Die Katze auf dem heißen Blechdach

Burl Ives gives the greatest portrayal of a literary character in film history, and he wasn't even recognized by an Oscar nomination, further evidence of the Academy's complete lack of credibility as an arbiter of screen excellence.

The casting is brilliant:

Tennessee Williams's Big Daddy was indeed big - larger than life, domineering, insensitive, self-absorbed. Burl Ives's Big Daddy is larger than life, insensitive, domineering, self-absorbed. Ives is "on" every moment. And every moment is true.

Paul Newman's Brick, is as afraid of life as Big Daddy is in love with it. Yet, in his way, he's a chip off the old block - self-absorbed, insensitive.

And domineering or, as Big Daddy and Maggie would have it, masterful, ready to take charge -

if he could just get over himself.

I confess, I don't care for Elizabeth Taylor as an actress, but she is so right for the part, that I can't think of anyone else to fill it. Anyway, who else has eyes that could compete with Newman's?

Judith Anderson plays the typical Williams matron, living in her house of delusions. She's Big Daddy's tormented, desperately lonely, unloved partner, who towards the end wins Big Daddy with her nobility and devotion.

The under-appreciated Jack Carter has the unenviable role of Brick's pliant, conformist brother, Gooper, decent at heart but worn out after years of jumping through Big Daddy's hoops and still winding up on the short end, with a house full of brats, bred at Big Daddy's presumed bidding and delivered by a scheming, ambitious weasel of a wife. Gooper the only character I have a little trouble with, because his climactic speech, as rendered by Carter, is so heartfelt, that we are aggrieved with him at the injustice of Big Daddy's favoritism for the no-account but aesthetically more pleasing Brick.

Perhaps an even more unenviable role is that of Gooper's wife, played to perfection by Madeleine Sherwood. Anyone who has grown up in the South has known "Sister Woman". I can assure those who haven't, that this character is not a stereotype or caricature.

There are a few quibbles. One character, the family doctor, though played well by Larry Gates, has a dramatic function that's about as useful as the referee in a pro wrestling match, but not nearly as decorative. I guess he's included to provide plot information, but I think it could have been provided just as well without him. I was also put off by the contrived thunder claps at dramatic moments. Then, there were some continuity problems, such as different facial expression when shot angles were changed and Gooper's too many "Shut ups" to Sister Woman.

If, as another reviewer has said, Tennessee Williams hated this film, then it couldn't have been because it was untrue to his work. If he disliked the changes and omissions, he should blame '50s prudishness, not the film, for dictating, say, the suppression of Brick's homosexuality.

Williams wrote about lies and delusions, the good ones and bad ones. Well, that's what Cat on a Hot Tin Roof and Streetcar Named Desire and Glass Menagerie were all about. Tennessee Williams's stories about the South and its culture of delusion are not just rebukes of Southern hypocrisy and bloodymindedness but paeans to the gentle and genteel refuge which delusion provides. As Maggie "The Cat" says, "Truth, truth - everybody keeps hollerin' about the truth. Well, the truth is as dirty as lies."

Finally, I think it was brilliant of Richard Brooks to insist on color, for Williams's stuff is talky, and with the drabness of a typical Williams set, this can be a bit oppressive. With color, and the wonderful animation Brooks instills in all the characters, his Cat contains not a dull moment. If Brooks has given us something at odds with what Williams intended, I think he has given us something just as fine.

I've got to say that Tennessee Williams' 'Cat On A Hot Tin Roof' was one of the best Newman films. It's one of those movies that grabs your attention in the first 10 minutes. The interactions between the gifted actors and actresses were stupendous. I really felt for Maggie (Elizabeth Taylor) "The Cat ", though and how she was able to keep her composure with her husband Brick Pollitt's (Paul Newman) berating of her. We learn that he was a drunk trying to recapture his glory days of high school sports by leaping hurdles on a track field, dreaming about his moments as a youthful athlete, but suddenly he falls and breaks his leg, leaving him dependent on a crutch. During the film, he has some harsh words for Maggie. I felt that her character was treated unfairly by Brick and to make matters worse, his father Big Daddy (Burl Ives), shows nothing, but contempt for his son that he's even violent towards him. I really understood why he was so angry with Brick and as you watch the verbal fight between the two, you really side with Big Daddy. Newman really was a great actor and was the best choice for this part. Taylor, on the other hand, is a big star And she played Maggie to a T! I really think the Hollywood scripts these days are dead weight compared to the 50s and 60s! The exchanges of dialog and the acting were definitely marvelous. Canadian actress Madeleine Sherwood, who played Mae Pollitt in the film, was the last one to pass away in 2016 at 93! they all left their mark in the acting world.

I have never read or seen the play 'Cat on a Hot tin roof', but after watching the quite superb film, I want to. A movie about families, money, love or lack off. The acting is first rate, Paul Newman and Elizabeth Taylor are superb, if you're looking for laughs, look elsewhere. A classic.

There are tensions that have built between a couple, Brick Pollitt shows contempt, it's far from subtle, his wife Maggie's in despair, she's in love and really cares, but it's fair to say this pairing, is in trouble. Big Daddy joins the party for his birthday, but the whiskey being drunk just goes down one way, secrets hidden and withheld, relationships are hewn and felled, wounds reopened, from a friend, lost through betray. At the climax of this film you'll hold your breath, as the family is overwhelmed, distressed, with performances profound, so much lost and so much found, you will not be disappointed, I attest.

Three of the greatest cinematic performances placed on film.

I am studying Tennesse Williams's Cat on a Hot Tin Roof in English. It is a fabulous play, constantly entertaining and witty. I saw the film with great interest, and I was most impressed. Yes the filmmakers did tone down the sexual references and the language and some of the events are simplified or cut(ie. they suppressed Brick's supposed homosexuality) . But even with the changes, the film thanks to the stellar performances and the witty screenplay sizzles fantastically on screen. It is also very gripping and intense, like the play.

What makes the play so unique is this. Whereas directors tend to stage what they visualise in their heads when there are no stage directions to show exactly what the playwrights intend, Williams is very specific what he wants throughout. His characterisations are broad and his descriptions of everything down to the bed, which is very symbolic, are detailed. The film, like I said, is toned down, but it still retains the sizzle, wit and intensity of the play with consummate ease.

The screenplay is very witty, emotional and funny even. The direction is very good too, and respects Williams's style. The film for its time looks lovely with lovingly designed costumes and skillful cinematography. The music is great, and the editing is crisp.

Out of the performances, all of which were stellar in what is really an ensemble piece, Burl Ives stands out especially in a towering spot-on portrayal of the domineering patriarch Big Daddy, and managed to stay true to his character. Paul Newman is splendid as Brick, giving a performance of quiet intensity and broodiness. While she slightly overdid the Daddy Dawling routine, Elizabeth Taylor is deliciously catty and sexy as Maggie, and her and Newman's chemistry was evident throughout. While maybe not quite right in terms of build, Judith Anderson the brilliant actress she was is wholly convincing as Big Mamma. While loud and coarse, she is also sympathetic. Jack Carson plays Gooper well too, Madeleine Sherwood was a tad annoying as Mae, then again I never liked Mae that much in the play anyway.

There are many standout scenes, but the one that stood out for me was the scene in the rain with Big Daddy and Brick. Thanks to the contrasting personalities of the two characters and the powerful acting of Ives and Newman, it is one of the most powerful scenes in any film. It makes me wonder why Ives was so overlooked at the Academy Awards really. The final confrontation was also a highlight. All in all, Cat on a Hot Tin Roof has its minor flaws, but it is impeccably acted, atmospheric and very steamy. 9/10 Bethany Cox