Rodaggio matrimoniale

Hold Tennessee Williams in very high regard indeed, and although his plays work better performed as filmed productions or television films that doesn't mean that they don't translate well to film. Even when toned down thematically there are good to great film adaptations, 'A Streetcar Named Desire' being the best. Come to think of it, 'Summer and Smoke' is one of the few to not do much for me and that was still watchable because of the incredible lead performance.

'Period of Adjustment' is not one of the best Tennessee Williams film adaptations and may not have the complex characterisations or as mature themes as others. It is a very easy and likeable watch though and is a good adaptation of a lesser known play that is actually one of Williams' most accessible, that it is also one of his most light-hearted for many will work in its favour. The film manages this light-heartedness as well while avoiding over-syruping and still taking the content seriously enough.

It's not perfect. The message could have been delivered with more subtlety, one of the biggest traps often fallen into with messages in film is heavy-handedness which is the case here.

Williams' work can be very melodramatic, 'Period of Adjustment' is no exception and for a play as comparitively light-hearted compared to other work of his as this the melodrama here can get over-heated. George Roy Hill did go on to do better with 'Butch Cassidy and the Sundance Kid' and 'The Sting', he was an inexperienced director at this point and it can show in some awkward shifts here and there (mostly though all things considered he does pretty well).

However, 'Period of Adjustment' looks great. Especially the photography, which is positively luminous and really enhances the sumptuous production design. The music suits the tone, without too much syrup or bombast. Williams' writing really shines through, it's funny, it's touching and it has the right amount of intensity. The story manages comedy and drama well individually, with the comedy well timed and rarely less than amusing and the drama poignant but never dreary, and balances them with coherence and without imbalance.

A big part of 'Period of Adjustment's' appeal is the cast. A cast against type, her more homely look very different from her usual glamorous image, Lois Nettleton is absolutely sublime and gives to me the film's best performance in a difficult role. Anthony Franciosa is excellent too in a role that actually does him justice, and Jim Hutton does bring charm and adept timing to a character that is very different to Hutton himself, a likeable actor playing an unlikeable character but one one doesn't completely hate. Jane Fonda is the biggest surprise though, am not a fan of her usually but her sparkling performance here is one of her better ones.

Summing up, there are better Tennessee Williams film adaptations but this does justice to an undervalued play. 7/10

I fell in love with this movie the first time I saw it on TCM. I've always liked Jane Fonda, she is great in this picture. Its well acted and filmed. Its a beautiful movie. I liked the realistic look of the film. In digital it looked brand new, it looked as if it was modern film shot in B&W. Basically its about a couple having marriage problems. Its mostly a one scene shoot with a lot of dialogue. I really enjoyed it, like all Tennessee Williams play adaptations. This is a great movie for repeat viewing.

Jim Hutton and Jane Fonda are a pair of newlyweds, she's a nice, but not terribly bright young lady and he's a bit of a blow-hard. But it will all work out they're told because they're just going through a Period Of Adjustment to each other and to their new status as marrieds.

But the viewer might not think so at first when after a minor quarrel mushrooms the two of them arrive unexpectedly at the home of Hutton's Korean War buddy Tony Franciosa on Christmas Eve. But he's having some marital problems of her own. His wife Lois Nettleton has just walked out on him, taking their young son with him. As gently as he can put it, Franciosa's not one for giving marital advice, especially not at this time. But war breeds some interesting bonds and what's an old army pal to do?

Tennessee Williams whose work is usually heavily laden with dramatic angst about sexual issues, takes a lighter tone in Period Of Adjustment and while it might not always work the film does have some good laughs in it. Of course I'm a bit prejudiced with the presence of Anthony Franciosa in the cast, one of the best and most underrated actors around. Jim Hutton also proves to be a good comedian.

I was a bit confused however because the play was written and debuted on Broadway in 1961 where it ran 132 performances. Hutton looks to be a bit young for a veteran just coming from the war and Williams doesn't really date the play as 1953 when the war ended. I'm sure revivals of the play have made appropriate corrections for the Vietnam War, Gulf War, Iraq War whatever war as Hutton's character says they're working on starting now.

Part of the problems that Franciosa and Nettleton are facing is that he really didn't love her when he married the richest girl in town, but was looking for a leg up economically and socially. He's made a bad bargain, now having to be under foot and dominated by Nettleton's parents, John McGiver and Mabel Albertson. Turns out though that McGiver made the same kind of bargain back in the day.

I can't forget a very adroit performance by Jack Albertson as a philosophical police sergeant when the whole kit and kaboodle of the cast winds up in front of him on Christmas Day. If they didn't make his Christmas merry, they sure made it interesting. I think Tennessee Williams borrowed from Garson Kanin in My Favorite Wife drawing from Granville Bates's performance as a judge.

Period Of Adjustment is not one of Tennessee Williams better works, but there's still enough of his ideas in the play to satisfy his admirers, even if they are served on the funny side.

... because it is just so doggone depressing! Only Williams can take Christmas Eve and turn it into a dysfunctional family fest that makes me want to throw myself out of a window, and definitely not have good will towards mankind! I didn't see the opening credits, so at the end it was no surprise who wrote the source material.

Jane Fonda and Jim Hutton play newlyweds Isabel and George Haverstick. And they apparently did not spend enough time together beforehand to see if they were compatible before hastily marrying. George is an inconsiderate jerk towards Isabel. Isabel is whiny and scolding. And each just ratchets up the unpleasantness in the other. They visit George's old Korean War army buddy, Ralph (Tony Franciosa), on Christmas Eve on their honeymoon. But in the meantime Ralph is having his own problems because he married his wife without love or physical attraction five years before, because of her father's money and position and him pushing the union, and she realizes this and has just left him.

So George seems more in love with Ralph and the idea of them running a dude ranch together than with this woman he just married, and the whole thing just turns into a shrill production. Humor is attempted with a bunch of drunken carolers who get more drunken with every house they visit, but by the end of the film they have just worn out their welcome. You can't convince me that there is going to be a happy ending for any of these people any more than you can convince me that there is deep snow in the deep south at Christmas, which in this film apparently there is.

I'd recommend it only for the players - Hutton, Fonda, and Franciosa, - who always turn in good performances like the troopers that they are.

I was totally charmed by this film particularly by the performances of Jane Fonda and Lois Nettleton. Then I thought the style sounded familiar and I saw that it really was a Tennessee Williams play. It was not anything like his great dark masterpieces "Glass Menagerie", "Streetcar Named Desire" etc., and yet i saw a theme consistent with his other works. Although Williams' sexual orientation was famously opposite, he never ceased to explore the power of heterosexuality and its strength as the source of creation. Even in "Streetcar" it is apparent that Stanley Kowalski and Stella really love each other. In the play (but not the movie) they are eventually reconciled as the baby asserts it's presence. Submission to that strong urge is really the theme of "Cat on a Hot Tin Roof". The performances are top notch. Tony Franciosa from my old Italian neighborhood of East Harlem was quite adept at playing Southerners as was my fellow Fordham University alumnus John MciIver. Serious issues are confronted and us poor males, trying to live up to the demands of machismo are shown sympathy by the truly admirable young women characters who reveal that love and understanding are what they truly expect.