Doux oiseau de jeunesse

Geraldine Page, Paul Newman, Madeline Sherwood and Rip Torn all recreate their Broadway roles for the film version of "Sweet Bird of Youth," a 1962 film based on Tennessee Williams' play and directed by Richard Brooks.

Again and as usual, some bite has been taken out of the original story in order to get past the censors.

Geraldine Page is the drunk, drugged and over the hill movie star Alexandra del Lago, who has picked up with a Hollywood gigolo, Chance Wayne and promised him a film career. At present she's escaping from what she perceives as a disastrous comeback.

Chance returns with her to his home town, yearning for the respectability and success that has eluded him. Instead he runs into trouble from his ex-girlfriend's crooked politician father, Tom Finley (Ed Begley) and Finley's son, Tom Jr. (Rip Torn) who want him out of town because of what happened to Heavenly (Shirley Knight).

In the play, Chance has given Heavenly a venereal disease; in the film, she's had an abortion. Chance desperately tries to see and speak with Heavenly, appealing to her Aunt Nonnie (Mildred Dunnock), but it leads to more trouble than he bargained for.

Page is a powerhouse as Alexandra, more glamorous than we're used to seeing her and as sloppy a drunk and druggie as you'll ever find. Alexandra's a selfish user, and she's got the technique down pat.

The role of Chance, another selfish user, came fairly early on in the handsome Newman's career - he came very close to being typecast as these fast-talking amoral men. In those days, Newman struggled with a lack of emotional availability and these roles fit him beautifully.

Thankfully he grew to encompass parts in films such as he had in "The Verdict" and became one of our greatest American actors.

Madeline Sherwood, so effective in "Cat on a Hot Tin Roof," is equally good here as Boss Finley's girlfriend; her scene with Begley in her hotel room is truly terrifying.

Begley is fantastic, mean as dirt, as is Torn as his equally cruel son. And "Desperate Housewives" fans will be interested to see a slim, pretty Shirley Knight as Heavenly, a somewhat vapid role for such a strong actress.

The DVD has a screen test for Chance by Rip Torn, who would later marry Page. He and Page perform a scene between Alexandra and Chance from the play - though the scene is in the film, it has been changed slightly. It's total stage acting, quite different from the film, but both are excellent, Torn giving Chance a lot of intensity.

Though in those days he was very good-looking, he probably didn't come off as enough of a boy toy for the producers. It's a very interesting extra and well worth seeing, as is this somewhat watered-down "Sweet Bird of Youth."

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."

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.

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

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.