User reviews

Paul Newman is outstanding as the ultimate gigolo gold-digger. This movie also features the quintessential "Heavenly" daughter/ big bad daddy performances by Knight and by Begley, who is frighteningly effective.

Geraldine Page is perfectly imperfect and unattractive- remember she is this way for dramatic effect. You aren't supposed to like her. Anti-heroes and character studies were really featured in that era's plays and films. Such characters don't have to be likable and seldom are. Wonderful 1960's actresses Mildred Dunnock and Madeleine Sherwood also give their usual gem-like performances.

If you want to see what 1960's-style movie-making was really all about, view this one. Sure it is uneven and maybe a little old-fashioned by today's standards, but you can get an idea of why some of us are nostalgic for a decade that is known for big changes in movies, but otherwise somewhat forgotten. Here you get a good dose of the cynicism and fine acting of the 60's but without the annoying pretentiousness that was so prevalent in films of the era.

Also, you don't have to be familiar with the stage play or Tennessee Williams in order to appreciate this movie-making effort by Richard Brooks.

Directed by Richard Brooks (Elmer Gantry (1960)), who also wrote the screenplay for this Tennessee Williams play, this above average drama with Paul Newman in the title role features Ed Begley's Academy Award winning Supporting Actor performance (on his only nomination). Geraldine Page received a Best Actress nomination, and Shirley Knight (The Dark at the Top of the Stairs (1960)) received her second Best Supporting Actress nomination.

Paul Newman plays a former young stud who returns to the Southern town of his youth after years of failing while attempting to make it as an actor in the movies. He's got a former, frequently drunk and/or high, aging actress (Page) in tow. As her gigolo and driver, he's still trying to use her to get what he wants in the film industry, trading on his looks and sex for her connections. Once home, however, he seeks out his former girlfriend (Knight), who happens to be the daughter of the biggest man in town, and one of the biggest in the whole state, Tom 'Boss' Finley (Begley). Finley more or less ran Newman's character out of town all those years ago and, with help from his son Tom Jr. (Rip Torn), won't hesitate to do it again. I won't spoil the reason why, nor reveal what happens in the end. Though neither is pleasant, it's the kind of delicious just desserts that Williams always has for his flawed protagonists. Begley is terrific as the hypocritical moralist, and Page is a kick, especially after her character regains her self- confidence. Madeline Sherwood plays 'Boss' Finley's mistress and twice AA Supporting Actress nominee Mildred Dunnock plays his sister.

Chance Wayne (Newman) has only one talent—sexual prowess—and he's been bumming around for several years, satisfying rich women in the hope that he can find fame in Hollywood…

He picks up a faded screen star, Alexandra Del Lago (magnificently played by Geraldine Page), who takes constant refuge in vodka, hashish, oxygen masks and young studs… She promises to get him a movie contract, and they drive to his Southern hometown, where he plans to find his sweetheart, Heavenly Finley (Shirley Knight), and take her along to Hollywood… He doesn't know that on his last visit he left her pregnant, that she had an abortion, and that her father, the corrupt and vigorous politician Boss Finley (Ed Begley), is out to get him…

Through a strong, powerful performance, Newman managed to be a celebrity—dropping names, giving large tips, arrogantly stating: "Just because a man's successful doesn't mean he has to forget his hometown."

He's also extremely sneaky and gently tolerant, as he charms Alexandra while recording what she's saying for blackmail purposes… But he's finally pathetic: a desperately insecure man, addicted to amphetamines, attending to Alexandra and performing as a lover at her whim… His mask of swaggering bravura really disappears when he tries to see Heavenly… He becomes confused and desperate—walking with regular steps, rubbing his hands together, pleading urgently over the phone

Highflying melodrama permeates this Tennessee Williams play converted to film by Director Richard Brooks. What makes this Southern soap opera fascinating is the cast of tawdry characters, beginning with Chance Wayne (Paul Newman), a charming, ambitious gigolo who, despite his best efforts, can't quite make his worldly dreams come true.

But this time he's got a real plan for success. Chance returns to his hometown on the Gulf Coast, bringing with him a boozed-out, high-strung movie star named Alexandra Del Lago (Geraldine Page). Chance hopes to grab his hometown girlfriend, Heavenly (Shirley Knight), and the three of them skedaddle off to Hollywood, so that Chance can make it big in the movies, with the help of Alexandra, of course. Thing is ... Alexandra is so spaced out, she can't remember who Chance is, or where she met him.

Chance's homecoming is anything but cordial, mostly because of the influence of Heavenly's dad, 'Boss' Finley (Ed Begley) who, along with Finley, Jr. (Rip Torn), has it in for Chance. Complicating matters even more is Miss Lucy (Madeleine Sherwood), 'Boss' Finley's mistress whom Heavenly can't stand.

Having originated as a stage play, the film takes place mostly indoors, and is very talky. But the Tennessee Williams dialogue is predictably incisive, with commentary both on the whims of success and on the fleeting nature of youth.

By far, my favorite element of the film is the deliciously overwrought performance of Geraldine Page. With her distinctive voice, her mannerisms, and her stunning acting ability, she chews up the scenery and then some, overpowering everyone and everything else. No actress could have been more credible in the role of Alexandra, an almost comical character, whose firmness, vanity, self-centeredness, and dramatic flair make her both weak and strong at the same time.

Although flashbacks tend to disrupt the flow, the film's screen story is otherwise very good. With great performances from multiple actors, excellent color cinematography, and an appropriately jazzy/blues score, "Sweet Bird Of Youth" is a film treat, in the grand tradition of cinematic melodrama.

Tennessee Williams's play is adapted for film by Director Richard Brooks. A wonderful cast brings this dramatic Southern soap opera to a sublime level the lead role of Chance Wayne given a sizzling performance by Paul Newman, a conniving, charming gigolo who keeps trying - and failing - to succeed at his chosen profession.

Chance returns to his hometown towing a has been drug addicted alcoholic movie star, Alexandra Del Lago (Geraldine Page). Chance comes with the purpose of taking his old love, Heavenly (Shirley Knight) away from her obsessed father, 'Boss' Finley (Ed Begley) so the three of them can hit Hollywood together and Alexandra will help him get his first big break in the movies.

Chance's homecoming goes off like nothing he has planned, he left a lot of damage when he took off before. Heavenly's dad, who, along with Finley, Jr. (Rip Torn), has a burning hatred for Chance along with a plot for revenge.

The film does not evolve much from the stage play and appears stagey throughout.

Geraldine Page is the only one who transferred from the original play to the film and her performances is completely overwrought but she manages to carry it off and steals every scene she is in. She puts one in mind of Gloria Swanson in Sunset Boulevard. The part of Alexandra is made for her.

There is a beautiful score and Paul Newman is stunning in the role.

The only complaint I would have (and thus a lower rating of 7 out of 10) would be the significant change both to the story of what happened to Heavenly after Chance disappeared the first time and to the ending of the film, due to censorship rules. Far far more heartbreaking and tragic than depicted here.

And it is such a shame we will never be able to see the alternative ending with this incredible cast. In my opinion it would have put the film into the all time great list.

7 out of 10. A must-see.

There are numerous qualities that make SWEET BIRD OF YOUTH a stellar film, starting with the tremendous source material. Williams' tale of fading film actress and princess-by-marriage Alexandra Del Largo escaping Hollywood after a failed comeback attempt and being taken advantage of by aspiring actor/gigolo Chance Wayne is full of ripe drama, all of which is fully exploited by the 1962 film. Williams' typical subplots of southern hypocrisy are also well incorporated into central story by director/screenwriter Richard Brooks (who also helmed 1958's sensational CAT ON A HOT TIN ROOF), and actually heighten the tension of the piece. Even with the censorship of early-sixties cinema (including an unnecessarily re-written ending), Brook's SWEET BIRD OF YOUTH still packs a mean punch.

Also crucial to the film's success is casting. No matter what film you're watching, you can always depend on Paul Newman to deliver the goods (which is precisely why he remained a top box office drawl up through the mid-eighties), and he gives one of his absolute best performances SWEET BIRD. Newman had originated the role of Chance in the original stage production, and his immortal screen performance of the role has clearly benefited from the hundreds times that he had previously played the role on stage. Arrogant, masculine, and painfully gorgeous, Newman nearly incinerates the colloid! Also returning from the original stage play is Geraldine Page as Alexandra, the ultimate boozing, wash-up actress. Page is nothing short of sensational – a true thinking, feeling, conflicted woman who is desperate to run away from her problems, but completely uncertain of her next move. Alexandra is vain, insecure, and even comedic at times, and Page finds the perfect balance in her portrayal, as she understands that the very qualities that make Alexandra so strong is also what causes her to be weak. Page won a well-deserved Golden Globe for Best Actress in a Drama, but lost the Oscar to Anne Bancroft for her tour de force performance in THE MIRACLE WORKER - seeing that both performances are so phenomenal, I would venture to say that the votes for both awards were probably mighty close.

The rest of the cast is no less impressive. Ed Begley won a Supporting Actor Oscar for his role as 'Boss' Finely, and it is refreshing to see the actor let loose in a vile performance without any obvious apprehension. Rip Torn and Mildred Dunnock are great in supporting bits, and Oscar-nominated Shirley Knight is hauntingly lovely as the appropriately named "Heavenly." Director Brooks also makes excellent use of the widescreen frame, composing many exceptional shots that are all but destroyed when the film is altered from its original Panavision format.

Certainly some viewers will carp about the re-written ending (the studio demanded that things end "happily") as well as the removal of such hot-button topics as abortion and castration to appease the censors, yet none of these omissions dramatically affect the film. Even though he caved in to the studio in terms of the finale, director Brooks must be given credit for focusing on the characters and dialogue and avoiding the temptation to "dress" the play up for movie audiences. The film is firmly planted in its central relationships, and this is what carries the day. No matter how censorious the Production Code may have been, no one could mask the white-hot dynamic between Newman and Page.

Geraldine Page, Paul Newman, Madeline Sherwood and Rip Torn all recreate their Broadway roles for the film version of "Sweet Bird of Youth," a 1962 film based on Tennessee Williams' play and directed by Richard Brooks.

Again and as usual, some bite has been taken out of the original story in order to get past the censors.

Geraldine Page is the drunk, drugged and over the hill movie star Alexandra del Lago, who has picked up with a Hollywood gigolo, Chance Wayne and promised him a film career. At present she's escaping from what she perceives as a disastrous comeback.

Chance returns with her to his home town, yearning for the respectability and success that has eluded him. Instead he runs into trouble from his ex-girlfriend's crooked politician father, Tom Finley (Ed Begley) and Finley's son, Tom Jr. (Rip Torn) who want him out of town because of what happened to Heavenly (Shirley Knight).

In the play, Chance has given Heavenly a venereal disease; in the film, she's had an abortion. Chance desperately tries to see and speak with Heavenly, appealing to her Aunt Nonnie (Mildred Dunnock), but it leads to more trouble than he bargained for.

Page is a powerhouse as Alexandra, more glamorous than we're used to seeing her and as sloppy a drunk and druggie as you'll ever find. Alexandra's a selfish user, and she's got the technique down pat.

The role of Chance, another selfish user, came fairly early on in the handsome Newman's career - he came very close to being typecast as these fast-talking amoral men. In those days, Newman struggled with a lack of emotional availability and these roles fit him beautifully.

Thankfully he grew to encompass parts in films such as he had in "The Verdict" and became one of our greatest American actors.

Madeline Sherwood, so effective in "Cat on a Hot Tin Roof," is equally good here as Boss Finley's girlfriend; her scene with Begley in her hotel room is truly terrifying.

Begley is fantastic, mean as dirt, as is Torn as his equally cruel son. And "Desperate Housewives" fans will be interested to see a slim, pretty Shirley Knight as Heavenly, a somewhat vapid role for such a strong actress.

The DVD has a screen test for Chance by Rip Torn, who would later marry Page. He and Page perform a scene between Alexandra and Chance from the play - though the scene is in the film, it has been changed slightly. It's total stage acting, quite different from the film, but both are excellent, Torn giving Chance a lot of intensity.

Though in those days he was very good-looking, he probably didn't come off as enough of a boy toy for the producers. It's a very interesting extra and well worth seeing, as is this somewhat watered-down "Sweet Bird of Youth."

In Sweet Bird of Youth, Paul Newman reprises his stage role in Tennessee Williams's play. If you've never seen a Tennessee Williams story, or if you're not used to play-to-movie adaptations, this isn't the best one for you to start with. It's very wordy, very slow, and very obvious it was written for the stage.

Newman plays his specialty: a bad boy who comes back to his hometown and stirs up trouble. If you're a fan, you won't be disappointed by his performance. He's been away, trying to make it as a Hollywood actor, and when he returns, he brings a has-been, booze-soaked older actress with him. Geraldine Page plays her specialty: just shy of crazy. She vacillates between losing her mind and taking the audience down with her, and realizing how pitiful she is and gaining the audience's sympathy.

A young and beautiful Shirley Knight enters the picture as the girl Paul Newman left behind. She's sweet and lovely, and ironically named Heavenly. For those of you who know Tennessee Williams, you know this story will be tragic. The dramatic setup is intense, and the title hints at sadness. It's not the best movie, and at times it's hard to watch, but if you like this genre, you'll want to add Sweet Bird of Youth to your list.

Tennessee Williams wrote a terrific Paul Newman and Geraldine Page vehicle in this 1962 top-notch production.

Newman is certainly Chance Wayne. He hits every emotional height in the role of a hustler trying to outfox an aging movie star, Alexandra Del Largo, played to the hilt by the fabulous Geraldine Page. This is another super performance for Page and Williams seemed to enjoy writing for her as addicted person in both this film as well as "Summer and Smoke" the year before.

Ed Begley won the Oscar for his sensational portrayal of an extremely ruthless southern politician who has got it in for Newman for getting his daughter, Shirley Knight, into trouble. Begley knows how to handle that cane for more than just walking.

Mildred Dunnock plays her usual soft-spoken but wise sister-in-law to Begley.

Rip Torn, son of Begley in the film, is menacing due to his dominance by his outrageous father.

Madeleine Sherwood, who costarred with Newman in 1958's "Cat on A Hot Tin Roof," is terrific as Begley's tormented mistress who manages to turn the tables on this vicious character at the end.

Even though this film version of Sweet Bird of Youth was compromised by Hollywood's Almighty Code in its last days, there's still enough of Tennessee Williams's drama to enjoy and savor.

A lot of the cast like Paul Newman, Geraldine Page, Madeline Sherwood and Rip Torn came over from Broadway. That certainly helped, no doubt about it. They and the new cast members make extra base hits every time they're at the plate.

One of the new cast members, Ed Begley who took the place of Sidney Blackmer as Boss Finley and won an Academy Award for playing Boss Finley. This is hardly new territory for Begley, playing the rapacious and lustful town boss, he's certainly done these kind of parts before. That experience is probably what got him the Oscar. Begley had some stiff competition that year with Telly Savalas from Birdman of Alcatraz, Victor Buono from Whatever Happened to Baby Jane, Terence Stamp for Billy Budd and Omar Sharif for Lawrence of Arabia.

Finley is one evil dude, quite along the lines Sidney Greenstreet in Flamingo Road. It's a part I could see Greenstreet doing with relish. What he threatens to do to Paul Newman and what actually gets done is the letdown ending of the play.

Richard Brooks directed and adapted Tennessee Williams's play for the screen. Brooks started out as a writer and later branched into directing. Into his hands came the changes described above. Another big compromise was exactly the nature of the disgrace Paul Newman left with the Finley family over daughter Shirley Knight.

Newman plays Chance Wayne, would be actor and now just kept boy toy of fading film star Alexandra Del Lago who is Geraldine Page. Her character is remarkably similar to Vivien Leigh's from that other Tennessee Williams work, The Roman Spring of Mrs. Stone. She turns out to have more character than originally thought.

Newman arrives in his hometown in Florida where Ed Begley and his family reign supreme, presumably under the protection of Page. But he's got to see Knight and explain he's finally going to hit it big. The scheme involves a little blackmail on Page. That doesn't deter Ed Begley and his son Rip Torn. They will avenge the family no matter what.

Even with the changes for the screen, Chance Wayne maybe the sleaziest character Paul Newman ever played or possibly Tennessee Williams ever wrote. Newman wants to be a film star and wants to do it the easy way. If he's got any acting talent that's besides the point.

Tennessee Williams was not as far fetched in his character as you might suppose. One does wonder who among our Hollywood hunks might have taken the road Chance Wayne tries, even part of the way.

Page and Knight were nominated for Best Actress and Best Supporting Actress, but both lost to the duo from The Miracle Worker another Broadway play, Anne Bancroft and Patty Duke respectively.

Maybe at some point we'll see a faithful version of Sweet Bird of Youth and you can see the kind of compromises Brooks made. Until then, this one will do nicely.

SWEET BIRD OF YOUTH may not rate with such Tennessee Williams masterpieces as A STREETCAR NAMED DESIRE and CAT ON THE HOT TIN ROOF, but it's still a top flight piece of entertainment capturing A LOT of great acting. As ne'er-do-well Chance Wayne, Paul Newman creates one of the most memorable of the callous, self-serving characters he would play throughout the '60s. Returning to his hometown as a self-anointed hero, he's pathetic. With fallen movie queen Geralding Page in tow, he sets his sight on the girlfriend he corrupted. As Heavenly Finley, Shirley Knight is heartbreaking. Page and Knight play polar opposites --- Page is a vain, desperate diva while Knight is all inner turmoil...in fact she appears to be trying to turn herself inside out from the shame she feels. Ed Begley plays Knight's father, the ruthless and corrupt "Boss" Finley. Begley had a lot of good roles in his long film career, but this takes the cake. He's rotten to the core. The film is mostly studio bound, but that only enhances the stylish direction by Richard Brooks. The classy supporting cast includes Rip Torn as Boss Finley's degenerate son, Tom Jr., Mildred Dunnock as Newman's unlikely ally and Madeline Sherwood as a vindictive good-time girl.

If you are a Paul Newman, (Chance Wayne) fan, this is the film for you, he was young and at the height of his career and gave an outstanding performance. Chance Wayne plays the role as a young man who starts many careers and never seems to get anywhere at all. Chance decides he wants to go to Hollywood, however, he has a girl named Heavenly Finley, (Shirley Knight) who he is very much in love with. Heavenly has a father named Tom Finley, (Ed Begley) who does not like Chance and he does everything in his power to keep this couple apart from each other. It is not very long when Chance returns from Hollywood with a burned out actress, Alexandra Del Lago, (Geraldine Page) who adds a great deal of comedy and romance in this film as well as, an outstanding performance. Enjoy.

Over-produced and watered-down version of Tennessee Williams' stage play features atrocious acting and patently cardboard characters and drama. Alexandra DeLago was the center of the play but, Richard Brooks, the scenarist and director, has allowed the stock supporting characters,political shenanigans, and crowds to take center stage;perhaps to justify the use of CinemaScope.

It's fun to watch Page tear into her role with such brio but, even she becomes somewhat irrelevant because she has so little to play against. Newman is wooden and unconvincing, and was much better a year later in HUD. Ed Begley's Oscar-winning caricature of wicked,impotent "boss" Finley is effective but, holds no surprises, and too much time is wasted on Shirley Knight(Heavenly) and Mildred Dunnock(Aunt Nonnie),who are dreary and largely expendable. The flashbacks feel superfluous, and the film feels longer than its 2 hour running time.

There is one memorable scene:Madeleine Sherwood's yowl when Begley shuts the jewelery case on her fingers. If you don't think this film is silly, then compare it with Billy Wilder's Sunset Boulevard(50)where the relationship between a faded star and the younger man she keeps is imbued with social, psychological, and human interest. Page's flamboyance, and what remains of Williams' dialog are the only justification for seeing this film.

Gerladine Page is truly magnificent in this picture. A great actress who died way too early. Her portrait of the drunk doped out film actress is amazing. Newmna, Begley, Knight are very good indeed but it is Page who is truly great. I never saw her give a bad performance. Thank goodness she won an Oscar just before she died. It was richly deserved.

All the movie versions of Tennessee Williams' plays are bowdlerised to some extent, but for some reason this one particularly grates. Perhaps it is because I am a spoiled brat who was lucky enough to see the famous stage version with Lauren Bacall directed by Harold Pinter. You were left in no doubt in the stage version that Chance did not stand a "snowballs chance in hell" (forgive the pun on balls and chance) when he sent the Princess on her way.

Still, the movie version has pace and charm. The thugs are heavy enough. Geraldine Page and Paul Newman are both superb. I have not yet seen Summer and Smoke but shall seek it out now having seen Page in this one. I think Paul Newman is better in this movie than he was in Cat on a Hot Tin Roof, although overall I rate "Cat" higher than this one.

The rally and the chaos arising from it all seems to happen a little too quickly in the film - of course it is incidental (offstage) in the play but it all seems to go haywire in the blink of an eye somehow.

Nevertheless this is ultimately a chamber play and the movie version, bowdlerised though it might be, is a good proxy, especially for those unable to see a good production on the stage.

Tennessee Williams was much more than a good writer, he was a man with sense to describe the misdeeds or wrong matters. The content of his novels is only comparable to Theodor Dreiser's ones.This film is a good example of Williams sense, and probably Paul Newman in the role of young Chance Wayne did not disappoint neither the director Richard Brooks nor Tenessee Williams. The film shows discrimination of rich over a poor guy, who was quite ignorant, but wanted to succeed as an actor in Hollywood. Instead he had to behave as Gigolo serving as a driver of famous actress, always far from his beloved girl due to the fact that she was rich and the daughter of city's major, while he was a nonety and poor. It is a kind of Romeo and Juliet but where money is the main limiting factor and not the rivalry of the families. Obviously his father wanted at any cost to prevent her to be with Chance. Certainly Tenessee Williams wanted to show the hypocrisy and false values of the medium where those persons were living, and he succeeded.

All the necessary superlatives have been used and rightly so. I wish to add that this film is a must for all thinking, feeling human beings. Geraldine Page is beyond all reasonable bounds of negative criticism, and almost above the highest extreme of praise. Her performance is from another world and is guided by her profound intellect and talent as an actress; artists rarely approach this level of control and mastery. All comments pertaining to a wooden performance by Paul Newman, must have been made by people who have no idea of the science of acting or of the process of characterisation, Newman has proved many times to be in control of his artistry and to a secure talent in the theatrical arena, in this work, he proves to be at the very edge of brilliance. Shirley Knight has come under attack for being vague and various other unflattering descriptions, watch her carefully here as Heavenly, think about Heavenly's upbringing, the home life the manipulation and the power base and scope of women generally in her generation and geographical placement, and think again! She has the character gripped with steel binding and she plays this sad, torn beautiful young woman with the greatest dignity and truth imaginable. Madeleine Sherwood and Rip Torn showing the world how character playing can be, and is, an art form in its own right when your head rules your ego and you realise that there are no small parts, only small players.

Ed Begley takes character playing to the stars here, with what is essentially a character lead role, where he is able to transcend the limited dimensions of even the wide screen, by not only projecting the threat and power of Finley, but his very breath and body odour, at the same time invoking loathing and even fear from his audience, Begley's playing is a model for all time, of how a real actor can take a worthy character right to the knife edge, even to the grave danger of overplaying, yet keep it in perfect control. Those who complain about the watering down of TW and the differences between the stage production and the movie are either disappointed that the movie could not have been more focused on the original text, or are just unaware or plain stupid. The movies must have mass appeal, or at least the next best thing, they are also subject to much stronger censorship laws than the legitimate theatre and producers and directors must do the best they can, even today; this was the 1960s

This Tennessee Williams film stars Geraldine Page and Paul Newman as a faded movie star and a gigolo. Ed Begley won a best supporting actor and Geraldine Page and Shirley Knight were also nominated. Paul Newman was shut out in the oscars. Let's just say if you like Tennessee Williams you're most likely going to like this movie.

"You will open only one door - the door to my car as my chauffeur. You will wake me in the morning as my butler or my lover, depending on what I want. In a few years, you will be through with your good looks and I will be through with you."

It's a glorious cast and they all lean in to these dark roles conjured up by, who else, Tennessee Williams, but this film was too overwrought and melodramatic. It starts strong, with criticism of corrupt politics and the hypocrisy of a conservative politician (Ed Begley) who touts theories about communists, thumps the Bible, and keeps a mistress. An "aging" strung out actress (38 year old Geraldine Page) is driven to town by a young man (Paul Newman) looking to use her to get into acting, as well as provide a way for him to whisk the politician's daughter (Shirley Knight). They were in love as teenagers but because he grew up on the wrong side of his tracks, the politician forced him out of town several times. It's in retelling all these incidents through flashbacks that the film begins to stutter. The script is cluttered with dramatic scenes, some of which work (often because of the acting), and others of which are silly.

One thing the film has going for it is Newman smoking a joint with Page before rubbing her down with papaya cream massage lotion and then having sex with her because she's craving it. If that scene doesn't make you smile and tell you the Production Code wasn't de facto dead by this point, I'm not sure what will. Then again, with the ending brightened significantly relatively to the play, there was still some unfortunate alterations going on, likely mandated by the studio. Let's just say the ol' "moneymaker" being referred to and damaged at the end was originally something else.

Newman and Page were at the height of their powers and wonderful here, and the supporting cast is strong as well, including Rip Torn as the politician's menacing son, who organizes youth groups that look like protean versions of the Proud Boys. All of these actors get moments to shine and scenes like the one towards the end where Page tells Newman off (where the quote at the top comes from) made me consider a slightly higher rating. It's just too uneven and overwrought, however, to truly love.

While my personal favourite of his work is 'Cat on a Hot Tin Roof', 'Sweet Bird of Youth' is still classic Tennessee Williams, one of the greats when it comes to play writing. It's powerful, highly compelling, intelligently written with rich and very real characters and very daring thematically (challenging themes to tackle not tackled many times beforehand in literature and not in this harrowing a way).

This 1962 film doesn't have quite the same amount of impact as the source material, but still adapts it respectably and is still a well worth watching film in its own way. The cast and performances alone are reasons enough to see 'Sweet Bird of Youth' in the first place and contribute heavily to its success. As far as film adaptations of Williams' work goes, it doesn't get much better than 1951's 'A Streetcar Named Desire'.

As an adaptation, all the themes (which is not only racism, which was not only very much present at the time it was also even worse than it is now, but arguably even bolder themes like male prostitution, substance abuse and castration) are intact, themes that made the source material and film ahead of their time. It does tone down these themes though when there was definitely room for more edge and there are parts that may seem muted today.

Other than that, my only real problem is the ending. It just comes over as too tidy and the tone of it jars with the tragic bleakness of the rest of the film.

'Sweet Bird of Youth' has so many things working in its favour. As said, the standard of the performances is exceptionally high. Don't use the term out of this world a lot, but this applies to Geraldine Page in one of Williams' most difficult roles, she doesn't just attack with gusto and utter committment but she becomes the character. Ed Begley is frighteningly malevolent in his Oscar winning turn, while Rip Torn is every bit as nasty. Paul Newman has even more intensity than he did in 'Cat on a Hot Tin Roof', while Shirley Knight is the very meaning of heavenly. Mildred Dunnock and Williams regular Madeleine Sherwood stand out too.

It looks great too, very beautifully produced in lavish colour, the photography also very easy on the eye. Richard Brooks' direction is distinguished enough, while the script crackles in tension and emotional power. Even though thematically it is muted in comparison to the play (the bleakness is far from toned down though), the story avoids being too overwrought or soapy. It still manages to be quite powerful and is elevated by the chemistry between the actors, especially that between Newman and Page which is electric in its best moments.

Altogether, very much well worth watching. 8/10

Director Richard Brooks adapted this Tennessee Williams play about a small town ne'er-do-well who returns home on the arm of a boozing, faded movie star, which quickly stirs trouble with the town locals who are in the midst of a political upheaval. Talky material goes mostly flat, yet does get a boost from the sterling cast (Paul Newman, Geraldine Page, Shirley Knight and Supporting Oscar winner Ed Begley). Censors were said to have removed much of the story's minutia for shockable 1960s audiences but, although this must have pained Brooks, he doesn't stage what's left with anything but melodramatic urgency. Remade (and improved) for TV in 1989 with Elizabeth Taylor as the actress. ** from ****