Tea and Sympathy

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.

It is true that this film, made in 1956, two years after it appeared on the stage, is dated. And it is true, in real 1950s style, the characters may seem very contrived, and the dialogue very scripted. But Tea and Sympathy tells a very real and poignant story and if you allow yourself simply to be swept up by that, rather than looking at the film in a sceptical and critical manner, you may actually enjoy it. John Kerr does a wonderful job of playing a teenage boy, Tom Lee, who cannot seem to fit in with those around him, and Leif Erickson does just as good a job portraying the schoolmaster Bill Reynolds, who sees being 'manly' as one of the most important things there is. And lovely, refined Deborah Kerr (no relation to John Kerr), in the role she played on stage, does an impressive job of portraying Laura Reynolds, the love-starved faculty wife who still thinks about the husband she lost in the war. And she is the one who is disturbed by the treatment Tom gets from his schoolmates, and even from her husband himself, and she is the one who takes action to try and help him. The fact that there are large references to 'out of bounds' sexual activity in the film make it rather unique and daring for the decade in which it was released. Director Vincente Minnelli does a superb job of capturing the sexual tension within the Reynolds house and makes the film that much less twee. A great film, and a must see for Deborah Kerr fans.

Deborah Kerr has always been one of the best actresses. Her beauty and wit have always gotten her pretty well rounded roles. "Tea and Sympathy" has done something else for her...It has made her a real human that we can all identify with and understand. She captured your attention with her every second on the screen. John Kerr, as Tom Lee, (the main character) is simply in the backdrop, carrying the story along as best he can. Within him we see a ridiculed boy whose over-femininity makes him the joke of his school. Even the teachers seem to gang up on him. Known as "Sister-boy Lee" he tries to 'become' a man, only to let himself down further. He is soon pitied and taken in by Laura Reynolds, the school master's wife, who is told to "Stay out" because she's not really "involved". The truth is she is deeply involved...Her husband is the main reason for this kid's pain. I don't want to spoil the ending for you so I will say this...Vincente Minnelli is a brilliant director. Deborah Kerr is a wonderful actress who's inner beauty matches her physical beauty. John Kerr really shines. This movie is worth seeing. It does skirt the topic of homophobia but it tells the story that we (when we were teens) can all tell, trying to accept who we are and not trying to be what we aren't.

Fresh on the heels of her stellar performance in "The King and I", Deborah Kerr (as Laura Reynolds) plays the wife of a virile man who runs a dormitory house and coaches at a boys school. She feels sympathy for Tom, as student (played by John Kerr) who is different from the other boys. Though he competes in sports, his true interests are the arts, and he is known to spend time alone listening to classical music.

The story revolves around gender roles. The film uses stereotypes, like the "he-man" and the "sensitive boy" to expose persecution by stereotyping. It is a product of its time in degree only. Conventions in acceptable gender behavior still prevail. And there have always been pockets of society that impose their own rules of conduct on their members. These conspiracies of prejudice depend on bullying to enforce conformity.

The driving force behind such movements is fear of that which is different or not understood. This is a film about homophobia, not homesexuality. John Kerr does a good job portraying Tom, the persecuted teen. He is not unlike most teens; he just doesn't conform to the prevailing "norms". Much is made about the concept of a "regular guy"---a laughable archetype when viewed objectively. It doesn't matter who you are or what you believe in as long as you conform and, thusly, assuage the fears of those around you.

The relationship between Tom and his father is central to the story. Like the coach, Tom's father has been conditioned to expect certain behaviors from himself and others. His disappointment in his son is extremely damaging. It is interesting to compare this film's depiction of the father-son relationship with that in "Rebel Without a Cause". They are different, but in each the dynamics are painful and long-reaching. It is also worth mentioning that Tom is not like Sal Mineo's character in "Rebel", but they have similar psychological repercussions.

The film ends with the reading of a letter. It's an ending that was added to conform to prevailing standards and, as such, adds nothing of value. Better to ignore it and let the film stand on its own merits, without the cowardly addendum.

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")