Baby Doll - La bambola viva

Back in 1956 when this movie came out it was the Legion of Decency run by the Catholic church that decided what was proper or improper to see. I remember my parents checking that list whenever I wanted to see a movie. They were divided into groups. Unobjectionable, Objectionable with certain restrictions and others but the worst one was rated Condemned. I laugh when I think about it. Baby Doll did not play in my town of 100,000 as the church would have made a big stink about it, but it did play in Boston which was 25 miles away. I did not see it then but I heard from others that did and they told me that it was very steamy. There was so much controversy about this movie that no one dared mention that they saw it in mixed company as being branded as liking porno movies. I finally saw this movie on AMC about 15 years ago and I had to smile because this was such a mild movie by today's standards. This movie could be shown today on regular TV unedited with a PG rating. It had no nudity nor swearing. Karl Malden, Eli Walich and Carol Baker were outstanding. Still today Carol Baker is still being mentioned as Carol "Baby Doll" Baker, truly a role she will never live down. One more thing, the musical score throughout the movie is very moving. I bought the LP soundtrack long before I saw the movie and it was interesting to see how it fit. I have recorded it onto a cassette and still play it in my car. I think that it was the church and it's censorship that made this movie so popular.

Two Southern rivals battle over cotton gins and dumb-as-a-rock wife.

Seldom have so many theatrical heavyweights been responsible for such a misfire. The movie may have been cutting edge in the repressed 1950's, but the results are now almost unwatchable.

It's impossible to tell what the movie makers had in mind outside of enraging public watchdogs with an iconic photo of a thumb-sucking Baby Doll (Baker). But, whatever their intentions, the movie's now mainly an exercise in the grotesque. I'm sure all the bluster and bellow are nowhere to be found in Karl Malden's Book of Fond Memories.

For example, there's that horribly over-extended scene between Silva (Wallach) and Baby Doll that has to be one of the most excruciatingly overdrawn on record. The point is made in the first three-minutes, so why pointlessly drag it out for twenty, except maybe to fill empty screen time with some of the silliest shenanigans imaginable.

Then too, much of that wasted time could have expanded the roles of such capable performers as Chapman, Torn, and especially Dunnock in a small part that unfortunately a hundred lesser actresses could have minced through. All I can say is if this was supposed to be sophisticated farce, the groans way out-number the chuckles.

No need to go on, except to point out the one redeeming feature, namely, an unvarnished glimpse of the rural South you won't see in Gone With The Wind. Yes indeed, somehow I missed this mess back in '57. Now I know how lucky I was.

Elia Kazan took a big chance in directing "Baby Doll". His association with Tennessee Williams must have been the deciding factor in his coming on board. This was a film that caused quite a stir because of the direct intervention of Cardinal Spellman of New York in denouncing it for its suggestive billboard in the Times Square area and the content of the movie.

This film is a testament of how to film an erotic feature without having the actors running naked all over the place. Carroll Baker, as the Baby Doll of the title, generates a lot of heat every time we see her in the opening scenes through the "peeping tom" eyes of Archie Lee, the husband still awaiting to fulfill his duty as a husband.

The steamy scenes between Vaccaro and Baby Doll are incredible if one thinks of the era when it was filmed. Nothing like those torrid scenes were seen in an American film before! What is amazing is the fact this film was released at all.

Unfortunately, the copy that was shown on cable recently has the worst sound track imaginable. The Southern accents from the actors don't help things either.

Karl Malden adds to the character of Archie Lee by playing it as a dumb hick who is not too worldly in matters of the bedroom. Carroll Baker had a great role in her Baby Doll. She plays her as a typical small town from that part of the South, a real teaser. Eli Wallach's as Vaccaro brought virility and sensuality to his portrayal. Mildred Dunnock was good as Aunt Rose.

This film is an oddity that heralded the liberation of Hollywood from the hated Hays Code which will come much later on.

Warner Brothers initially took a huge gamble with this 1956 release. Some elements of its storyline were considered way too suggestive for films at the time (there was still no rating system yet) but the studio went ahead and released it anyway. What resulted was a huge box office hit and a star maker for Carroll Baker who has the title role of the child bride of a sometimes dense cotton gin operator (Karl Malden). Malden is a rival to another cotton gin operator (Eli Wallach) and his torching of Wallach's cotton gin inspires Wallach to get back at Malden by having a steamy love affair with Baker. Rip Torn made his film debut here with a small part. Film reunites director Elia Kazan and screenwriter/playwright Tennessee Williams who had previously collaborated on the box office smash "A Streetcar Named Desire." This film is also an interesting early example of what may have eventually inspired Hollywood's film rating system.

The conventional wisdom on "Baby Doll" seems to be, "Oh, this movie may have been steamy in its time, but it's totally tame now." Oh, really? If the scene of Eli Wallach and Carroll Baker on the garden swing doesn't leave you feeling "fuzzy and buzzy," I suggest you get your pulse checked.