La dolce ala della giovinezza

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."

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

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.

Highflying melodrama permeates this Tennessee Williams play converted to film by Director Richard Brooks. What makes this Southern soap opera fascinating is the cast of tawdry characters, beginning with Chance Wayne (Paul Newman), a charming, ambitious gigolo who, despite his best efforts, can't quite make his worldly dreams come true.

But this time he's got a real plan for success. Chance returns to his hometown on the Gulf Coast, bringing with him a boozed-out, high-strung movie star named Alexandra Del Lago (Geraldine Page). Chance hopes to grab his hometown girlfriend, Heavenly (Shirley Knight), and the three of them skedaddle off to Hollywood, so that Chance can make it big in the movies, with the help of Alexandra, of course. Thing is ... Alexandra is so spaced out, she can't remember who Chance is, or where she met him.

Chance's homecoming is anything but cordial, mostly because of the influence of Heavenly's dad, 'Boss' Finley (Ed Begley) who, along with Finley, Jr. (Rip Torn), has it in for Chance. Complicating matters even more is Miss Lucy (Madeleine Sherwood), 'Boss' Finley's mistress whom Heavenly can't stand.

Having originated as a stage play, the film takes place mostly indoors, and is very talky. But the Tennessee Williams dialogue is predictably incisive, with commentary both on the whims of success and on the fleeting nature of youth.

By far, my favorite element of the film is the deliciously overwrought performance of Geraldine Page. With her distinctive voice, her mannerisms, and her stunning acting ability, she chews up the scenery and then some, overpowering everyone and everything else. No actress could have been more credible in the role of Alexandra, an almost comical character, whose firmness, vanity, self-centeredness, and dramatic flair make her both weak and strong at the same time.

Although flashbacks tend to disrupt the flow, the film's screen story is otherwise very good. With great performances from multiple actors, excellent color cinematography, and an appropriately jazzy/blues score, "Sweet Bird Of Youth" is a film treat, in the grand tradition of cinematic melodrama.

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.