Summer and Smoke

Unfortunately, unlike gems like "Streetcar Named Desire," "Cat on a Hot Tin Roof," "Suddenly Last Summer," and "Sweet Bird of Youth," "Summer and Smoke" doesn't have their intensity of character and situational conflicts.

I love the actors, but Laurence Harvey, so great in movies like "The Manchurian Candidate," lacks the cocky heat, swagger, and desperation of Paul Newman. On the other hand, Una Merkel all too briefly steals the show as the mentally troubled mother--her performance is sly from within and totally believable.

Geraldine Page is always a treasure, but here she's slogged down a bit by an all-too-literal and preachy script and sluggish direction. Yes, it's Williams' play, but the script could have been better altered for a screenplay, and all the scenes, even the most intense, lacked a spark and sense of danger. Rita Moreno was simply gorgeous and effective in a pretty thankless role; her talent was more than evident.

The ending is very effective, and while I won't give it away, I'll just say that it made me wonder if Alma Winemiller was on her way to becoming another incarnation of Blanche DuBois. But I'll leave that for others to ponder.

Seven stars for being, well, Tennessee Williams and Geraldine Page and Una Merkel and another tale of family dysfunction, mores, and hypocrisy. But I had to shave off some due to its unfortunate sluggishness, unnecessary length, and over-talky, over-preachy and explanatory script.

When this was released I quickly made my way to the Fox West Coast Fine Arts Theater in Beverly Hills, California during its first-run engagement. Advance reviews were quite positive but I was unprepared for the power and yet the delicacy of Geraldine Page's performance as Alma Winemiller. Although I was never a fan of Laurence Harvey, who was cast in so many top films of that era, he joined his fellow players in affording Miss Page some very solid support. Una Merkel and John McIntire were especially worthy of praise, Earl Holliman acquits himself manfully in a brief role in the chilling final sequence, and Pamela Tiffin was touchingly beautiful as a heedless young thing. However, Rita Moreno, who has since complained about all those "spitfire" roles with which she was saddled during her earlier Hollywood days, probably counts this appearance as one of those she'd prefer we forget. (But, parenthetically, she has more than reason to be grateful for a list of credits that had already included the lovely Tuptim in the mega-box office hit, "The King and I," an Academy Award for her supporting role in "West Side Story," resulting in a career that continues to this day, outlasting many of the top stars who had led the casts of her earliest film assignments.)

Peter Glenville's direction (whose filmography is notably sparse) marshalls his actors and the top-notch production values with aplomb, aided by one of Elmer Bernstein's best scores. The VHS version does not appear to be letterboxed, thus losing cinematographer Charles Lang, Jr.'s elegant Panavision framing, which was one of this film's handsomer attributes.

Set in a small, insular town in the deep South, this is a gripping drama of miscommunication and repressed passion. Geraldine Page's powerful performance becomes progressively more harrowing as her character, the spinsterish Miss Alma, struggles to forge a connection with the man she has always loved--the handsome, dissolute son of the town's respected doctor (Laurence Harvey, perfectly cast). In the process, lives are forever changed--in ways none of those involved could have predicted. Page is simply incredible in this movie, delivering a climactic soliloquy that will leave you emotionally shell-shocked.

This is one of the most underrated Films from a T. Williams source. Its star , sadly is Laurence Harvey and even more underrated actor.

Many folks had such huge hopes for a long career for Mr Harvey when it was cut so short we often ponder " what would have been" This film gives us some wonderful insight as to the heights that could have been.

Harvey plays Dr. Buchannon on a multitude of levels of emotional detachment..and is superb. Fitzgerald delivers in her role as the tortured Alma and stalwarts, John MCintyre and Rita Moreno supply the sparks.

Lost in all of this is a fine performance by the large version of Thomas Gomez..who proves again his versatility. I love the irony of the ending with the appearance of Earl Holliman as ' Archie" Good Drama is never dated and Peter Glenville (dir) makes it all happen..also ..one wouldn't be surprised to note that Hal Wallis is the producer..one of the all time best that Hollywood has ever had.

C Pope

Geraldine Page had her first true starring role in "Summer and Smoke" released in 1961. Yes, she had been a theatrical star and did television work, and did fine in 1953's "Hondo" opposite John Wayne. But here, Page brings the repressed Tennessee Williams character of Alma to glorious life. The story, set in the 1920's, deals with the Southern small town stifling morals of the day. Page is a preacher's daughter, making her even more repressed; her father is played by actor Malcom Atterbury with all the proper moral condemnation. Her mother, played by old Hollywood star Una Merkel, is mentally unbalanced, adding to the responsibility Alma feels, as she lives at home with both of them. Alma is at an age that would have been considered a "spinster" of the times. Enter the young handsome doctor John (Laurence Harvey), whom Alma has known since childhood, since he lives next door with his cantankerous doctor father (John McIntyre). Alma desires John, but her own sexual inhibitions will now allow her to explore that, so she secretly lusts after him. John is a fellow who focuses on the physical, and takes up with a woman who would have been considered quite loose at the time (Rita Moreno in an early performance). John knows Alma desires him, and he is not sure how to handle it. He tries to take the relationship further, but Alma resists his sexual advances. Neither of these individuals is wrong for how they feel - and they seem to go through the whole movie not connecting. This is probably the finest work Laurence Harvey did on screen - his smoldering sexuality is used here to great effect. He and Page have palpable chemistry. The supporting players are capable as well, but this is Geraldine Page's show, and her genteel demeanor and southern accent are spot on. We are left pondering Alma - she is both tragic and wonderful.