Product Description

Streetcar Named Desire 2 Disc SE Cat on a Hot Tin Roof Deluxe Edition Sweet Bird of Youth Night of the Iguana Baby Doll Roman Spring of Mrs. StoneFormat: DVD MOVIE Genre: DRAMA Rating: NR UPC: 012569750647 Manufacturer No: 75064

Product Details

• Amazon Sales Rank: #1680 in DVD
• Brand: Warner Brothers
• Released on: 2006-05-02
• Rating: NR (Not Rated)
• Aspect ratio: 1.78:1
• Formats: Box set, Closed-captioned, Color, DVD-Video, Widescreen, NTSC
• Original language: English
• Number of discs: 7
• Dimensions: 1.00 pounds
• Running time: 685 minutes

Amazon.com
A much-needed DVD tribute to one of the essential American playwrights, The Tennessee Williams Collection gathers six Williams titles and one vintage documentary. Taken together, it's a potent introduction to the specific terrain (geographical and emotional) of this brilliant writer. The set is anchored by Warner's deluxe two-disc treatment of A Streetcar Named Desire, which has copious extras (among them a fine 90-minute documentary about director Elia Kazan). The multi-Oscar-winning Streetcar is one of the better stage adaptations in film history, and it captures the electrifying Marlon Brando, re-creating his stage role, in the part that changed American acting: the brutish New Orleans sensualist Stanley Kowalski. Vivien Leigh won an Oscar opposite him, as the faded (except in her own mind) Southern belle Blanche DuBois, whose arrival in the Kowalski home leads to disaster.

Kazan also directed Baby Doll, which Williams scripted from a couple of one-act plays. This outrageous sex comedy casts the excellent Carroll Baker as the 19-year-old wife of middle-aged Karl Malden, who anxiously awaits the day he can finally consummate his maddening marriage; immigrant cotton magnate Eli Wallach shows up at Malden's crumbling plantation house just in time to take the bloom off the rose, as it were. Famous for being condemned in 1956, Baby Doll remains a very modern (and gloriously dirty) movie. Cat on a Hot Tin Roof, directed by Richard Brooks, faithfully brings three of Williams's indelible characters to the screen, even if the script discreetly changes the original stage text: the hot Maggie the Cat (Elizabeth Taylor), her reluctant husband Brick (Paul Newman), and Brick's rich Big Daddy (Burl Ives). All three performers act the lights out.

Sweet Bird of Youth reunites Paul Newman with director Brooks, and also showcases Geraldine Page's performance as an aging film star tagging along with young stud Newman to his Southern home town. Some of Williams' more depraved touches are toned down, but the milieu is unmistakable and the movie is intense. The Night of the Iguana gives Richard Burton perhaps his finest hour onscreen: as Williams' dissolute defrocked priest, playing tour guide in Puerto Vallarta to tour groups of nattering biddies. The movie has director John Huston's sympathy for life's losers, as well as a trio of women built to torment Burton's reverend: Ava Gardner, Deborah Kerr, and Sue Lyon. The Roman Spring of Mrs. Stone, based on Williams's novel, is not a great movie, but gives Vivien Leigh a good workout as a wounded actress dallying with Italian gigolo Warren Beatty.

Tennessee Williams' South is a 1973 documentary featuring some marvelous observations from Williams, as he holds court for filmmaker Harry Rasky. It also has long scenes from his plays, enacted by good folks such as Maureen Stapleton, Colleen Dewhurst, and Burl Ives. Especially valuable is a Streetcar sequence with Jessica Tandy re-creating her original role as Blanche. Williams himself reads the narration from The Glass Menagerie, a privileged moment. This is not an exhaustive Williams set (Joseph Mankiewicz's Suddenly, Last Summer and Sidney Lumet's The Fugitive Kind are among the best Williams films), but it maps out the steamy, tortured landscape awfully well. --Robert Horton

Customer Reviews

Essential boxset for fans of American theater of the 1950s
This is a terrific boxset, collecting six of the films based on Tennessee Williams's plays (plus another disc with the documentary "Tennessee Williams' South"). All the films are transferred with great care, and look quite wonderful. And the films themselves are fascinating, because (with the exception of BABY DOLL), they're invariably sanitized, as the major studios (Warner Brothers, MGM) struggled to constrain the unfettered imagination of one of America's most floridly uninihibited playwrights. Yet Williams' reputation as one of the premiere writers for actors allows some classic performances, starting with Marlon Brando, Vivien Leigh, Karl Malden and Kim Hunter in A STREETCAR NAMED DESIRE, one of the most potent displays of Method acting which helped to revolutionize American film and theater. Kazan's hyperbolic direction of A STREETCAR NAMED DESIRE is tempered in BABY DOLL, possibly the most charming film in the set (with terrific performances from Carroll Baker, Karl Malden, Eli Wallach, and, most hilariously, Mildred Dunnock). It seems incredible that, at the time (1956), BABY DOLL was the most controversial film of its year, with condemnation and cries of "filth" being bandied about. But BABY DOLL is a comic interlude in Williams' career. CAT ON A HOT TIN ROOF is the most heavily censored, so that all the talk of mendacity makes the film seem mendacious, because no one is talking about what the film is really about. But all the actors go to town with their Southern accents, especially Elizabeth Taylor and Judith Anderson.

But if CAT ON A HOT TIN ROOF seems antiseptic, that's nothing compared to SWEET BIRD OF YOUTH, which is alternately lurid and dainty. To watch Geraldine Page rip through in an absolutely corrosive and riveting performance is to see one of America's greatest actresses at her peak. THE NIGHT OF THE IGUANA is uneven, but, again, some of the performances (in particular, Richard Burton, Ava Gardner, and, especially, Deborah Kerr and Cyril Delevanti) are superb. The long sequence with Burton and Kerr talking about demons and love while Burton is tied in the hammock is one of the most poetic sequences in all of Williams, handled with great insight and power.

THE ROMAN SPRING OF MRS. STONE has worn well with the years, as Vivien Leigh gives an elegant performance as the aging woman desperate for love nad even more desperate for her dignity.

Of course, these are all works which could be done now with a greater fidelity to Williams' original texts, but it would be hard to beat the incredible performances, done (in many cases) in the original acting styles of the period (in STREETCAR NAMED DESIRE and SWEET BIRD OF YOUTH, many of the original Broadway casts were also cast in the films). This is a chance to see some legendary actors in the classic parts which they made famous.

A Boxed Set Named Tennessee Williams
He may be considered the great American playwright of the 20th Century, but until I got the boxed set of DVDs featuring adaptations of his works, I had never really been exposed to Tennessee Williams. This set of six movies gives a good sampling of Williams and shows why he got his reputation for both daring and excellence.

In chronological order by film date, the first film in the set (and probably the best) is A Streetcar Named Desire. This story focuses on the interrelationship of three characters: Blanche DuBois (played by Vivien Leigh), her sister Stella (Kim Hunter) and Stella's husband, Stanley Kowalski (Marlon Brando). Blanche moves in with the couple, fleeing from scandal in her hometown and with only a weak grip on sanity. The brutish Stanley is her natural antagonist, with Stella stuck in the middle. Eventually, however, Blanche and Stanley will have to confront each other.

Though Blanche may be the main character, it is Stanley who steals the show due to Brando's wonderful performance. After seeing this movie, I can understand how significant of an impact that Brando had in the world of movie acting; prior to Streetcar, acting performances like Brando's were quite rare. This is a great film, and the only Williams movie I was really familiar with prior to watching, both due to its immortal scenes ("Stella!") and the brilliant Simpsons musical adaptation (in "A Streetcar Named Marge").

Next is Baby Doll, with Karl Malden as an impoverished cotton-miller and Carroll Baker as his very young wife, the Baby Doll of the title. She has been viewing her much older spouse with increasing contempt and has held him to a promise that they would not consummate their marriage until she turned 20, an event soon to happen. Eli Wallach enters the film as both a business and romantic rival to Malden. For the time this movie was made (1956), this film was sexually daring, and though not as explicit as modern movies, it still holds up well.

Cat on a Hot Tin Roof features Maggie (Elizabeth Taylor) and Brick (Paul Newman) as a married couple on the edge. A deep secret has kept them estranged and there is the additional complication of the impending death of Brick's very wealthy and dominating father. Brick may be Big Daddy's favorite, but their problems threatens to cut Brick out of an inheritance he doesn't want; Maggie, however, has other ideas.

Newman is back in a different role in Sweet Bird of Youth as a young hustler who returns to his hometown as the lover/employee of an aging actress. He is hopeful that she will help him make it big in Hollywood, but he is also interested in winning back his old girlfriend, a goal her corrupt political boss father will do anything to stop.

Night of the Iguana has Richard Burton as a drunken reverend turned third-rate tour guide winding up at a hotel run by the widow (Ava Gardner) of an old friend. His job is threatened when a young tourist (played by Sue Lyons of Lolita fame) keeps trying to seduce him. As things fall apart for him, it's up to the widow and an artist (Deborah Kerr) to keep him from destroying himself.

Finally, there is The Roman Spring of Mrs. Stone, featuring Vivien Leigh as a recently widowed actress who takes a young lover (played by an early Warren Beatty). This is probably the weakest in the set, and the only one I felt rather bored while watching.

Actually, there is a problem that is consistent with many of these movies in that they often just seem like filmed plays. That is, everything seems very staged and there is little real action; the focus is on dialogue, which often takes the somewhat formal form you see in the theater. That is not to say that these are bad movies; actually, they are almost all good: Streetcar is a five star film, Baby Doll, Cat on a Hot Tin Roof and Sweet Bird of Youth merit four, Night three and Roman Spring two. There are also a good number of extras in the set, including commentaries on Streetcar and Cat on a Hot Tin Roof, a bunch of mini-documentaries and a bonus disc called Tennessee Williams' South. This bonus disc is an early-1970s documentary featuring interviews with Williams and various actors doing scenes from his plays; it is mildly interesting.

One does not watch Williams expecting happy endings and everything nicely resolved (although some of the films do end more upbeat than others, in part, I believe because of a Hollywood demand for such conclusions, despite how the plays may have been written). Instead, you get a level and type of drama that was rarely shown prior to the Williams. Overall, this set rates a high four stars; it may not be perfect, but you do get some good films that pushed the limits of what was allowed at the time.

Tennessee Williams' plays as movies
Each of the plays of Tennessee Williams that has been rended as a movie is worth watching. The rawness of emotions, the actors and the direction all make these movies immensely watchable.