considerably weakened… His hostility toward Maggie—understandable in the play—is especially confusing because it results from events that are unconvincingly outlined…With the homosexuality cut out, Brick's dependence upon his friend is now explained by the failure of Big Daddy to provide strength and love, and this changed emphasis does make for exciting drama… The film's key scene—not in the play—is one in which Brick confronts his father with this painful truth… As they sit in a cellar disarranged with the old man's useless antiques, he tells Big Daddy that love cannot be bought… Newman moves powerfully from anguished looks to an eruption of emotion, smashing everything in sight, finally breaking down and crying: "All I wanted was a father, not a boss ...

I was also put off by the contrived thunder claps at dramatic moments.

Taylor is charming and tragic in her sexually repressed role as Maggie the Cat, while Paul Newman's troubled soul hiding a dark secret as Brick is very compelling.

Just stunning.

Newman and Taylor fade into the background, and the movie becomes the story of Ives' Big Daddy, who gives a fascinating, bellicose performance as a dying patriarch, desperately in need of a worthy heir to carry on his legacy.

Vivid dialogue, perfect casting, compelling storyline....

The arrangement of the actors, the set design and lighting are stage bound, and up close the play seems overcooked, mechanical, tedious and hollow and not as much fun as Lillian Hellman's The Little Foxes, a similar family of monsters drama.

However, in today's bland movie culture, I suppose young people are impressed by this.

The bowdlerized and contorted attempt to substitute for Skipper's homosexuality and Brick's sexual confusion spoils the most intense moments of the play.

Obviously, with two beautiful people in the lead roles, this movie is enjoyable to watch, and the tension between them sparks off the screen.

Even if Cat on a Hot Tin Roof starts slow, the increasing amount of twists and reveals makes for an entertaining movie.

Liz Taylor's performance is breathtaking and Paul Newman is so raw.

Jack Carson (Cooper Pollitt) is pretty boring as greedy and deceptive older brother.

It is a fabulous play, constantly entertaining and witty.

The dialogue is so compelling and real, a trait that is common for Tennessee Wiliams's plays.

Taylor is stunning, as usual- how could Newman resist her whilst she hungrily follows him around their room in that white slip?

Very fine adaptation of the Tennessee Williams play that is both literate and entertaining.

Paul Newman captures the intense depression of Brick really well.

Director Richard Brooks does a fine job in keeping the movie always fascinating; it never feels constrained despite being based on a stage play.

liz taylor in my opinion is very bland and a one dimension actress.....

His wife is Elizabeth Taylor, Maggie the Cat, who is stunning, of course.

By the standards of the 1950s, this movie is visually creative and stunning.

If anybody wonders why I no longer bother with most modern movies and their two-dimensional acting in 3D, propped-up by a shed-load of boring pyrotechnics and seen-them-all-before special effects.

Breathtaking acting .

My latest estimate: Boring.

The acting was so exceptional, fast paced, and authentic.

The dialogue is riveting, and the portrayed family dynamic of competitiveness and need for approbation is both palpable and understandable.

Maggie the Cat is an intriguing character in her own right and Taylor certainly doesn't disappoint in the role.

People make up social codes, and seeing Taylor and Newman navigate their way around them to get to the core of what they want is a real bother and bore.

The head of the family, the imposing Big Daddy, stands out in the film because of the engaging performance of Burl Ives.

Boring .

Intense portrayal of love, sex, and truth in deep south .

Because she oozes sexual frustration and deep desire as Maggie, who's jockeying for both a stake in the family estate and in Brick's heart, she is all too compelling to watch.

To the balanced Williams fan, it is gripping, well acted and nicely-paced.

Mr. Newman is simply brilliant with a thoughtful expression on his face and a half-empty glass in his hand.

I do enjoy old movies, but this film is plain boring; just like "All About Eve".

The situations are predictable and the resolutions are far too pat for me.

Watch this film because it has what you want to see: a slow, clear story with little to no plot twists.

Of course, it's impossible to make a film based on a play that isn't 'talky,' but Brooks has managed to make a film that is fascinating and interesting despite the theatrical feel.

Finally, even after so much psycho-history, this is still a fascinating portrait of very unhappy people facing age-old problems.

But Burl Ives' performance is wonderful, and alone makes the film worth watching.

The film is remarkably gripping and intense for such a leisurely-paced, dialogue-heavy film.

Elizabeth Taylor is stunning, clever and resourceful.

Despite sterling efforts by most of the players, "Cat on a Hot Tin Roof" emerges as a dull, slow-moving picture, peopled with dull, painstakingly torpid caricatures mouthing dull, tediously uninteresting dialogue.

Elizabeth Taylor gave intense anger and sadness that stemmed from tragedy.

I think part of my issue with the slow start might be with Elizabeth Taylor's acting.

The relationship between Brick and Maggie is the most fascinating ever recorded on celluloid.

Cat on a Hot Tin Roof - A Thrilling Drama .

) But somehow this is still a very good film; gripping, intense and emotional.

I know, I know; that's a hoary old cliché.

" is ultimately disappointing because it's glamorous when it should have been grim, and just repetitive when it should have been obsessive.

A top-notch adaptation of Tennessee Williams' classic play, the first screen version of CAT ON A HOT TIN ROOF is a wrenching and intense character study that brings out the best of nearly every individual involved.

I kept seeing the beginning and ending of this film throughout the 70s on the weekend afternoon movie (Saturday or Sunday), and it was one of those "boring adult movies" about stuff that only adults care about.