La nuit de l'iguane

The Night of the Iguana is a fantastic piece of drama that examines the human condition through a brilliant script adapted from Tennessee Williams' play of the same name.

From the arresting opening to the heart-warming ending (well, near-ending), this classic motion picture directed by John Huston will have your attention in it's grasp and won't let go until it's finished mesmerising you with all its beauty. I say 'beauty' because not only does the film feature the beautiful Ava Gardner and Deborah Kerr but also has some of the crispest black and white film photography I've seen in classic film to date. Every shot whether it's in the crummy old bus or on a cliff looking down in the cradle of life, looks magnificent on screen and gives the film a fresh feeling and tone throughout.

As can be expected from a film adapted from a Williams play, the writing and dialogue present is criminally witty and charming, often showing it's intelligence but always in the background, never destroying the real focus of the story being the characters. The cast all bring their characters to life magnificently too, giving fitting performances to their already well developed and insightful characters. Reverend Lawrence Shannon in particular is one of the most interesting and versatile characters I have ever seen in a movie, often moving between emotions and mind states faster than he can drive a bus, but never without cause and always with focus.

The plot to the film is admittedly very much on the thin side but nevertheless more than makes up for it with thought provoking themes and dialogues that fill in the spaces where such action may have otherwise been noticed as missing. There was a couple of other little problems I had with the story including the sometimes slow pace and the contrived ending or epilogue as I like to refer to it. However, these aspects don't do much damage to an otherwise perfect and timeless classic.

With an intelligent insight into the human condition, loneliness and the overwhelming need to love and be loved, this has to be one of the best pieces of classic cinema I have seen to date. In the end, The Night of the Iguana should not be overlooked and I recommend it to everyone who really enjoys good film.

Flamboyantly flawed characters are Tennessee Williams' oeuvre, and I doubt if any of his plays has more of them wallowing in their debilitated states of psychological disrepair than "The Night of the Iguana". This richly acted 1964 adaptation directed by the estimable John Huston has its share of excesses, veering wildly from melodrama to black comedy, but they are all for the sake of illustrating Williams' broader themes of alienation and redemption while screenwriter Anthony Veiller stays true to the playwright's Baroque flourishes.

The protagonist is Reverend Dr. T. Lawrence Shannon, defrocked from his church in Virginia for an indiscretion with a young girl. He desperately takes a job as a tour guide for a group of spinster teachers from Texas headed by the belligerent Miss Fellowes. Vacationing in Puerto Vallarta, they end up shanghaied by Shannon to a dilapidated beach resort run by his old friend and lover, the hedonistic slattern Maxine Faulk. Enter a caricature artist named Hannah Jelkes and her poet grandfather, penniless travelers who find themselves drawn by fate to the resort. Complicating matters among the tour group is a nubile blonde named Charlotte, as she tempts Shannon to repeat his previous misdeeds. His unrepentant desires all come to a head when Hannah and Maxine tie him to a hammock, and a series of cathartic moments occur among the principals.

Richard Burton is ideally cast as Shannon, as he seizes the screen with his Shakespearean voice and increasingly manic behavior. With her trademark gentility, Deborah Kerr brings a curious mix of hucksterism and guile to Hannah, but it's Ava Gardner who gives her career-best performance as Maxine - brash, funny and undeniably sexy surrounded by her maraca-shaking beach boys. Having just read Lee Server's illuminating biography of the tempestuous star, I get the strong impression that the character mirrors Gardner's real-life persona to a T. The last act, which highlights the thematic dynamics represented by Shannon, Hannah and Maxine, shows the actors in peak form. Sue Lyon plays Charlotte in her most appropriate post-Lolita manner, and Grayson Hall does her best to avoid the gargoyle-like caricature that Miss Fellowes represents. The one casting flaw is the wooden Skip Ward, a Troy Donahue look-alike, as the tour group assistant.

Better than what he did with Arthur Miller's "The Misfits" three years earlier, Huston does an impressive job balancing all the disparate elements without falling into the trap of making it too campy, even if the chorus-like beach boys do seem silly in hindsight. Gabriel Figueroa's crisp black-and-white photography is effective, though it is the one Tennessee Williams-related work that I wish took advantage of the colorful flora and fauna of the area. The 2006 DVD offers a couple of worthwhile extras - a vintage short, "On the Trail of the Iguana", which has interviews with cast and crew and give a sense of the paparazzi blitzkrieg surrounding the stars, especially Burton who was then living with Elizabeth Taylor before her divorce from Eddie Fisher was final; and a recent, more academic featurette, "Huston's Gamble" with comments from film historians on the movie's impact.

This film, all and all, only gets better with each viewing. I first saw it as a child, and thought it odd and amusing. Yet even then I sensed something magical was going on in it, though I lacked then the adult realism to penetrate the world of Tennessee Williams. Subsequent viewings have only reinforced my feeling that this film may be the greatest film of the twentieth century. I say that not because it is an epic, or because William's play is so grand, but just because this play seems to so perfectly capture the age in which we live. We live, just as the Reverend Shannon does, torn between the desire to believe in an absolute, and the perils of such belief, between a reductionist 'realism' and an equally reductionist indulgence. The actors Kerr, Gardener, and especially Richard Burton, have sensed this, and their roles are so nuanced as to make one believe that what one is seeing is REALITY and not a theatrical performance. The emotional climax of the film comes at the moment when the old poet completes his poem and asks over and over again, in a paroxysm of painful joy---"Is it good? is it good?"---- Then he dies. Only the genius of Tennessee Williams come make such melodrama seem utterly convincing. For the artist who wrote this play has been complimented by the artists who directed and acted it. Great art leaves everything opened but nothing settled--- creating the sense that justice has been fully achieved. Here, all too rarely for the art of cinema, both grace and justice have indeed been fully achieved.

A sultry and marvelously atmospheric screen adaptation of the Tennessee Williams play.

Richard Burton plays a defrocked priest who holes up in an isolated Mexican hotel with a group of religious biddies for whom he is serving as tour guide. The group's leader, a strident harpy played by Grayson Hall, wants to report Burton to the authorities for his inappropriate behavior with her young charge, played by the flirty Sue Lyon (yes, of "Lolita" fame). In response, he practically takes the women hostage, disabling their vehicle so that they can't leave the hotel. The hotel's owner, played by a sexy Ava Gardner, is an old friend of Burton, and she becomes a sort of accomplice to his actions. Williams uses the tension created by this situation and these characters to explore the dark nights of the soul that each of us is bound to go through at one point or another in the course of our lives, and the salvation humans can find in one another.

I'm not sure how closely the film follows the original stage play, but as presented here, this is one of Williams' more hopeful and optimistic stories. Richard Burton and Ava Gardner share some sweet moments, during which each allows him/herself to be emotionally vulnerable to the other, and receive some solace from the interaction. And there's a wonderful character played by Deborah Kerr, a spinster painter who shows up with her doddering grandfather in tow and whose vague past hints at some dark nights of her own. She is able to help the Burton character learn how to navigate his crisis and emerge relatively unscathed on the other side.

The film is directed by John Huston, and it takes a pretty frank approach to some of the dicey subject matter, a much more frank approach than some of the other Williams adaptations that had been made into films around the same time as this one.

Grade: A

It's a shame that Richard Burton never played Shannon in "Night of the Iguana" on stage - ditto Deborah Kerr and Ava Gardner - because all three are perfect casting for Tennessee Williams' wonderful play, on which this film is based.

The story concerns a man of the cloth - well, sort of - Shannon, who, after an accusation of fornication and the nervous breakdown that followed, is locked out of his church and forced to take work as a tour guide for a cheap touring company.

He is taking a group of Baptist women through Mexico showing them religious places when, while fighting off the advances of an underaged girl on the trip (Sue Lyon), he is accused by her chaperone (Grayson Hall) of giving into them.

In order to keep her from reporting him to the tour company, he steals the bus distributor and holes up with them at the hotel of his friend, Maxine (Gardner). It is there that he meets the gentle artist, Hannah Jelks, and her aged poet grandfather Nonno.

Under a dark Mexican sky, as an iguana being fattened for dinner is tethered below, the three confront their demons.

Knowing the actual play as well as I do, and having seen it performed, it's a little hard for me to judge this film, except that the acting across the board is marvelous. Gardner is fabulous as Maxine, the no-nonsense, earthy owner of the hotel who hankers after Shannon and isn't above a little jealousy.

This is a role originated on Broadway by Bette Davis. It is rarely cast with someone as sexy and beautiful as Gardner, but those qualities make great additions to the role.

Kerr as the spinster Jelks, facing a life of loneliness once her grandfather dies, is exquisite in the role, bringing to the role an analytical quality that normally isn't as apparent.

Shannon could have been written for Burton - funny, drunk, with an underlying kindness, he is handsome, spirited, and a little nuts.

The additional characters of the underaged girl and the bus driver seem unnecessary additions, though Lyon was very good in a well-written role. Grayson Fall was great, but why was the recurring line she yells at Shannon - "Please take your hand OFF my arm!" removed from the script?

Somehow the stage version is funnier and moves faster, though if you haven't seen it, you will still find this version amusing in sections and thought-provoking in others. The ending is changed as well.

The play is a little heavier, a little more compelling, a little sadder, a little better and, naturally, pure Williams. But you couldn't ask for a better cast.