El dulce pájaro de la juventud

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.

Even with some of the seamier elements removed and with the tweaks in the storyline, this film has great value due to the acting of the principals. Newman stars as a would-be glory boy who has repeatedly failed to make a success of himself and has been reduced to playing gigolo to various wealthy women. Page is a deeply troubled actress on the downside who gets dragged with him to his home town when he plans to get an "in" in Hollywood through her, thus convincing his old sweetheart (Knight) that he worth leaving her family for. Unfortunately, Knight's father (Begley) and brother (Torn) have not forgiven Newman for the fallout from one of his previous visits to Knight. The main thrust of the drama concerns the animosity between Begley and Newman and the balancing act he must maintain with the weary, neurotic Page. Widescreen viewing is a must even though the bulk of the film takes place indoors or on sets. Newman is excellent throughout and the film is offers a rare exploitation of his physical charms (attributes he often fought against during his earlier career.) Page is wonderful, running the gamut of emotions and investing her character with loads of quirks and moments of interest. Knight does very well, though her role is primarily decorative. Begley took home an Oscar for his bellowing, overbearing, vulgar portrayal. Also scoring are Torn as the son trying unsuccessfully to impress Begley and the always interesting Sherwood in a rare sexy role. Dunnock turns in a typically worrisome, effective performance as a Newman supporter. There are two small, but intriguing, gaffes in the film. In one scene, Begley and his cronies are watching a newsreel in a room filled to the brim with smoke, yet (because the image was superimposed later) the screen never has any smoke in front of it. Later, Newman "lights" his cigarette off an oil lamp, yet it doesn't light. He visibly notices this and does his best to cover it. Some of the symbolism is heavy handed (check out the wacky opening!) The film may disappoint devotees of the original play, but it's polished production and memorable acting turns make it a strong piece of work.

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.

I saw this film the year it first came out, and recently again on video. My reactions were rather surprisingly much the same: it's second-rate Tennessee Williams all glitzed up with one of the three or four most memorable performances by an actor, woman or man, I've ever seen--Geraldine Page as the Princess. She's so good she even makes Newman look wooden. This isn't acting--it's something beyond performance.

If you have seen a picture of Geraldine Page, then you know she was a plain looking woman. Yet in this film, through great acting, she manages to convince the audience that she is a glamour movie queen, and pulls it off! After seeing this film, quickly followed by The Trip To Bountiful, I now know why Meryl Streep herself once said, that "Geraldine Page set the standard by which all actresses try to compete with."