The Paul Newman Retrospective: Another Brick In The Wall: Cat On A Hot Tin Roof, 1958

You have no idea how I have been dying to use that title! See it's a pun, right? And yet it actually kind of fits. Because this film is all about deciding if you should conform to what people expect from you. I'm not sure what Pink Floyd: The Wall is about.



Welcome to the fifth edition of the Paul Newman Retrospective. Today we'll be dealing with Cat On A Hot Tin Roof, the first film for which Paul Newman received an Academy Award Nomination and his first appearance in the world of Tennessee Williams with whom he was also friends. That does not mean Tennessee liked this film at all, in fact he told people not to see it. The obvious reason is that since his play dealt with homosexuality, most of that had to be done away with because of the Production Code and you've seen Mad Men, right? I think maybe he was too dismissive, though. Even though they had to take the homosexual storyline out (not like it's totally out, though, it does seem weird for a while that Brick is so hung up about this) they did leave us with a protagonist struggling to find any meaning in life that to him seems to be too often lived dishonestly.



The great dilemma in this film is that the part of Maggie The Cat is played by Elizabeth Taylor, who makes me want to spit blood. It's not even her fault, I think, I just usually don't like her, but I do like her in this performance. It's rendered all the more impressive by the fact that Elizabeth Taylor's husband, Mike Todd, died in a plane accident during filming. Her performance in this is so flawless in spite of that. Now, for you Hollywood history buffs, that was the catalyst of the Taylor-Fisher-Reynolds Affair, soon to be followed by the Taylor-Burton-Fisher Affair. I was watching Oprah with Debbie Reynolds and Carrie Fisher recently and it occurred to me that if I was Elizabeth Taylor and I was going to steal another woman's husband while I made this movie, I would make a play for Paul Newman and not Eddie Fisher. That would make much more sense. People would understand that. Anyway...

The supporting parts are filled out by Burl Ives as Big Daddy, who also sings "Holly Jolly Christmas." Big Mama played by Judith Anderson, Brick's brother Gooper played by Jack Carson (Where are these people getting these names?) and his wife, the perpetually procreating, Sister Woman, played by Madeleine Sherwood, who also appears in another Newman-Williams effort, Sweet Bird of Youth.

We start out in a scene on a high school athletic field where Brick attempts to jump the high hurdles while drunk and breaks his ankle. By the way, has anyone else noticed that the best Paul Newman movies seem to start with a long scene with Newman alone somewhere? Cool Hand Luke, this one, I know there are others. Next, we're back at the Pollitt family home where everyone has gathered to celebrate Big Daddy's birthday. Brick doesn't seem to care about the whole proceeding except where he's going to get his next drink from. Maggie laments the connivings of Gooper and Sister Woman to get their hands on the Pollitt fortune, Brick's lack of interest in it as well as the decline in their love life. Who can blame her, really? Anyway, Big Daddy comes home from a clinic thinking he has a bill of clean health. The family doctor informs Gooper and subsequently Brick that Big Daddy is going to die. Brick's instinct is to bail, which is symptomatic of his larger problem.

Much of the guts in this film derives from the confrontations between Brick and Big Daddy. Big Daddy wants Brick to inherit his empire, Brick doesn't want to. Big Daddy wants to know why Brick drinks and Brick doesn't want to talk about it. Most of it comes down to something called mendacity.



Big Daddy makes Maggie say what happened to Brick's friend, Skipper. It comes down to Brick failing his friend since it is clearly not what happened in the play and even I thought we were getting a little convoluted at this juncture. Big Daddy tries to get brick to face the truth about that and their confrontation leads to Brick spitting out to Big Daddy that he is going to die. It's the first time we see both of them exhibiting vulnerability. This becomes a turning point for father and son, as they're both forced to confront the truth about their lives. As this happens, Sister Woman and Gooper try to talk Big Mama into giving them control of Big Daddy's interests. Maggie stays in the fray there, fighting for position. Big Daddy and Brick come to a similar conclusion, that even if life is fraught with mendacity, it had better be lived than not. Big Daddy seemingly resolves to live out the rest of his days and Brick is going to stop using alcohol to hide from his problems. Meanwhile, Maggie says she is pregnant which is patently untrue, but it really pisses off Sister Woman, everyone else seems to know it's not true, but enters it in the "Who the hell cares?" column. This is ultimately what I like best about the film, we didn't quite get the happy ending, but we're happy enough, as happy as we can be.

What else about this film? It's beautifully shot, even if it's small. The whole thing takes period over a single night. I feel like we get a sense of the heat in the film, even though I can't put my finger on it. Also, this movie has the most monstrous collection of child actors ever and a great line about the Cotton Bowl that I couldn't quite work in here, so you will have to watch the movie. They were going to originally film it in black and white, since most films with an artistic bent were shot in black and white at the time, but director Richard Brooks decided that was crazy given Elizabeth Taylor's eyes and Paul Newman's eyes. Good call. It is obviously different than the play, but I don't think it suffers for it. You just have to look upon it as something separate. I think it becomes about something else, about facing life rather than isolating yourself from it.

So, does the Production Code suck? Would you have liked a real adaptation of Tennessee Williams' play better? Would you have gone for Eddie Fisher, too? If so, why? Will you listen to "Holly Jolly Christmas" differently next time? Do those kids in the meat grinder bother you too? Explain all in the comments section.