Sweet Bird of Youth

I saw this film the year it first came out, and recently again on video. My reactions were rather surprisingly much the same: it's second-rate Tennessee Williams all glitzed up with one of the three or four most memorable performances by an actor, woman or man, I've ever seen--Geraldine Page as the Princess. She's so good she even makes Newman look wooden. This isn't acting--it's something beyond performance.

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.

Even with some of the seamier elements removed and with the tweaks in the storyline, this film has great value due to the acting of the principals. Newman stars as a would-be glory boy who has repeatedly failed to make a success of himself and has been reduced to playing gigolo to various wealthy women. Page is a deeply troubled actress on the downside who gets dragged with him to his home town when he plans to get an "in" in Hollywood through her, thus convincing his old sweetheart (Knight) that he worth leaving her family for. Unfortunately, Knight's father (Begley) and brother (Torn) have not forgiven Newman for the fallout from one of his previous visits to Knight. The main thrust of the drama concerns the animosity between Begley and Newman and the balancing act he must maintain with the weary, neurotic Page. Widescreen viewing is a must even though the bulk of the film takes place indoors or on sets. Newman is excellent throughout and the film is offers a rare exploitation of his physical charms (attributes he often fought against during his earlier career.) Page is wonderful, running the gamut of emotions and investing her character with loads of quirks and moments of interest. Knight does very well, though her role is primarily decorative. Begley took home an Oscar for his bellowing, overbearing, vulgar portrayal. Also scoring are Torn as the son trying unsuccessfully to impress Begley and the always interesting Sherwood in a rare sexy role. Dunnock turns in a typically worrisome, effective performance as a Newman supporter. There are two small, but intriguing, gaffes in the film. In one scene, Begley and his cronies are watching a newsreel in a room filled to the brim with smoke, yet (because the image was superimposed later) the screen never has any smoke in front of it. Later, Newman "lights" his cigarette off an oil lamp, yet it doesn't light. He visibly notices this and does his best to cover it. Some of the symbolism is heavy handed (check out the wacky opening!) The film may disappoint devotees of the original play, but it's polished production and memorable acting turns make it a strong piece of work.

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.

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.