Tea and Sympathy

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.

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")

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.

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.