Thé et sympathie

This film came to audiences at a rather schizophrenic time, things were changing, but not that much. Roles were assimilated, but not too drastically. People were questioning things, as long as it wasn't radical.

Women were still patronized, there were still clear role boundaries (witness the scene where Tom is knitting and catches derision for spending ten minutes in a sewing circle.) Not sure why that was a crime of the century, but whatever.

Deborah Kerr is tender and memorable as an unhappy wife to the school master at a prep school who realizes her marriage is a sham. She realizes this when she sympathizes with a student and resident at her home, a confused young man who simply is shy and has doubts about his future. There are some nuances regarding sexuality, but in all honesty that was a side-story, from what I inferred.

The message I take away from this film is not simply about ostracism and hatred; Minnelli as director also addresses female emotion, the reasons why Kerr empathizes with the young man, and how he eventually moves on. In the long rung, it is life affirming, although rather opaque in its message.

Discrimination and hatred take many forms, and sometimes the subtler forms are most repellent. Highly recommended. 8/10.

Conformity is a drag, especially when it's imposed on someone. That is the theme of this movie. It's no joke being the target of a smear campaign, especially when the smearing is groundless. Overall, this is a good movie. John Kerr and Deborah Kerr give excellent performances as two persons who discover that they have a lot in common. Metaphors abound in this movie; characters take on sociological meaning. The movie is both subtle and powerful. The movie portrays the kind of repressiveness that can literally drive one to despair. Of course, being based a stage play, the movie itself is also stagy. Nevertheless, the actors succeed in bringing the story to life. Although the story revolves around the relationship between a married woman and a young teenage boy in a boarding school, it is more about the woman and less about the boy who is an instrument through which the woman gets in touch with her own feelings. The movie deals with this storyline in a forthright manner and for that reason alone this movie is worth watching. Kudos to Deborah Kerr for a marvelous performance.

Those who had the good fortune to see Deborah Kerr onstage in the Elia Kazan production of "Tea and Sympathy," will attest to her unforgetable performance. Kerr not only played it on Broadway but also toured with it, a treat for all attendees. Now nearly a half century later, her performance on film, which was very much influenced by her stage style, begins to show a little wear around the edges. It must be difficult to change one's approach after having played a role so successfully night after night. In this case, her inflections, accents, phraseology, pauses, gestures and the like are essentially theatre-based, designed to play to the whole house up to the balcony. In the intimacy of film, this becomes a bit much in the long run, and results in a much more broad, deliberate and stylized Kerr than in any of her other film work. Her character tends to emerge now more as a busy-body, snooper, peeping tom than was ever intended, and certainly it did not come across that way when the film was first released. A landmark film of sorts--for a major studio to tackle a sensitive subject in a major production--"Tea and Sympathy" benefits from a sincerely written script by Robert Anderson, solid direction by Vincent Minnelli and a secure supporting cast. Visually Deborah Kerr is beautiful, and is totally committed to both the play and her role. During her lengthy film career, Kerr certainly contributed a wealth of finely crafted performances.

The seventeen year-old Tom Robinson Lee (John Kerr) lives in a boarding house owned by the headmaster and coach Bill Reynolds (Leif Erickson) and his wife Laura Reynolds (Deborah Kerr). Tom is a sensitive teenager that was raised by his maid since his mother died when he was a child and his estranged father Herb Lee (Edward Andrews) was absent. He likes flowers, tennis, classical music, theater and other intellectual activities while his mates prefer sports and talk about women. One day, his roommate sees Tom with Laura and two women sewing on a button on a shirt on the beach and call him "sister-boy", turning his life upside-down.

"Tea and Sympathy" is a sensitive film based on a stage play. The twenty-five year-old John Kerr performs the role of a teenager questioned of his masculinity by his schoolmates, the headmaster of his school and his own father in a machismo society. Deborah Kerr is excellent as usual in the role of a woman that is neglected by his husband and understands the feelings of Tom Robinson Lee. The color is funny since Laura´s car changes color from green to blue. My vote is seven.

Title (Brazil): "Chá e Simpatia" ("Tea and Affection")

"Tea and Sympathy" will offend many forward thinking people, but it is historically important. It provides good perspective for comparing the early twenty-first century to 1956--the time when this movie was made. The film is representative of people's sentiments during the 1950s. I came of age during this time as an effeminate lad who could not even talk with his parents about the stereotyping I experienced in grade or high school. Kids were cruel; so were many adults! Everyone needs a good dose of history, and this film provides it. Students of Gay and Lesbian Studies or film studies need to see this movie. No this is not a happy film, but neither is "Brokeback Mountain," which was set in the 1960s. "Tea and Sympathy" will not thrill anyone who prefers to forget unpleasant eras of history.