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Sweet Bird of Youth

  • Película de TV
  • 1989
  • 1h 35min
CALIFICACIÓN DE IMDb
5.4/10
684
TU CALIFICACIÓN
Elizabeth Taylor and Mark Harmon in Sweet Bird of Youth (1989)
Drama

Agrega una trama en tu idiomaAging movie star Alexandra del Lago, also known as Princess Kosmonopolis (Dame Elizabeth Taylor), fears her career is over due to her fading youthful looks. She takes up with a handsome youn... Leer todoAging movie star Alexandra del Lago, also known as Princess Kosmonopolis (Dame Elizabeth Taylor), fears her career is over due to her fading youthful looks. She takes up with a handsome young man, Chance Wayne (Mark Harmon), who once had promise as an actor, but who has fallen in... Leer todoAging movie star Alexandra del Lago, also known as Princess Kosmonopolis (Dame Elizabeth Taylor), fears her career is over due to her fading youthful looks. She takes up with a handsome young man, Chance Wayne (Mark Harmon), who once had promise as an actor, but who has fallen into the life of a gigolo. Together, they travel to Chance's home town, where he hopes to re... Leer todo

  • Dirección
    • Nicolas Roeg
  • Guionistas
    • Tennessee Williams
    • Gavin Lambert
  • Elenco
    • Elizabeth Taylor
    • Mark Harmon
    • Valerie Perrine
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    5.4/10
    684
    TU CALIFICACIÓN
    • Dirección
      • Nicolas Roeg
    • Guionistas
      • Tennessee Williams
      • Gavin Lambert
    • Elenco
      • Elizabeth Taylor
      • Mark Harmon
      • Valerie Perrine
    • 11Opiniones de los usuarios
    • 4Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos9

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    Elenco principal23

    Editar
    Elizabeth Taylor
    Elizabeth Taylor
    • Princess Kosmonopolis
    Mark Harmon
    Mark Harmon
    • Chance Wayne
    Valerie Perrine
    Valerie Perrine
    • Miss Lucy
    Kevin Geer
    Kevin Geer
    • Tom Junior
    Seymour Cassel
    Seymour Cassel
    • Hatcher
    Ronnie Claire Edwards
    Ronnie Claire Edwards
    • Aunt Nonnie
    Cheryl Paris
    • Heavenly Finley
    Rip Torn
    Rip Torn
    • Boss Finley
    Charles Lucia
    Charles Lucia
    • Dr. George Scudder
    Teddy Wilson
    Teddy Wilson
    • Fly
    • (as Theodore Wilson)
    Megan Blake
    Megan Blake
    • Violet
    John Fleck
    John Fleck
    • Mission Man
    • (as John W. Fleck)
    Tom Nolan
    Tom Nolan
    Billy Ray Sharkey
    • Scotty
    Michael Wilding Jr.
    • Morton Frasier
    • (as Michael Wilding)
    Hal England
    • Minister
    Ruta Lee
    Ruta Lee
    • Sally Powers
    Avon Hill
    • Dirección
      • Nicolas Roeg
    • Guionistas
      • Tennessee Williams
      • Gavin Lambert
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios11

    5.4684
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    Opiniones destacadas

    4Bgappl07

    Oh Elizabeth

    I was not aware when I went to watch this film that it was a remake of the classic Paul Newman Geraldine page one. We know that Elizabeth Taylor was in other Tennessee Williams movies and also with Paul Newman why she decided to make this one I have no idea. Her costars are negligible except for Rip Torn in a repeat performance. I love Elizabeth Taylor she's a very beautiful woman and a very fine actress I'm purposely not using was I can understand empathy for this character because she was also older and out of shape etc. but there's no comparison really and she does not shine through in this at all. When you have as good a movie as the original was sometimes it's just hard to remake and maybe shouldn't even be tried
    10wc1996-428-366101

    Taylor at Her Best

    The success of a film is based on one thing and one thing only - chemistry - and Elizabeth Taylor and Mark Harmon positively sizzle in this film. You cannot take your eyes off them. The casting is right out of heaven. The story, of course, is pure Tennessee Williams, sordid and nasty and southern, but who cares when you're looking at two utterly gorgeous creatures like Elizabeth Taylor and Mark Harmon. The story really takes a back seat to this production which is quite lavish and hardly has the look of a television movie which is what it was. With a top flight director like Nicholas Roeg, how can you miss? You can't! Valerie Perrine in a supporting role really stands out. She is absolutely luminous and holds her own with Taylor in their scenes together. The supporting cast generally is excellent but Taylor and Harmon just cannot be beat when they are together they are so extraordinary.
    sadie_thompson

    Completely unbiased review.

    First off, I have never seen the original, so there won't be any comparisons to Geraldine Page. I wouldn't know her if I fell over her, actually. When I said unbiased, I meant I would not be comparing this to the original film. I will say that this movie is awful.

    Tennessee Williams is a bit over my head, I think, so parts of this film were lost on me. It seems that Alexandra De Lago (Elizabeth Taylor) had been a star, but she's faded considerably. Apparently, she was away from the screen for some time, so her appearance surprised people. I shouldn't doubt it, as the poster for her attempted comeback shows Elizabeth Taylor in her early 20s. No wonder they're startled. She's 30-odd years older than they thought. Senility has set in early, and she simply can't keep her train of thought going for more than a few minutes before it derails, leaving her hopelessly confused. I found myself giggling every time she yelled "Where I am? Who are you?" I don't think it's supposed to be funny, but I laughed. Hard.

    While staying at what looks like a hotel on the beach, Alexandra (a.k.a. the Princess Kosmonopolis, of all things) meets a hunky "masssage therapist." I put that in quotation marks, because while people seem to think he's a massage therapist, he's really a gigolo that preys on weak-minded older women. Who's more weak-minded than our laid-off legend, Alexandra. Oh, he's all over her, rubbing her back, which I didn't want to see, and unzipping her muumuu. (That's what it is, you know. Didn't want to see it, either.) Next scene, they're driving down the road. What road? What happened? At this point, I was in the same fix as Alexandra--completely confused. I realized that they'd been involved intimately, but why in the heck would she hook up with that goofball? (Goofball is played by the dreadfully horrible Mark Harmon, I guess.) As the "plot" develops, Goofball reveals himself to be a pathetic would-be blackmailer, and Alexandra reveals herself to be an equally pathetic, blackmailing, sex-starved "monster." That's her word for them--they're monsters. She's right about something, for once.

    Along the way, we're forced to watch Goofball try to find his dream girl, aptly named Heavenly; we also have to sit through Elizabeth Taylor's slightly confused portrayal. Did anyone help her with this? Did the director ever tell her what to do? Is she supposed to be hilarious? What is going on?!?

    I give this two out of five stars, as I enjoy a good bad movie.
    7jromanbaker

    Roeg not at his best

    Nicolas Roeg, the director of this film made several very fine films and ' Bad Timing ' is a masterpiece. Given the chance to direct it for television he does not quite succeed with Tennessee Williams fine play ' Sweet Bird of Youth. ' A previous film was made with Geraldine Page and Paul Newman. Page was excellent and Newman less so and the ending was deeply compromised. To Roeg's credit he gives a brilliant ending and the surgical instruments and the scream behind the door does the filmed play justice. Mark Harmon is arguably better in the role of the expensive gigolo ( that's what they were called back then!! ) than Paul Newman; more handsomely jaded and convincing. And in my opinion I could see his conflict between selling his body and the passionate romance within him for a lost love. Rip Torn is also excellent as the corrupt politician whose daughter is ' soiled ' by her previous contact with Harmon's Chance Wayne. As for Elizabeth Taylor as Alexandra del Lago, who is on the run from screen stardom she does it her way, less over the top than Page but for me utterly successful in her interpretation. Sadly with all this acting talent Nicolas Roeg allows various drafts of the play instead of the final version, and lessens the outstanding dialogue considerably. As I said only the ending really hits the spot, and in my opinion his use of overlaid music is terrible and the camera does nothing particularly interesting. I have no idea why he wanted to direct William's drama. I do not think he was in tune with it, but the actors were and they deserved better. Once again Elizabeth Taylor proved what a great actor she was when given the opportunity to shine, even in the hands of a director who half way fails in the project.
    6ksf-2

    a (dark) tennessee williams tale

    Sweet bird of youth... the liz taylor one. With mark harmon, probably best known for ncis. Princess is much older than the young beach boy and wannabe actor she's dating. And she has numerous health and psychological issues. They have made an agreement; princess will help chance become an actor, and he will provide companionship and sexual favors. A power struggle! But... chance has already made a date to see his old girlfriend. But the girlfriend's father (rip torn) is a bigshot in town, and wants chance punished. And gone. What will princess and chance learn? Will they find what they are searching for? Keep an eye out for valerie perrine.. she was samantha in can't stop the music. Directed by nicolas roeg. He had also done the man who fell to earth! This story is from tennessee williams, so we knew it was going to be a painful lesson. It gets pretty rough. Liz taylor had already won her oscars for woolf and butterfield 8.

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    • Trivia
      While a guest on The Late Show with Stephen Colbert in December 2019, Mark Harmon told a story about Elizabeth Taylor from the set of this movie: "She was such fun. She had a thing in her contract: she worked eight hours a day, and that was it. She'd arrive in the morning, and she was in wardrobe and made up, and she'd get out of her car, and she was ready to work. And then she had a woman who would come on the stage at eight hours and she'd just go [taps his watch], like this, and wherever we were she'd stand up and go, 'good night,' and was gone. And then we'd work for another six hours. And then I ended up doing all my closeups that first week with a stand-in , which is hard because [she's] a nice person, but [she's] not an actor, right? I was having a hard time, and I went to the producers and said, 'I've got a problem here,' and they said 'what do you want us to do about it, it's in her contract.' And I said [shrugs]. So now it's Monday and were on a location out in Altadena somewhere and for some reason that day she's been there two hours longer than her time and everybody knows it. It's like a working crew, so she's sitting on a couch, I'm standing right behind her, I'm on my mark, people are moving lights, and she's just sitting there like this [he crosses his hands on his lap]. And noise and people, you know, production, and all of a sudden in a voice about this loud [indicating his own moderate speaking tone] she says, 'all i have to say'--and everybody stops. and she waits until it's dead silent. And she said, 'is today, I have been here two hours longer than I am supposed to have been.' I'm standing behind her, and I go, 'Hey, Elizabeth, all I gotta say is welcome to the fucking club.' And she turned on me, with those blue eyes, and she went 'Oooh!' And I said, 'No, I'm not pitching you any grief at all, I'm really not. But here's the deal: you go home and we work another eight hours, and we're never going to get this done.' And she turned around, she just sat there very still, for twenty minutes, sat there. They come out, they go, 'we're ready,' she goes, 'Good night,' and she got up and left. So I'm looking to get fired, right? Next day, and from that point on to the rest of that picture, she's there every moment of that film to do everything there is to do. And at the wrap party, which she had at her house, with [her] Butterfield 8 Oscar and [her] Who's Afraid of Virginia Woolf [Oscar] standing on that mantel, she wants to meet [everyone] at the door, and as you leave, she has a present for you...and she wants you to open it as she gives it to you. Its a sterling silver frame with a cast and crew picture, that says 'Thank you very much, Elizabeth Taylor.' And she gives me a little box, and I open it up, and it's a 1959 Hamilton Sea-Lectric watch, solid gold, and on the back, you flip it over, it says 'M.H., Two Hours, Tick-Tock, Love E.T.'"
    • Errores
      This remake is set in the late 1950s. Yet Alexandra del Lago pays with a credit card, not with checks as in the original play and original film. Also some of the costuming, especially Heavenly's, is much later in style than the 1950's-early 1960s.
    • Citas

      Princess Kosmonopolis: By the time I was your age, I was already a legend

    • Conexiones
      Referenced in The Late Show with Stephen Colbert: Mark Harmon/Caitlin Weierhauser (2019)

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    Detalles

    Editar
    • Fecha de lanzamiento
      • 1 de octubre de 1989 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • Süßer Vogel Jugend
    • Locaciones de filmación
      • Upland, California, Estados Unidos
    • Productoras
      • The Kushner-Locke Company
      • National Broadcasting Company (NBC)
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 35 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Stereo
    • Relación de aspecto
      • 1.33 : 1

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