La tua pelle brucia

One of Shirley Booth's four starring motion pictures, HOT SPELL is the least remembered, least acclaimed of the quartet but nevertheless is a quite engrossing drama with yet another brilliant performance from it's star. Quite obviously derivative of Tennessee Williams and William Inge dramas, nevertheless the movie has much merit of it's own.

Shirley Booth stars as a New Orleans housewife who lives in denial. She has a lousy, cheating husband (Anthony Quinn) and three rather selfish, not particularly loving children in their teens and early twenties but in her eyes they are all one happy family. She does acknowledge something in amiss though and frequently pines for the days they lived in rural Louisiana in the (fictional) town of New Paris back when the children were younger. Eventually Shirley's fantasy world comes crashing down and opens her eyes not only to the present but to the past.

Shirley Booth is brilliant in this movie, her most poignant screen turn next to her Oscar-winning COME BACK LITTLE SHEBA. She also has a wonderfully comic scene though with neighbor Eileen Heckart (great performance) as a local gal who tries to loosen her up, relax and have a beer and say "hot damn". Of the three children, Earl Holliman stands out as the hardened elder son who sees his father Quinn all too clearly and hates him with a controlled passion yet fails to acknowledge his own flaws. Shirley MacLaine is not particularly good as the burgeoning floozy daughter and Anthony Quinn is a bit tiresome as pig of a husband but Shirley Booth is always worth seeing and this engrossing little drama is a fine showcase for her.

"Hot Spell" is probably Shirley Booth's next to her greatest film, the greatest being "Come Back, Little Sheba. Synopses put aside, the A- List cast shines, along with the story line. It takes you directly to, and into, a dysfunctional family, the Matriarch who desperately tries to keep everything "just fine," the Patriarch who's going through a midlife crisis and "plays around, and the three children with young adult and teen angst the latter defining their personae. Each scene intertwines with the other and tightens up the script marvelously. It's all realistic, poignant and in wonderfully good order. The whole thing actually seems to put you right there as if you were part of the family. You feel their pain. Ironically, Jack Duval's character, played by Anthony Quinn, is both abhorrent and also worthy of compassion at the same time Earl Holliman's, Shirley MacLaine's and Clint Kimbrough's characters are definitely direct descendants of both of their parents. Very believable. The scene with Booth and Eileen Heckart gives just the right and timely comic relief to give the viewer a break before the next dose of drama. There's enough conflict to go around and it keeps you interested. I'd recommend this film to anyone who appreciates serious drama, either on the stage or on the screen. It's too bad it's not being distributed for movie buffs-yet. It's been hibernating for way too long.

I don't know whether it's Shirley Booth's uniquely pathetic acting persona, or simple typecasting, but I always mix this movie up with her other dramas from the 50s, particularly Come Back, Little Sheba. Similarly, I repeatedly misremember this movie as a scenario by William Inge. It is 50s drama at its dankest and Inge-iest, the story of a sad family who live in a frame house in nowheresville, with a Shirley Booth mother who fears losing her husband, feels guilty about not having been a showpiece of a wife, and most of all yearns for a golden past that is probably imaginary. I wonder whether the whole thing isn't really just a recombinant pastiche of TV-playhouse clichés from the early and mid -50s: not only derivative of William Inge but with a generous dose of Paddy Chayefsky and some Tennessee Williams thrown in for good measure. The people who made this film were manufacturing a product to satisfy what they perceived as a popular taste. But I wonder if anyone could have enjoyed it or recommended it to their friends. More likely they felt depressed and unclean and eager to forget the whole thing.

HOT SPELL is a 50s family drama that seems rather tame now, but in 1958 this was hot stuff. Adapted from a novel by Lonnie Coleman and directed by Daniel Mann, this film offers terrific performances from nearly all involved.

Mann, who also directed Shirley Booth in both COME BACK LITTLE SHEBA and ABOUT MRS. LESLIE, gets a top-notch performance from his star once again. At age 60, Booth here plays a mid-40s housewife with touches of Lola from SHEBA and also Amanda Wingfield from THE GLASS MENAGERIE (which Booth starred in on TV in 1966). Her Alma here is a rather lost lady who clings to the "good old days and places" just as Carrie Watts does in THE TRIP TO BOUNTIFUL. She also tries to cling to her philandering husband (a vicious Anthony Quinn) and her grown-up children (Earl Holliman, Shirley MacLaine, and Clint Kimbrough). Alma still thinks that a chocolate cake and a "family supper" will bring everyone together, but everyone has already left the premises.

MacLaine plays the vulnerable daughter who is trying to snag a medical student and makes the mistake of not seeing his true motives. Holliman is the older son trying to find his way as a man, but he's constantly squashed by the brutish Quinn. Kimbrough, in the only bad performance, is the geeky younger son who just wants to be noticed. Alma's only outside connection seems to be a married friend, superbly played by Eileen Heckart.

So during a New Orleans "hot spell," the family suffers through one last series of family feuds based on lies and desire and the wanting to be away. Everyone clashes with the others' plans and nothing turns out right. Through it all Booth's Alma holds fast to the idea that if they could only escape the city and its heat and go back to some town where they were happy 20 years before that everything would be right.

There's a great scene where Heckart tries to teach Booth to be more "sophisticated" by learning to drink and smoke. And Booth has another terrific scene, a lesson in acting, where she sits on the front porch and tries to dissect her own life and where it's all gone wrong. Then tragedy strikes.

In the end, once the family ends up in that little country town, Booth realizes that you can't go home again and that her yearning for the old days has been wrong. With her grown children around her, she bravely marches toward the train that will take her back to the steaming city and the rest of her life.

Shirley Booth had a long and stellar career on the Broadway stage. Most of her stage roles went to other actresses when movie versions were made. Booth made only 4 films in the 1950s. THE MATCHMAKER was also released in 1958. In the 60s she turned to TV and had a smash hit in HAZEL, the role she is best remembered for. Yet the 4 films she starred in are a showcase for her dramatic and comedic talents.

"Hot Spell" is an extremely painful movie to watch....so if you are feeling depressed you might want to think about seeing something else. The story is about a family that is a total wreck due to a petulent jerk of a husband....and the wife tries desperately to convince everyone, especially herself, that she has a good life.

The story begins with Alma (Shirley Booth) running about town meeting with her grown children to organize a birthday dinner for her husband, John Henry (Anthony Quinn). It's obvious that she is desperately trying to make sure everything is perfect. Once John Henry arrives home, however, it's obvious he's a disease....an ugly, selfish jerk who enjoys destroying those around him and cheating on his wife...because it's all about him. It's truly painful seeing the man emotionally mistreat them all...and his wife, through it all, keeps a stiff upper lip and convinces herself that life with this jerk is great. Her kids, also, are part of this game...deluding each other into thinking they have a functional family. You know that sooner or later, something's gotta give.

In some ways, "Hot Spell" is similar to "Death of a Salesman". Both are about men with an inflated view of themselves and who represent the worst of fathers...a man who is emotionally stunted and selfish. Watching him and the way his family reels as a result of his whims is pretty sad to see. And, like "Death of a Salesman", an excellent portrait with some wonderful dialog....though painful throughout and draining. Because of the excellent writing and some amazing actors, it's a very good film....painful...but good. And, it's so painfully realistic...I never want to see this movie again!!

"It takes an awful lot of energy to fool yourself"...and this pretty much sums up this film.