Die Glasmenagerie

I don't usually watch movies like this ... you know ... which is more on the artistic side. I could've just not watched ... but somewhere through it ... I was captivated. I don't know about the other things ... like directing... So I can't say much about that ... but technical stuff apart, I can say ... it is excellent. The theme of three different characters trapped in their different visions... and yet so connected ... We don't have to question Tennessee Williams gift for writing. Aside from that, the characters are played out beautifully. Karen Allen was effective as Laura, subtle and quiet and fragile ...... And John Malkovich ... he makes it so GOOD ... And I'm entirely willing to believe he IS Tom Wingfield himself, regardless of what I've read of critics. He intrigues and captures through every word and action... Or just his presence ... After watching this movie, I actually WANTED to read the play ... out of my own free will. Which is really something! Just watch this movie and let the story and characters overwhelm you.

The depth of feeling manifested in the acting on display here easily trumps both the (wildly miscast)Gertrude Lawrence and the (vastly overrated) Katherine Hepburn versions of this celebrated play.

Though everyone involved (on both sides of the camera) does a first rate job, special accolades are due to Joanne Woodward, who is perhaps the first actress to really understand Amanda, since the role's originator--Laurette Taylor.

The pathos in Miss Woodward's delineation of the character is almost unbearable on some occasions, as in the famous jonquil soliloquy, in which she conveys, with hushed voice and beatific eyes, a sentimental recollection for lost time (and lost love) that is not only wholly personally convincing, but also manages to imprint her sentiment onto the audience with all the deja vu of Proust's madeleine.

Her Amanda is never less than fully persuasive.

And Mr. Malkovitch, in his final address to the camera, ("blow out your candles Laura") achieves effects of the same high order, with emotions so confiding, intimate, and genuine that he leaves viewers of any sensitivity as heartbroken as he is.

All told a devastating achievement not to be missed by admirers of Mr. Williams.

When it comes to Tennesse Williams, I am more familiar myself with Cat on a Hot Tin Roof and A Streetcar Named Desire, but when studying The Glass Menagerie for A Levels three years ago I was struck by how moving the story and the character of Laura was. And apart from a few close-ups that distracted from the momentum of some scenes, I loved this version and consider one of the better, perhaps even the best, version(s) of The Glass Menagerie. The production values look striking, and even with the close ups the photography is not half bad. I will be honest in saying that Paul Newman is a better actor than he is as director. That is not to say that he didn't do a good job, he did(in fact it is for me one of his better directorial efforts), but this is the same Paul Newman who has been responsible for some of the finest performances I've seen like in Butch Cassidy and the Sundance Kid, Cool Hand Luke, The Hustler and Cat on a Hot Tin Roof(where he played Brick) and for me his directing while impressive is not quite up to the same standard. What is impressive here though is that, from his work as Brick no doubt, he does capture the basic core of The Glass Menagerie instead of missing the point of it. Back to the rest of the film's assets, the story is still moving and the script is just as beautifully written and thoughtful as Williams' own writing. And there are great performances too, James Naughton is excellent as Jim and John Malkovich's Tom is wonderfully fey and gives his monologues a suitably dream-like quality. The best two performances though come from Karen Allen as a heartbreaking Laura and especially the superb Amanda(one of Williams' juiciest characters) of Joanne Woodward. In conclusion, a great, well-acted version of The Glass Menagerie. 9/10 Bethany Cox

Stagey but handsome version of the Williams classic directed by Paul Newman. Fluid camera-work and beautiful lighting, an evocative score, and nice (if leisurely) pacing help immensely. The high school classes I showed this to didn't respond to Woodward's Amanda, though she certainly nails the comedy of the piece; however, it's a very animated performance, with flutey vocal mannerisms that can grate on one. (I've not seen the Hepburn performance, but she often gets criticized for the same thing; however, I'd love to see her tackle the dramatic stuff.) James Naughton is solid, if a bit stolid, as the gentleman caller. Malkovich etches a remarkable portrayal of Tom--defiantly unafraid of the character's possible gay subtext--that grows in poignancy to a heartbreaking final monologue. But it's Karen Allen's Laura that is the heart of this piece--if you've only seen her in "Raiders of the Lost Ark" or "Scrooged," you'll be astounded at her ability to cut straight to your heart with just her eyes. She's truly unforgettable.

the play. the cast. the atmosphere. short, a splendid adaptation , exploring, with grace and precision, the nuances of text. the entire tension, the fragility of Laura, the heavy-gray emotions of Tom, the Joanne Woodward's Amanda are pieces of a great science to remind the beauty of play, the South flavor, the failure and the impossibility of hope. the right sound of image and acting - that is the great virtue of the film. a film who has all the ingredients to be more than inspired adaptation but perfect support for reflection about a small universe and its borders. John Malkovich does an admirable role and that is important for the link between viewer and the close universe. the fragility of the scenes. and the voice of Malkovich as its frame.