Na Voragem das Paixões

Heavy dramatics and a suffocating atmosphere make this a challenge at times. What it has to balance out all the weighty goings on is acting of the highest order. Dean Martin, Yvette Mimieux and Gene Tierney all contribute excellent work but the real fireworks is between Geraldine Page and Wendy Hiller as Dean's sisters.

While Gerry Page has the showier role it's Wendy Hiller who gives the film's best performance. With subdued delivery and subtle looks she conveys a wealth of background into both who she is and the history of the entire family's dynamic. It's a wise choice, if she had fluttered and extrapolated as Page's Carrie does the viewer would never be able to make it past the first five minutes of the film.

One step removed from a Tennessee Williams chamber piece this will be enjoyed most by fans of his work as well as fans of great acting.

As is pointed out in the acclaimed biography of Dean Martin by Nick Tosches, Toys In The Attic was the last serious role that Dino attempted on the big screen. His less than stellar reviews in comparison to Jason Robards, Jr. who did it on the stage probably convinced Martin to stick with what he knew best.

I don't think Dean was all that bad in the part, the problem was he did not have that much to work with. When you think about it the roles he played in Some Came Running and Ada could have been dress rehearsals for Julian Berniers in Toys In The Attic. I just don't think the play itself is up to the standards Lillian Hellman set for herself in The Little Foxes.

In fact the subject matter seems to be more Tennessee Williams than Lillian Hellman. Martin is the younger ne'er do well brother of spinsters Geraldine Page and Wendy Hiller. Page is kind of Blanche Dubois flighty type on the surface, but she really rules the Berniers roost. And she's got a nice incestuous thing for her brother.

Who is now married to Yvette Mimieux, a young, but even mentally younger child like bride. Dino's got a deal cooking with the wife of a big tycoon played by Larry Gates. Years ago he had a fling with his wife Nan Martin, but now they're just seeking to take the big guy for a big score.

On stage the Gates and Martin parts are not played, but talked about. When Lillian Hellman's play was on stage the sisters were played by Maureen Stapleton and Anne Revere. Revere in the part Hiller does won a Tony Award for Best Supporting Actress. The play ran 463 performances in the 1960-1961 season.

I think if the part Dino had was played by Paul Newman or Montgomery Clift, the film might have been marginally better. But even more so Lillian Hellman was poaching on Tennessee Williams subject matter and she should have kept off the grass.

So many reviews here critical of the casting, harshly evaluating not only those chosen as starring cast members but their acting talent as well. Dean Martin, in particular, receiving a thumbs down in his presentation of the ne'er-do-well brother whose business ventures have inevitably failed. On the contrary, Martin gives quite an acceptable characterization and has the physical attributes to add credence to his image as a womanizer. As for Geraldine Page, her hysterical style well fits the devious, emotional woman she presents. Wendy Hiller, as her sister, gives a nuanced performance as the only one of the group connected to reality and attuned to the consequences brought about by the tragically misguided thinking and actions of those around her. Then there's the pathetic child-woman as played by Yvette Mimieux. Yvette's presentation of this naive, intellectually challenged, easily manipulated girl is effectively shown.

The movie was a box office failure. Understandable, as an incestuous desire of a sister for her brother would be unappetizing subject matter for a movie audience in 1963.

Lillian Hellman wrote some amazingly raw films about screwed up Southern families. She was, in many ways, like a female version of Tennessee Williams--with stories having many of the same themes and even some of the stories set in the same locales--such as Louisiana. Several of her plays went on to become movie classics--the most famous of which was Bette Davis' splendid "Little Foxes". Others, such as "Toys in the Attic" didn't exactly become classics--but they are worth seeing. My advice with this movie, however, is that you force yourself to keep watching. The first portion isn't particularly distinguished and the craziness all begins later in the movie.

The story begins with Julian (Dean Martin) working on some business deal. When he and his wife, Lily (Yvette Mimieux) arrive back to see their families in Louisiana, things sound great. Julian has announced that one of his deals went through and he is now rich. He lavishes gifts on his two spinster sisters (Geraldine Page and Wendy Hiller). During this phase of the film, Page's character is REALLY, REALLY annoying. She talks non-stop and the tone of her voice could incite murder!! My advice is to grit your teeth and stick with it--all sorts of nasty craziness is to follow! What? Well, see the film for yourself.

The film is NOT perfect--and it's obvious when you see an Italian-American (Martin) playing the brother. The casting just didn't make much sense, though his acting was just fine in the film. As I mentioned above, Page's acting also seemed to be a bit too much at times. But, the story is golden if you keep watching. Don't believe me--see it for yourself! It gets pretty icky!

Julian Berniers is a raconteur and habitual schemer who travels home to New Orleans with his wife Lily to visit his elder sisters Carrie and Anna. Carrie and Anna dote on Julian, with Carrie being especially ecstatic over and obsessed with him. He hasn't been back for months, and the two sisters are confident he has squandered all his money, as he has done so many times before. However, this time, Julian arrives mysteriously in the black, flush with cash and bearing many gifts. This doesn't sit well with Carrie, and Lily has her own reasons to be suspicious of her husband. Though all seems to go well for a while, the ultimate ramifications of Julian's arrival prove to be unexpected and devastating, in George Roy Hill's 'Toys In The Attic.'

Based on the play of the same name by Lillian Hellman, 'Toys In The Attic' is a lightweight Tennessee Williams style melodrama that entertains, though doesn't break any particularly new ground. With a screenplay by James Poe, the narrative is sadly predictable and underwhelming, featuring many 'Southern' cliches and derivative scenarios. Some of the characters are very obviously and poorly written, with motivations so thin they make cigarette paper look hefty. Additionally, the dialogue rarely if ever rises above the level of a soap opera, and twists introduced throughout are ham-fisted and foreseeable.

All that said, there is a realistic relationship in the film featuring two interesting characters that impresses greatly; that of Julian and Anna. Their relationship is utterly believable and a fine example of good, understated screenwriting. One doesn't need- or get- extraneous information regarding their feelings for one another or their past experiences, which makes the characters' evident bond so natural and impressive. Contrasted with the character of Carrie- for whom Poe consistently over-writes- or that of Lily- for whom Poe underwrites- Julian and Anna stand out as impressively rounded cinematic creations who interact with one another in a credible fashion.

On the technical side of things, 'Toys In The Attic' has a few elements worth mentioning. Joseph F. Biroc's cinematography is subdued and mutedly artistic. There are some shots that will stick with you, such as Biroc's framing of a fight in a warehouse from the latter half of the picture, which brims with tension and compositional intrigue. Additionally, Victor A. Gangelin's evocative set decoration lends to locations an aura of authenticity, while Bill Thomas's costume design is striking and impressive work. George Duning's sweeping, melodic score is also of note, which brings additional drama to the proceedings.

'Toys In The Attic' boasts an all-star cast, headed up by Dean Martin as Julian, a role originated by Jason Robards on stage. Martin plays the character as a good natured, unlucky fellow who honestly tries to do the right thing. One of the warmest, most genuine figures ever in entertainment history, Martin's magnetic screen presence threatens at times to run away with the film; and is easily the strongest selling point 'Toys In The Attic' boasts. He delivers a towering performance of depth and emotional volubility, proving once again that he could handle dramatic roles with ease.

Co-starring as Carrie and Anna are Geraldine Page and Wendy Hiller, respectively. While Hiller masterfully underplays the role of Anna, Page goes rather over-the-top, over-doing the Southern accent and emotional volatility inherent to her character. Hiller, like Martin, steals the film with her natural approach, range and poise. Page minces around like Elizabeth Taylor from 'Hammersmith Is Out,' playing the role at such a heightened level that one wonders whether or not she thought the material was intended as parody. Yvette Mimieux also stars, as Lily; though leaves such a minute impression she may not have been there at all.

'Toys In The Attic' is a bit of a mixed bag at the end of the day, an obvious melodrama featuring elements both over-the-top and understated. Though Dean Martin and Wendy Hiller turn in powerful performances worth remembering, Geraldine Page and Yvette Mimieux unfortunately counterbalance their brilliance with their less than stellar efforts. Additionally, the dialogue is often ridiculously cliched and the narrative is essentially predictable and derivative. In short, 'Toys In The Attic' is a muddled drama featuring inconsistent playthings; some of which will provide you immense entertainment value, and some of which you wish never came out of the toybox.