The Long, Hot Summer

A wealthy local tyrant in the deep South runs roughshod over his son and daughter until an equally sharp stranger drifts into town.

For better or worse, this 2-hour movie has about all the earmarks of a 1950's A-production. Consider the following: wide-screen Technicolor, (no little b&w TV here); strong acting, (the New York Method has invaded Hollywood); a sex suffused plot, (just don't go beyond kissing); a contrived happy ending, (send the audience home feeling good); and no thought-provoking politics (there's a Cold War going on). All of these are present in spades in this slick production, marking results very much a creature of the time.

I can see why the devilish Ben Quick amounts to Newman's breakout part. I expect girls were swooning in the aisles. That combination of manly chest, deep blue eyes, and tricky smile must have struck deep from Maine to California. I like the way the screenplay builds Ben's battle of wits with old man Varner (Welles) into mutual respect. They're like two circling foxes that may not like each other, but a mutual shrewdness commands respect. On the other hand, Woodward's Clara presents an apt contrast to both Dad and Ben. Woodward's excellent as the proudly self-contained Varner daughter. The actress makes her resistance to the assured Ben not only believable but compelling. Considering what must have been going on off-camera between the soon-to-be-marrieds, makes Woodward's on-camera distance a real accomplishment. All in all, Clara's may not a glamorous role, but it is a pivotal one.

Then there's Welles as the obnoxious paterfamilias and local tyrant. To say he over-does his role would understate the result. But, according to IMDb's trivia, he's not about to let this bevy of Method graduates overshadow the great man. (Contrast his version of a big daddy with Burl Ives' calibrated version in the thematically similar Cat on a Hot Tin Roof {1958}). Frankly, I thought Franciosa miscast as the weakling son, Jody. The actor's natural forte is a strong personality. To me, his efforts here strike a sometimes hollow note.

There's no really cohesive plot. Instead the narrative is more like an album of how a dysfunctional family finally comes together. The production does a good job of providing authentic southern background, filming extensively in Louisiana. Those dirt roads the horses escape on are both revealing and atmospheric. Then there's Richard Anderson's enigmatic Alan Stewart. His stiffly proper bearing remains an interesting wild card in the mix. It's not clear, to say the least, why he rejects marriage to the willing Clara (Woodward) and life on easy street. The screenplay sort of implies he's a mama's boy, but that doesn't come through in the dramatics. My guess is that he's, oh my gosh, gay, a topic that 50's Hollywood could not safely broach, but would explain his behavior with Clara. On the other side of the coin, is Lee Remick's wanton little Eula. With her low-cut frocks, I was hoping director Ritt would find more reasons for her to lean over before the camera. Oh well, the teasing titillation is also very much indicative of the time.

Anyway, the movie's generally over-heated but still entertaining, with colorful characters, and sometimes sharp dialog. Maybe most importantly, it's the first of Newman's rascally characters that he would later raise to a near art form.

I saw this film again last night at an old-time movie palace, in an audience of about 2,000 people. The film, which I had seen before, was even more enjoyable then the previous times I had seen it on TV. For one thing, it has some very lovely and well executed uses of the CinemaScope frame. It shows both the dry openness of the landscape, as well as the lush extravagance of the plantation estate which belongs to Orson Welles' character. I'm not too familiar with Faulkner's stories, but the plot elements of this film flow together rather nicely, and there isn't really a dull moment in the whole picture. The only part which is still difficult for me to take, is the resolution of the conflict between Welles' and Franciosa's characters. That scene builds up to something in a matter of minutes, and then suddenly it's over. I could hear disappointment in some audience members in the theater as well, including one person who shouted "What the heck was that about?". This aside, it's still a worthwhile film to see, and the acting of Newman, Woodward, and Welles are standouts. There are also plenty of (probably unintentional) laughs to be had as well. One of the better soap opera-type films to come out of the late 1950s.

...and loving it! This movie takes the best of CAT ON A HOT TIN ROOF, A STREETCAR NAMED DESIRE, SUMMER AND SMOKE, throws in more than a dollop of William Inge's PICNIC, borrows the basket auctioning bit from OKLAHOMA! and the digging-for-treasure-by-the-old-collapsing-house subplot from GOD'S LITTLE ACRE - hell, we even get a variation on the cotton gin burning from BABY DOLL - and somehow delivers an original and unforgettable entertainment, the kind of movie they truly don't make any more. Every member of the cast is superb, with Woodward being a standout and Lee Remmick being gorgeous. How audiences must have swooned in 1958! How many people left the theater thinking they had seen something truly naughty and adult! This film has great dialog, atmosphere to spare, stunning yet understated costumes by Adele Palmer, and gorgeous cinematography. This is all tied together by another fine Alex North score. Check out the scene - lasting no more that 45 seconds - when Newman and Woodward cross a small bridge to share a picnic lunch. This music cue is magical. Jerry Wald produced many high-class soap operas at Fox during the late 1950's, but this one is by far the best. Lansbury shines, Welles hams, and Newman takes his shirt off - what more could an audience ask for? A dreamy title tune crooned over the credits? You got it!

THE LONG, HOT SUMMER is one solid melodrama about tradition and family, which is based on some short stories by William Foulkner. One depressed, but confident drifter, who has a reputation of a arsonist, comes in a small town. The most powerful man in the town wants to try a young suspect. Thus, the rich man begins to respect the young man because of his determination. The young man understands job better than the rich man's reluctant son and it seems that he is the perfect opportunity for a rich man's daughter. However, desires of some of the protagonists will not match with hidden truths...

People will create a storm in a small and very hot town. This storm is full of greed, hate, lies and misunderstandings. The scenario is not bad. The sharp dialogues are tense and full of bitterness, contempt and sarcasm. Honesty is somewhat present, but it can not come to the fore. The atmosphere is constantly stretched through sexual charge and wild whim of individual protagonists.

The acting is good, but the chemistry between the main protagonists could have been a lot better.

Paul Newman as Ben Quick is determined and resourceful young man who will try to deceive members of one family in order to become the successor of wealth. His character is furious and disturbing. Real trouble in the city. However, he becomes a victim of his own manipulations and hidden vulnerabilities. Joanne Woodward as Clara Varner is an independent woman who is able to confront a brazen intruder and a vile old man. Her biggest weakness is "forlorn hope". It is difficult to deal with one's own own life ideals and the coming sexual attraction. Clara is the central figure in this film. Her performance is quite touching.

Orson Welles as Will Varner is a stubborn and vulgar local tycoon. Anthony Franciosa as Jody Varner is a weak son, who fought for his father's love. Lee Remick as Eula Varner is playful daughter in-law.

The last scenes are quite inconclusive. Birds of prey are quickly tamed and harnessed. They have to face the truth in crucial moments. Their confrontation was inevitable. However, melodramatic, generous and warm ending is a big flaw of this film.

Paul Newman stars with Joanne Woodward, Orson Welles, Lee Remick, Anthony Franciosca, Richard Anderson and Angela Lansbury in "The Long, Hot Summer," based on stories by William Faulkner.

It's a lushly produced film about a drifter, Ben Quick (Newman), who comes to town. His reputation precedes him, and he soon upsets the status quo in the wealthy Varner family, headed by Orson Welles with a fake nose that kept melting off and an even faker southern accent.

There's the weak, insecure son (Franciosa) married to a sex kitten (Remick) and an unmarried daughter (Woodward) saving herself for a momma's boy (Anderson). In town, there's also Varner Sr.'s mistress, played by Angela Lansbury.

Ben sets his sights on Clara Varner and puts himself in direct competition with nervous son Jody for papa's approval. But Quick ultimately needs to reach underneath his swagger and bravura and confront his cut and run philosophy.

This is a fantastic cast that delivers sparkling dialogue and an interesting story that has mostly well-drawn characters. The exception would probably be Remick, who has a small but showy role. She doesn't get to do much except show off her figure and sexiness.

Welles is a riot - a marvelous technician, he knew how to externalize a character perfectly, and he is here the epitome of a Big Daddy type. His southern drawl is outrageous, and why he decided he needed a new nose (which he had in other roles as well) is beyond me.

Woodward gives a touching performance as a young woman who has been living on hope and can't quite cope with her attraction to the overtly sexual Quick. Franciosa is excellent as a tortured young man unable to win his father's love.

But as any film that stars Paul Newman, the movie belongs to him, one of the greatest actors to ever hit the screen. Macho, sexy and handsome, his Ben Quick is angry, determined, manipulative, and disturbing, with a hidden vulnerability.

His scenes with Woodward sizzle, and you can see her character blossom under his attention. They're a great couple, both on and off the screen.

Highly recommended, as is any film that stars Paul Newman.