La Poupée de chair

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.

To me, Tennessee Williams was/is among the greatest playwrights of all time. His work is so entertaining and intelligently written with highly detailed characterisations that were often very personal and almost auto-biographical, also often bold thematically. Although not one of my favourites of his work, my personal favourite being 'Cat on a Hot Tin Roof' with equal love for 'A Streetcar Named Desire' and 'The Glass Menagerie', 'Baby Doll' has all of the above.

'Baby Doll' as a film was adapted by Williams himself, who also produced it along with director Elia Kazan, from his one act play '27 Wagons Full of Cotton'. While it won't work for everybody today, it was also controversial at the time in 1956 because of its themes which were very implicit and bold then, some finding it too sordid and distasteful although the high quality of the direction and acting weren't in doubt. 'Baby Doll' very much works for me, found it very interesting with so many high qualities that also make it a very good film.

Not quite great though. Part of me does wish that the supporting/secondary characters were more fleshed out and weren't limited to relatively small appearances, especially when the lead characters' writing was so meaty (perhaps close to being slightly too much so in the case of Archie). A bit of a big problem when that applies to most of the characters.

Do agree as well that the sound is poor.

Everything else though is very good to fantastic. Anybody expecting that a Kazan film would look great will not be disappointed, regardless of whether the film was a masterpiece, misfire or in between all his films were extremely well made visually. The photography especially is beautifully and effectively stark, which enhances the setting. The music is both haunting and sensual, totally in keeping with the atmosphere. Kazan's direction is never less than skillful throughout, it can be very wild (like the source material) and not very subtle (not inappropriate again), visually and dramatically but the visual style is perfect and the drama avoids over-heat and being static.

Williams' screenplay is unmistakable Williams, intelligent, witty, daring and rich in characterisation for the three leads, as well as wildly hilarious. He and Kazan, his favourite film-maker, also collaborated on 'A Streetcar Named Desire' and while this is not quite on the same level as that masterpiece one can recognise Williams' style clearly. One can say that it is talky, not a problem as Williams is talky and in a compelling way, dependent on of course whether it has a great cast delivering it well (which it usually is). On a story level, there are memorable scenes with the crib scene being especially unforgettable in every sense. With the scene on the swing being close behind. 'Baby Doll' is certainly not sordid or distasteful now, to me that is, but although toned down in comparison to back then (when it was very ahead of its time) it's hardly too tame, it's still very steamy.

All the lead performances are excellent, and also think the supporting/secondary cast do more than very well. Mildred Dunnock is a very powerful presence even when her screen time is not large, of the rest Williams regular Madeleine Sherwood fares best (debuting Rip Torn's, also became experienced in Williams, role is far too small to properly shine). Karl Malden has a ball in making Archie a wild character with a dark side. Even more so a chillingly calculated Eli Wallach in the most arresting debut performance in any film of any decade seen in a while. Then there's Carroll Baker who absolutely sizzles in the title role, even how hypnotic she looked drew me right in.

On the whole, very good. 8/10

This is a hilarious farce by Tennessee Williams, containing much self-parody. On one level, it can even be interpreted as a burlesque of his "A Streetcar Named Desire." "Stella!" becomes "Baby Doll!" If one cannot imagine the great dramatic playwright writing comedy, then this is the film to see.

Even the story is a mockery. A foolish old man, Archie Lee Meighan (Karl Malden), pretending to be a Southern gentleman, with a rundown plantation and a cotton gin, tricks another old man into letting him marry his comely teenage daughter, Baby Doll (Caroll Baker). He promises to renovate the old farm for Baby Doll and to buy her the world. She agrees if he swears not to touch her until her twentieth birthday. The foolish old man quickly becomes a laughing stock to both blacks and whites who live in the small community in the delta region (there's a sham sign posted in the general store that reads, "Buy Arkansas"). To insure his hold on the rather worldly, not so innocent Baby Doll, Archie Lee burns down his competitor's cotton gin. His competitor, a Sicilian named Silva Vacarro (Eli Wallach), becomes Baby Doll's Latin lover to get back at Archie Lee.

There are several memorable scenes in Elia Kazan's direction of Tennessee William's screenplay. The one that is most remembered because it created such a moral outrage at the time (even Baby Doll pajamas were marketed) shows Baby Doll lying in a baby crib, scantly clad in, what else?, baby doll pajamas, sucking her thumb and arousing all sorts of erotic sensations in the male observer. Another scene is one of the most laughable ever put on the big screen. Picture if you will Eli Wallach riding a hobby horse like a wild stallion while slurping lemonade from a pitcher, listening to "Shame, Shame, Shame" by Smiley Lewis on the record player. This is part of the mad Sicilian's seduction of Baby Doll in the most childish way conceivable, ultimately falling asleep in her baby crib with Baby Doll intoning to him a lullaby.

In classical dramas, tragedies naturally had tragic endings and comedies had happy endings. Tennesee Williams' travesty doesn't exactly have a happy ending, but it's not a tragic ending either, more of a postponement of things to come.

A personal note: I was twelve when "Baby Doll" opened in my home town in Arkansas. The churches and other so-called decency groups attempted to have it banned. There were even pickets outside the theater. Because of all the hype with pictures of Baby Doll flooding the media, I had to finagle a way to see it. Those under thirteen had to be accompanied by an adult (this was before the MPAA ratings system was developed--the PCA was beginning to bend its strict rules as American mores were changing. I mislead my dad, who paid little attention to movie previews, into thinking it was suitable for the general public. My dad attended the film with me and seemed to enjoy it as much as I did. He never told my mother about either one of us watching it.

I've seen quite a few films in my life, but none such as this. Elia Kazan's quirky, off-the-wall romp about revenge and justice in 1950's Mississippi is truly remarkable. The first time I saw this movie I didn't know how to take it; I turned on my TV one day right at the scene where Eli Wallach and Carroll Baker are upstairs playing hide and seek... It seemed disturbing, but something about it held my interest.

A second viewing of this film was powerful. Karl Malden is right on the money as the loud-mouthed, frustrated, alcoholic husband; Carroll Baker, brilliant (and stunning) as Baby Doll; but I have to say, Eli Wallach SHINES as Silva Vacarro. He is so smooth, calculated, and mesmerizing as the one who "does his own justice". Hard to believe he didn't win an Oscar for his performance.

It is worth noting Kazan's use of the extras in this film (most of whom are African-American). Often you'll see a man or two in the background or off to the side, observing the story as it unfolds; they are the silent and wise observers to the craziness around them. Like the scene where Karl Malden is yelling "Babeee Dolllll!!!!" from his car, and the men just sit there and watch him--you wonder what they're thinking.

A superb film! The dining room scene at the end is choice.