Süßer Vogel Jugend

Gerladine Page is truly magnificent in this picture. A great actress who died way too early. Her portrait of the drunk doped out film actress is amazing. Newmna, Begley, Knight are very good indeed but it is Page who is truly great. I never saw her give a bad performance. Thank goodness she won an Oscar just before she died. It was richly deserved.

Chance Wayne (Newman) has only one talent—sexual prowess—and he's been bumming around for several years, satisfying rich women in the hope that he can find fame in Hollywood…

He picks up a faded screen star, Alexandra Del Lago (magnificently played by Geraldine Page), who takes constant refuge in vodka, hashish, oxygen masks and young studs… She promises to get him a movie contract, and they drive to his Southern hometown, where he plans to find his sweetheart, Heavenly Finley (Shirley Knight), and take her along to Hollywood… He doesn't know that on his last visit he left her pregnant, that she had an abortion, and that her father, the corrupt and vigorous politician Boss Finley (Ed Begley), is out to get him…

Through a strong, powerful performance, Newman managed to be a celebrity—dropping names, giving large tips, arrogantly stating: "Just because a man's successful doesn't mean he has to forget his hometown."

He's also extremely sneaky and gently tolerant, as he charms Alexandra while recording what she's saying for blackmail purposes… But he's finally pathetic: a desperately insecure man, addicted to amphetamines, attending to Alexandra and performing as a lover at her whim… His mask of swaggering bravura really disappears when he tries to see Heavenly… He becomes confused and desperate—walking with regular steps, rubbing his hands together, pleading urgently over the phone

Tennessee Williams's play is adapted for film by Director Richard Brooks. A wonderful cast brings this dramatic Southern soap opera to a sublime level the lead role of Chance Wayne given a sizzling performance by Paul Newman, a conniving, charming gigolo who keeps trying - and failing - to succeed at his chosen profession.

Chance returns to his hometown towing a has been drug addicted alcoholic movie star, Alexandra Del Lago (Geraldine Page). Chance comes with the purpose of taking his old love, Heavenly (Shirley Knight) away from her obsessed father, 'Boss' Finley (Ed Begley) so the three of them can hit Hollywood together and Alexandra will help him get his first big break in the movies.

Chance's homecoming goes off like nothing he has planned, he left a lot of damage when he took off before. Heavenly's dad, who, along with Finley, Jr. (Rip Torn), has a burning hatred for Chance along with a plot for revenge.

The film does not evolve much from the stage play and appears stagey throughout.

Geraldine Page is the only one who transferred from the original play to the film and her performances is completely overwrought but she manages to carry it off and steals every scene she is in. She puts one in mind of Gloria Swanson in Sunset Boulevard. The part of Alexandra is made for her.

There is a beautiful score and Paul Newman is stunning in the role.

The only complaint I would have (and thus a lower rating of 7 out of 10) would be the significant change both to the story of what happened to Heavenly after Chance disappeared the first time and to the ending of the film, due to censorship rules. Far far more heartbreaking and tragic than depicted here.

And it is such a shame we will never be able to see the alternative ending with this incredible cast. In my opinion it would have put the film into the all time great list.

7 out of 10. A must-see.

Directed by Richard Brooks (Elmer Gantry (1960)), who also wrote the screenplay for this Tennessee Williams play, this above average drama with Paul Newman in the title role features Ed Begley's Academy Award winning Supporting Actor performance (on his only nomination). Geraldine Page received a Best Actress nomination, and Shirley Knight (The Dark at the Top of the Stairs (1960)) received her second Best Supporting Actress nomination.

Paul Newman plays a former young stud who returns to the Southern town of his youth after years of failing while attempting to make it as an actor in the movies. He's got a former, frequently drunk and/or high, aging actress (Page) in tow. As her gigolo and driver, he's still trying to use her to get what he wants in the film industry, trading on his looks and sex for her connections. Once home, however, he seeks out his former girlfriend (Knight), who happens to be the daughter of the biggest man in town, and one of the biggest in the whole state, Tom 'Boss' Finley (Begley). Finley more or less ran Newman's character out of town all those years ago and, with help from his son Tom Jr. (Rip Torn), won't hesitate to do it again. I won't spoil the reason why, nor reveal what happens in the end. Though neither is pleasant, it's the kind of delicious just desserts that Williams always has for his flawed protagonists. Begley is terrific as the hypocritical moralist, and Page is a kick, especially after her character regains her self- confidence. Madeline Sherwood plays 'Boss' Finley's mistress and twice AA Supporting Actress nominee Mildred Dunnock plays his sister.

Paul Newman is outstanding as the ultimate gigolo gold-digger. This movie also features the quintessential "Heavenly" daughter/ big bad daddy performances by Knight and by Begley, who is frighteningly effective.

Geraldine Page is perfectly imperfect and unattractive- remember she is this way for dramatic effect. You aren't supposed to like her. Anti-heroes and character studies were really featured in that era's plays and films. Such characters don't have to be likable and seldom are. Wonderful 1960's actresses Mildred Dunnock and Madeleine Sherwood also give their usual gem-like performances.

If you want to see what 1960's-style movie-making was really all about, view this one. Sure it is uneven and maybe a little old-fashioned by today's standards, but you can get an idea of why some of us are nostalgic for a decade that is known for big changes in movies, but otherwise somewhat forgotten. Here you get a good dose of the cynicism and fine acting of the 60's but without the annoying pretentiousness that was so prevalent in films of the era.

Also, you don't have to be familiar with the stage play or Tennessee Williams in order to appreciate this movie-making effort by Richard Brooks.