MAGIC 1978

Richard Attenborough’s atmospherically tense adaptation of William Goldman’s 1976 bestseller, Magic, doesn’t seem to come up much in conversation these days; although when it does, it’s inevitably in reference to those nightmare-inducing, kindertrauma TV ads that ran at the time of its release. There’s scarcely an adult of a certain age who can’t be reduced to a quivering mass of jelly upon hearing this poem recited (preferably in a shrill, nasal voice with a New Yawk accent):

Abracadabra,

I sit on his knee.

Presto chango,

and now he is me.

Hocus pocus

we take her to bed.

Magic is fun;

we’re dead.

Being 21-years-old at the time, I was (alas) too old to be frightened by those TV commercials. I only remember being so taken with the eerie effectiveness of the ad (even if you weren't watching the screen, that weird voice seriously sent chills up your spine), I could barely wait for the movie to open. 

A masterpiece of minimalism, the entire 30-second teaser-spot consisted of nothing more than a slow zoom into the face of an intensely demonic-looking ventriloquist’s dummy whose dead eyes stared maniacally into the camera as it recited the above poem in a high-pitched, not entirely human-sounding voice. Without showing a single frame of footage from the film, this unsettling confluence of dramatic lighting, ominous music, and the built-in necromantic creep-out of being confronted by an animate inanimate object, incited the outcry from concerned parents of traumatized tots across the nation, to have the ads taken off the air.

I’d read Magic sometime in college when it was still on the bestseller list, but only because I’d read in the trades that producer Joseph E. Levine (Harlow, The Carpetbaggers) had secured the film rights for the tidy sum of $1 million, enlisting Goldman to adapt his novel to the screen. What excited me was the early talk citing Roman Polanski as director and Robert De Niro starring as the magician/ventriloquist with the dark secret. After Polanski bailed, Steven Spielberg, Mike Nichols, and Norman Jewison were each attached to the project at various times, with actors as disparate as Jack Nicholson, Chevy Chase, Gene Wilder, and Al Pacino considered for the lead.

Ultimately, directing chores went to British actor/director Richard Attenborough (Séance on a Wet Afternoon), with the lead going to Welsh actor, Anthony Hopkins. After several years in the business, Hopkins was suddenly very hot stateside, appearing in several major films in rapid succession: Audrey Rose (1977), A Bridge Too Far (1977), and International Velvet (1978).

William Goldman has always maintained Magic’s central female character, high-school dreamgirl Peggy Ann Snow, was inspired by and written with Ann-Margret in mind. So when it came time to cast the film, I’m not sure if any other actresses were considered, but it didn’t hurt Magic’s boxoffice chances any that the '60s ingénue was experiencing a career resurgence at the time, thanks to her Oscar nominations for Carnal Knowledge (1971) and Tommy (1975). With Burgess Meredith (The Day of the Locust) on board as the Swifty Lazar-like talent agent (a role once slated for Laurence Olivier) and $7 million allocated for the budget, advance buzz on Magic augured a Hitchcockian psychological thriller with an A-list pedigree.

Anthony Hopkins as Charles "Corky" Withers 

Ann-Margret as Peggy Ann Snow-Wayne

Burgess Meredith as Ben Greene

Ed Lauter as Ronnie "Duke" Wayne

Fats

That 20^th Century Fox was able to successfully market Magic on the strength of a single, non-disclosive graphic, is only in part attributable to the popularity of Goldman’s bestseller. The other contributing factor was audiences already knew what to expect simply because the story involved a ventriloquist and his dummy. Magic’s boon and bane have always been the fact that any thriller with a ventriloquist at its center is bound to utilize one of two fairly standard and overused plot possibilities: 1) The deranged ventriloquist who schizophrenically imagines his dummy to be real (The Great Gabbo, Dead of Night); 2) The supernatural take on the same theme, in which case the dummy indeed proves to be a sentient being (Devil Doll, The Twilight Zone episodes, “The Dummy” & “Caesar & Me”) usually of malevolent motive. Magic falls into the former category. 

Corky Withers (Hopkins), a failed, personality-minus magician, finds success when he adds a foul-mouthed ventriloquist’s dummy named Fats to his act. An act in which the outspoken, self-assured Fats (who resembles a grotesque caricature of Corky) hurls comically lewd, X-rated invectives at the audience while his mild-mannered human half engages in minor feats of legerdemain.

When savvy theatrical agent Ben Green (nicknamed “The Postman” because he always delivers) lands Corky an opportunity to crack the big time, the sheepish showman balks at a TV network’s request for a physical exam and hightails it out of New York. He finds refuge and an indelible part of his past when he checks into a rundown Catskills lake resort belonging to unrequited high school crush, former cheerleader Peggy Ann Snow (Ann-Margret), now a sad-eyed hotelier unhappily married to one-time high-school sports hero, “Duke” Wayne (Lauter).

15 years has served to narrow the gulf once dividing Corky and Peggy, mutual discontent now inflaming a mutual attraction brokered on the unexpressed hope of rescue and reclamation.

But for Corky’s long-nurtured, once-thought-impossible dream to come true, he has to overcome a few obstacles. Peggy’s husband isn’t a problem, for although he still loves her, Peggy has grown tired of his drinking, philandering, and verbal abuse. And Corky’s agent, nosy and over-protective though he may be, really only wants what’s best for Corky. Doesn’t he?  

No, there is really only one obstacle standing in Corky’s way...but it’s a big one.
Fats won’t like it.

Yes, Corky is mad as a hatter. And his schizophrenia has taken the form of seeing Fats as a separate, possessive entity out to control his life and force him to do very bad things.

"You can't believe how much people want to believe in magic."

WHAT I LOVE ABOUT THIS FILM

Ventriloquist dummies are so inherently creepy I’m certain a fairly terrifying horror film could be made simply by training a camera on a roomful of them for 90 minutes. If you doubt it, try doing a Google Images search of “ventriloquist dummies” sometime. You’ll be sleeping with the lights on for a week. 

That’s why given Magic’s overall impressiveness as a taut psychological thriller wrapped in a character study; it’s so frustrating Attenborough & Co. weren’t better able to capture that unsettling aspect of magic and ventriloquy which seems to intentionally flirt with the bizarre and grotesque. Between the dark demons fueling Corky’s madness (the novel hints at Corky being a serial killer) and the mysteries shrouded in the truth/illusion world of magic, the story offers ample opportunity. But the filmmakers are content to rely on Fats’ spectacularly chilling puppet design to do all the heavy lifting, horror-wise.

In a way, Magic, by virtue of being yet another reworking of the predictable “ventriloquist with a split-personality” plot device, is forced to wring suspense out of audience concern over whether it will add anything new to the over-familiar mix. While Goldman’s script dutifully takes us through updates of dominant dummy vs. overpowered ventriloquist sequences we’ve seen countless times before; suspense is generated by a wishful certainty on our part that a cast this stellar and production values this first-rate cannot possibly yield a retread of material Michael Redgrave and his dummy, Hugo, fairly nailed back in 1945.

Yet that’s precisely what Magic does. I saw Magic when it opened in 1978, and when I first saw it, I tied myself in knots waiting for it to live up to those TV ads (it didn’t), and wondering how Goldman was going to handle the novel’s “big reveal” (It's jettisoned. The book is told from Fat’s perspective, so we don’t even find out until near the end that what we thought was a two-person narrative is actually a memoir). My expectation of what I hoped the film to be blinded me to what it was.

Only after returning to see Magic again was I able to appreciate how well William Goldman adapted his novel in cinematic terms. It’s not without its flaws, but it’s an engrossing--albeit familiar--story very well told and exceptionally well-acted. The Catskills setting has a chilly foreboding about it that is significantly enhanced by Jerry Goldman’s (Coma, The Omen) ingeniously spooky score, and the character conflicts are skillfully buttressed by several nicely-realized suspense set-pieces.

"Kid, I have lived through Tallulah Bankhead and the death of vaudeville. I don't scare easy."
After a string of eccentric roles, it was nice to see Burgess Meredith playing a regular person again

PERFORMANCE

Anthony Hopkins gives a remarkable performance in Magic, virtually flawless in its versatility and depth. He brings a modulated authenticity to a character we have to simultaneously dread and sympathize with. His character runs the emotional gamut from cripplingly shy to theatrically assured; from touchingly vulnerable to deviously maniacal. He has a full-tilt mental breakdown scene that could easily have veered into camp or ridiculousness, that instead becomes an object lesson in how to ground extreme behavior in something real (Faye Dunaway would have done well to take notes before doing Mommie Dearest).

All that being said, Hopkins is terribly miscast. Instead of casting for Corky’s stage persona and wresting a tortured performance out of a charming showman whose stage charisma blossoms in the presence of his wooden alter ego, Attenborough seems to have cast for Corky: the mental case. Hopkins is great as the haunted, hunted Corky, but I don't buy him for a minute as a successful stage performer. As Pauline Kael perceptively wrote, “Hopkins has no light or happy range and doesn’t show a capacity for joy.” Comics are often said to be exceedingly dark personalities offstage, but you never could guess it from watching their act. I think Magic would have been far more chilling were there a clearer sense of Corky having a deceptively light side to mask the dark.

One of the very few scenes in Magic to feature Hopkins smiling

When looking back and taking the entire film in, for me Magic's most valuable player is Ann-Margret. The role of Peggy Ann Snow may have been written expressly for the talented actress, but Goldman doesn't exactly give her a lot to work with. What she does with it is a thing of beauty.

In the manner of many male writers who betray with each female character they write, just how little they know about women; Goldman's way of letting us in on Corky's deep feelings for Peggy is to have him reference her physical beauty, ad nauseam. Her breasts, specifically. 

And true to the adolescent roots of Corky's/Goldman's infatuation, the breathtakingly lovely Peggy doesn't think she's beautiful at all and clings to male reassurance. Yeah, that happens a lot.

To make matters worse, an inordinate amount of Peggy's dialog is relegated to "girl-isms" like "Coffee's on!', "Do you want the asparagus tips or french cut green beans?" By the time she made reference to a bubble bath, I thought it would turn out that Peggy Ann Snow never existed at all, and that she was just a male fantasy figure...another one of Corky's delusions. 

In spite of these hurdles, Ann-Margret gives a movingly sensitive performance that transcends the inanity of her dialog. She turns a puerile fantasy of a woman into a living-breathing person, centering the genre pyrotechnics with an earthy naturalism and melancholy sadness.

THE STUFF OF FANTASY
I wonder if young people seeing Magic today find the idea of a nationally-famous ventriloquist to be more far-fetched (and terrifying) than a wooden figure come to life? I grew up at a time when ventriloquist acts like Shari Lewis, Willie Tyler, Wayland Flowers, and Paul Winchell were staples of TV variety shows. As were borscht-belt comics with Corky Withers-type names like Shecky Green, Sandy Baron, and Morty Gunty. (I even had a ventriloquist's dummy as a child. I named him Eddie Arnstein because he looked like a cross between Eddie Cantor and Omar Sharif in Funny Girl.)

If magic is problematic on television because you can't misdirect the camera; ventriloquism in the movies always opens the question of post-dubbing.  Much was made at the time of Hopkins learning ventriloquism and doing the voice of Fats. Other sources have since cited Magic's ventriloquist consultant  Dennis Alwood as not only manipulating Fats, but serving as his voice as well.

I bring this up because I think my familiarity with this almost vaudevillian style of show biz act is what makes Magic's nightclub scenes so cringe-worthy for me. William Goldman is a talented writer but he's not a gag-writer. Anthony Hopkins is a great actor, but he has absolutely no comedy timing. This collision of limitations is fine when Corky is supposed to be awful, but when he's supposed to have struck paydirt with Fats, I found myself wishing Goldman had hired a genuine comedy writer to do these scenes. They just sit there...startling in their unfunniness. And the fact that the act is so lousy is only exacerbated by the film constantly cutting away from this terrible act that we can see with our own eyes, and having characters say (not laugh, but say aloud) "Now that's funny!"

I do have to say that Fats did make me laugh, but only once. When introduced to a TV executive wearing a very obvious toupee (David Ogden Stiers), Fats slips and accidentally-on-purpose calls Mr. Todson "Mr. Wigston." I'm laughing just thinking about it.

THE STUFF OF DREAMS
The set-pieces I made reference to earlier comprise my favorite Magic moments. The collaborative efforts of the actors; director Attenborough; cinematographer Victor J. Kemper (Xanadu, Eyes of Laura Mars); editor John Bloom (Closer); and composer Jerry Goldsmith; represent Magic at the top of its game.

Amateur Night Breakdown

Meeting of the Minds

"Make Fats shut up for five minutes."

The Thing in the Lake

In 1978, audiences were left disappointed by Magic not living up to the horror suggested by the commercials. The audience I saw it with left the film in frustration...all you heard as you filed out the exit was people ask one another "What did she say?"---the film ends on Ann-Margret's near-unintelligible closing line: [Delivered in a voice imitative of Fats] - "You may not get this oppor-fuckin-tunity tomorrow!”

Nowadays, thanks to cable and DVD, audiences no longer coming to the film from being terrorized by those TV commercials seem to appreciate Magic for its modest triumphs. As an entertainingly engrossing, mature thriller effectively employing the rote devices of the genre while providing a moving parable about the cost of using illusions to mask our vulnerability.

 THE AUTOGRAPH FILES

Actor Jerry Houser, who made his film debut in The Summer of '42 (1971), plays the cab driver in Magic.



BONUS MATERIAL

The television spot that launched a thousand nightmares
(reportedly pulled from NYC TV stations after only one broadcast)

Serving as proof that the longstanding narrative tradition of associating ventriloquism with personality displacement has yet to hit dry dock, take a look at Kevin Spacey in the excellent 2012 short film The Ventriloquist.

Jay Johnson, who played ventriloquist Chuck Campbell on the 70s sitcom, Soap, read for the role of Corky in Magic when Norman Jewison was set to direct. And while I have no idea how serious a contender he was, I must confess I find Johnson to better conform to my mind-eye image of Magic's schizophrenic protagonist. Anthony Hopkins, although remarkable in the role, comes across as more than a little unhinged from the start. Johnson, on the other hand, possesses that faint quality of sadness and anger present in so many comics, shrouded by a cheery, superannuated boyishness capable of conveying outward charm masking all manner of internal conflict. I don't know if Johnson could have matched Hopkins' dramatic virtuosity, but I'm absolutely certain his stage act would have been a damn sight more entertaining.
Here's a clip of Johnson from his 2006 Tony Award-winning Broadway show, The Two and Only.

Copyright © Ken Anderson  2009 - 2015

THE STRIPPER 1963

This forgotten little film has long been a favorite of mine and used to show up fairly regularly on late-night television when I was a kid. Until it resurfaced recently on YouTube, I can say it’s easily been 40 years since I last saw this last-gasp effort in Hollywood’s love affair with the works of Faulkner, O’Neill, Williams, & Inge.  

Adapted by Meade Roberts (The Fugitive Kind, Summer & Smoke) from William Inge’s little-known 1959 play A Loss of Roses, and directed by Franklin J. Schaffner (Patton, The Planet of the Apes, Sphinx); The Stripper is, like a great many of my favorite films from the '50s—especially those written in the Southern Gothic/Midwest Melodrama tradition—a heavy slice of mordant Americana served up with plenty of lost illusions and broken dreams on the side.

Joanne Woodward as Lila Green

Richard Beymer as Kenny Baird

Claire Trevor as Helen Baird

Robert Webber as Ricky Powers

Shot in somber black and white (then de rigueur for contemplatively downbeat movies), The Stripper is the so-familiar-you’ll-swear-you’ve-seen-it-before story of Lila Green (Woodward); a down-on-her-luck wannabe actress touring with a seedy theatrical troupe (The Great Renaldo & Madame Olga: Magic & Mirth Par Excellence). Abandoned mid-tour in a small Kansas town by her equally seedy boyfriend Ricky (Webber), Lila is forced to depend on the kindness of strangers. Not literal strangers, mind you, for this just happens to be the town where Lila grew up before a Betty Grable look-alike contest provided her with a second-class means of escape to Hollywood. No, the strangers Lila seeks out are merely friends from her past. Friends to whom Lila now appears as gaudy and out of place as a fur coat in July.

Kenny Thinks Lila Is Hot
And indeed, she is, for it's mid-summer in Kansas and Lila flounces about in a leopard fur coat.
Before settling on the grossly misleading The Stripper, other titles considered for this screen adaptation of A Loss of Roses were: Celebration, Woman of Summer, and A Woman in July

Lila secures temporary lodgings with Helen Baird (Trevor), a widow for whom she once babysat in her youth. Helen, now a full-time nurse pulling swing shift as a fault-finding, overprotective mother-hen to her only son Kenny (Beymer). Helen is initially glad to be of assistance to the prodigal cooch dancer, but she begins to doubt the soundness of her philanthropy when it becomes clear that the restless son she has such high hopes for has developed a major infatuation for the glamorous, at least ten-years-older new tenant in stretch pants.

Much in the same way the arrival of a train-hopping drifter shook up the small-town residents in William Inge’s Picnic, the emotional (and sexual) disruption instigated by the intrusion of Lila—a peroxided, emotionally-wounded, aging starlet with a squalid past and a childlike disposition—into the vaguely oedipal Baird household is the source of The Stripper’s central conflict.

For Lila, the return to the birthplace of so many of her unrealized dreams rekindles a desire to reclaim her lost innocence. For Kenny, irresolute in his manhood over failing to fill the idealized shoes of his late father; Lila’s age and superficially worldly charms are like a beacon of maturity. Helen, conflicted in wanting Kenny to grow up and stand on his own two feet, yet prone to clingy exclamations like "You're all I have to live for!" grows concerned when Kenny's intensifying infatuation with Lila turns to mutual attraction. 
Adding fuel to Helen's anxiety that Lila's bad influence will hasten her son's inevitable departure is the simultaneous concern that the flashy older woman will corrupt Kenny's interest in pretty Miriam Caswell (Carol Lynley), their "good girl" (aka, virginal) neighbor. In this environment, everyone seems to be looking to someone else for salvation, rescue, liberation, or redemption.

Carol Lynley as Miriam Caswell

WHAT I LOVE ABOUT THIS FILM
The Stripper is something of a “Best of” collection of what had become, by 1963, the over-familiar clichés in the Tennessee Williams/William Inge oeuvre (it was Williams’ The Glass Menagerie which inspired Inge to write his first play). Set in the fictional small town of Salinson, Kansas (the same town Kansas-born William Inge chose for his play, Picnic), The Stripper has it all: the emotionally fragile fallen woman; familial discord; small-town provincialism; sexual restlessness; Freudian psychology; and the eternal battle between idealism and truth. And, of course, heat and summer used as metaphors for passion.

Seeing the film again after so many years, it’s so clear to me why I was all over this genre when I was young. First, they were situationally accessible to my limited frame of knowledge and experience. Unlike James Bond movies which took place all over the world, or exotic action adventures featuring acts of derring-do and non-stop danger; these films took place in the familiar, low-tech settings of town and neighborhood. The drama was often operatically over-the-top, yet human-scale enough in that it concerned itself with relationships, family tensions, and the applicable-at-any-age struggle with how our character flaws work to keep happiness at bay. 

Legendary real-life stripper Gypsy Rose Lee as Madam Olga St. Valentine
Louis Nye as Ronnie "The Great Renaldo" Cavendish

On the more “entertaining” side, not only were these films “daring” and “sex-obsessed” in ways suitable to a young person’s comprehension level (aka, all talk and no action), but the main characters were invariably women who could just as well have been gay men. Overwrought, theatrically histrionic gay men. I of course wasn’t aware of it then, but due to the times, Williams and Inge (both closeted gay playwrights during a time when homosexuality was criminalized in most states) were only able to express their truth through their female characters. Thus, their female protagonists were often imbued with a depth and dimensionality lacking in most roles for women written during this period.

As a youngster, the stoic, heteronormative macho leading man never spoke to any reality I knew. But I did recognize parts of myself in the bruised, vulnerable, idealistic outsiders Inge and Williams wrote so empathetically about.

Dreamers
Lila shows Kenny her prized possession: Film clips of her failed Hollywood screen test
 for the 1955 Fred Astaire musical Daddy Long Legs

THE STUFF OF DREAMS

As much as I enjoy this film, I’m inclined to agree when I encounter reviews labeling this movie “lesser Inge.” The Stripper has a lack of subtlety and obviousness of intent that made me think it was early William Inge (it's a little like an episode from one of those '60s anthology TV programs like Playhouse 90). In reality, it’s one of Inge's late-career career misfires. One of the playwright’s first Broadway flops following a string of unbroken successes starting with Dark at the Top of the Stairs (1945), Come Back Little Sheba (1950), Picnic (1953), and Bus Stop (1955). 

Indeed, as A Loss of Roses signaled the beginning of a reversal trend in Inge’s career, the problematic play has a legacy of misfortune surrounding it rivaling that of Shakespeare’s Macbeth.

Michael J. Pollard as Geoffrey "Jelly" Beamis
Pollard and Webber are the only members of the original Broadway cast to recreate their roles in the film

The first victim was Shirley Booth, who had previously won both a Tony and an Oscar for her work in Inge’s Come Back Little Sheba, and accepted the role in A Loss of Roses when promised the character of Helen would be made more prominent. Alas, Booth wound up quitting the show just days before its Broadway debut for the rumored reason that Inge was shifting the production to favor a Broadway neophyte he had developed a crush on: an actor by the name of Warren Beatty, making his Broadway debut.

The second victim was William Inge himself. For although he had faith in the play and expressed the belief that A Loss of Roses was a “sure thing,” the play opened to disastrous reviews and closed after a mere 25 performances. It was Inge’s first flop, and one that so devastated him, he never had another stage success again.

The third victim was Warren Beatty. For although his performance in the play garnered a Tony Award nomination, the experience was so unpleasant, it is said to be the reason he has never appeared onstage again. On the plus side, Inge's enduring crush on Beatty (when Jane Fonda met Beatty for the first time in New York, she thought he was Inge's boyfriend) gave the young actor a foot-up in Hollywood. He made his film debut in Inge's Splendor in the Grass, and starred in the Inge-penned All Fall Down, a 1962 film with an older woman/younger man theme similar to The Stripper.

Victim number four was 20^th Century Fox production head, Buddy Adler, who, on the strength of Inge's reputation and track record, purchased the rights to A Loss of Roses for a whopping $400,000 (in 1950s dollars, yet!) before it even opened on Broadway. As he told columnist Louella Parsons at the time: “Yes, we paid a big price, but Inge writes only hits. He wrote 'Bus Stop,' 'Picnic,' and 'Dark at the Top of the Stairs.' There were a number of producers trying to get 'A Loss of Roses' so we were lucky to get it.” 

Something's Gotta Give
As she strips, Lila sings the 1954 Johnny Mercer song Fred Astaire introduced in Daddy Long Legs--the movie she unsuccessfully screen-tested for. Ironically, the song is also the title (grammatically cleaned up as Something's Got to Give) of Marilyn Monroe's last film. The Stripper was released a year after Monroe's death in August of 1962, and the movie is loaded with reminders of its originally being a Monroe vehicle.

Victim number five was Fox Studios. Adler purchased A Loss of Roses for then-under contract Marilyn Monroe, and teen heartthrob Pat Boone (!). Both turned the film down. Monroe (who enjoyed great success with the film version of Inge’s Bus Stop in 1956) likely found the Lila character - a stripper with lousy taste in men, who at one time tried to kill herself and was institutionalized - a tad too close to home; while Boone objected on moral grounds, finding the illicit affair between the young man and slightly pathetic stripper all wrong for his image.

Victim number six was actor Richard Beymer. Boosted to leading man stardom after West Side Story (1961), The Stripper jinx apparently hit a bullseye, for this was his last major motion picture.

Finally, victim number 7, Joanne Woodward. An Academy Award winner for The Three Faces of Eve (1957), Woodward retired from the screen not long after marrying Paul Newman and having two children. The Stripper was to be her comeback vehicle, but its DOA performance at the boxoffice got her career reemergence off to a rocky start from which it never fully recovered.

Helen Interprets Kenny's Birthday Gift as a Gesture to Replace his Father
A great many of the unhealthier aspects of the mother-son relationship in
A Loss of Roses were excised when it became The Stripper

PERFORMANCES

While many found fault with Inge’s original play and Meade Roberts' considerably less sordid adaptation, critics were largely in agreement over the quality of Joanne Woodward’s performance. Overcoming a stiff, blonde, cotton candy wig that always appears to hover at least an inch above her scalp, Woodward has some really remarkable moments playing a character who’s part Blanche DuBois and part Charity Hope Valentine.

Looking pretty spectacular in her Travilla wardrobe (Monroe’s designer), Woodward occasionally falls prey to the gimmicky tricks of smart actors trying to play dumb (laying it on a bit thick). But she truly shines in the film’s final scenes and achieves several moments of heartrending poignancy.

"I want my roses back."
Promotional stills of several sequences not in the film suggest the already problematic storyline
of The Stripper underwent a significant amount of post-production editing.
Below, a segment of an 1891 Emily Dickinson poem quoted in the film: 

I’m nobody! Who are you?

Are you nobody too?

Then there’s a pair of us - don’t tell!

They’d banish us, you know.

The rest of the cast is solid, if perhaps let down a bit by a script that doesn't offer supporting characters much beyond making a quick superficial impression. Richard Beymer is good as the juvenile, but never succeeds in getting me to understand Kenny's darker, brooding side. The always-welcome Claire Trevor is a standout as the mother who fills an empty life with overconcern for her nearly-adult son.
Carol Lynley doesn't get much of a chance to be anything but gorgeous in a thankless "girlfriend" role, and there really is far too little of the quirky Michael J. Pollard and the Auntie Mame-ish Gypsy Rose Lee. TV stalwart Robert Webber is convincingly oily.

In spite of the film's sensationalist title, Woodward makes for a very covered-up stripper.
Happily, the same can't be said for her co-star

THE STUFF OF FANTASY 

In all these years I have never forgotten The Stripper's opening, pre-title sequence. It's just that terrific. It promises a level of camp sleaze the movie never delivers, but how can you lose with a movie that opens with a shot of the original, iconic Myra Breckinridge showgirl billboard?

Bus Driver: "We are approaching the world-famous Sunset Strip. Here you will see in the flesh the great names of show business you've only watched on the screen before." 

Tourist #1: "Look! There's Jayne Mansfield!"
Tourist #2: "No it isn't, it's Kim Novak!"

Bus Driver: "No it isn't, lady."
Tourist #1: "Then who is it?"

Bus Driver: "Nobody."

BONUS MATERIAL
"The Stripper" Watch the complete film on YouTube. HERE

The Stripper's sole Oscar nomination was for the costume designs of William Travilla (Valley of the Dolls, Black Widow, Gentlemen Prefer Blondes). 

"It's what I want more than anything. More than winning contests or being a movie star,
or anything like that. 'Cause if you know you've got one person who loves and respects you,
then you don't need love from a lot of people, do you?"

Copyright © Ken Anderson   2009 - 2015

CAT ON A HOT TIN ROOF 1958

I’ve always been a sucker for playwright Tennessee Williams’ overheated Southern gothics.
By the time most of the films adapted from his plays began airing regularly on late-night TV, Williams’ trademark psychoanalytic, sweat ‘n’ lust domestic melodramas—so popular in the '40s and '50s—had long gone out of fashion. But watching these movies as a kid gave me the impression of adulthood as this distant, mysterious wonderland where one’s life would be ruled by fiery passions, profound psychological epiphanies, and turbulent emotions. Where people with the simplest, most unassuming countenances concealed deep wellsprings of insight and poetic sensitivity. Ah, youth.

Admittedly, I couldn’t always distinguish actual Tennessee Williams movies from look-alike works from William Inge (Come Back Little Sheba), Eugene O’Neill (Desire Under the Elms), Carson McCullers (The Member of the Wedding), Lonnie Coleman (Hot Spell), or William Faulkner (The Long Hot Summer). But, as each of these films seemed to me to reinforce such similar themes, they might well have sprung from the same imagination.

Maggie- "Oh, you weak, beautiful people who give up with such grace. What you need is someone to take hold of you—gently, with love, and hand your life back to you. Like something golden you let go of—and I can! I'm determined to do it—and nothing's more determined than a cat on a hot tin roof—is there? Is there, baby? " 

The Emotionally Unavailable Man

When I was young and my entire world not much larger than the size of my family, I responded to the way Williams’ domestic dramas gave the mundane conflicts of the American household the scope and grandeur of Greek tragedy. In my adolescence, I related to his characters’ flawed humanity and struggle with self-forgiveness. In my teens, when I grew more aware of the hormonal drives propelling Williams’ narratives, I was fascinated by the way he introduced implicit and codified homosexual longing—inevitably tortured—through characters seen (Brick in Cat on a Hot Tin Roof); unseen (Blanche’s husband in A Streetcar Named Desire); male (Sebastian in Suddenly, Last Summer); and female (Karen Stone in The Roman Spring of Mrs. Stone).

In young adulthood, when illusions of maturity come cloaked in the fragile armor of sarcasm and cynicism, I discovered camp humor and found much to jeer and scoff at in the more outdated aspects of Williams’ oeuvre. Particularly the quaint notion of what was considered to be "steamy" material by 1950s Hollywood standards. 

I also think it was around this time that I became hooked on those brutally trenchant “Family” skits on The Carol Burnett Show. So well-written and so over-the-top, these acerbic episodes of familial dysfunction were like mini-operatic satires of everything I liked so much in the whole Southern Gothic movie genre. Those skits had the effect of rekindling my love for Tennessee Williams and his ilk by reminding me that it was possible to both appreciate the sensitivity of human drama and still have a good chuckle over some of the dated, southern-fried histrionics.  

Elizabeth Taylor as Margaret (Maggie) Pollitt 

Paul Newman as Brick Pollitt

Burl Ives as Big Daddy

Judith Anderson as Ida "Big Momma" Pollitt

Jack Carson as Gooper "Brother-Man" Pollitt

Madeleine Sherwood as Mae "Sister-Woman" Pollitt

Changing times and shifting social attitudes have sapped many Tennessee Williams film adaptations of much of their initial profundity for me, leaving in its place a kind of winsome nostalgia for a time when Williams’ ennobling of the outcast and defense of the delicate-of-spirit proved the perfect balm for my adolescent insecurities. But the richness of his characters, the poetry of his language, and the finely observed details of domestic tension that comprise so many of his works still have the power to enthrall. And if every so often I find his works lapse into campiness…well, these days that only serves to sweeten the experience.

One of Williams’ more accessible films is Cat on a Hot Tin Roof. His 1955 Pulitzer Prize-winning play adapted for the screen (Williams would probably say bowdlerized) by director Richard Brooks (Looking for Mr. Goodbar) and screenwriter James Poe (They Shoot Horses, Don’t They?). Parodied, imitated, and discussed to a fare-thee-well, Cat on a Hot Tin Roof and the saga of the Mississippi Pollitts—a family of epic dysfunction long before such a term existed—is too familiar to warrant a summary, save to say family patriarch Big Daddy is dying, and the kinfolk tie themselves in knots trying to avoid any number of truths that the finality of his impending death makes necessary to confront.

Maggie the Cat, Brick, Big Momma, Big Daddy, Gooper & Mae and their troop of little no-neck monsters all occupy a short list of Williams characters so colorfully drawn and finely realized onscreen; just their names alone evoke images of real-life, flesh-and-blood beings with lives which extend beyond the celluloid frame. Not all of Williams’ characters strike me this way, but to this list, I’d add Blanche DuBois, Stanley Kowalski, and Sebastian Venable; the latter whom I've always been able to picture, plain as day, in spite of his never being shown.

"They've brought the whole bunch here like animals to display at a county fair."
Monster of Fertility Mae Pollitt (nee Flynn) and Her Brood of No-Necks

I think Cat on a Hot Tin Roof is the very first Tennessee Williams-based film I ever saw. Certainly, coming as I do from an extended family arguably as dysfunctional and just a shade more Machiavellian, it’s the first Tennessee Williams movie I actually “got.” Which is to say, at my young age, I was able to follow what was going on without actually grasping any of its insights. Themes like the dual nature of lying—that it can be used to protect and harm; the useless self-destructiveness of guilt; the relativity of love and truth; and the indomitability of the self-preservation instinct (aka, that cat staying on the tin roof as long it can) were layers yet to be revealed to me.

Like those shiny shells the surf leaves on the beach that require minimal effort to spot and pick up, the things that most entertained me about Cat on a Hot Tin Roof were primarily on its surface. For example, I loved the simplicity of the setup: over the course of one long, hot summer day (I learned early that there's no such thing as a winter in a Southern Gothic), members of an estranged and at odds family are forced to interact and put on a good face on the occasion of Big Daddy's 65th birthday. Possibly his last.

Shot in a slick, glossy style, cast with appealing actors giving stirring performances, Cat on a Hot Tin Roof is an enjoyable finger-lickin', family-size, southern-fried fracas with overlays of Freudian psychology. As often as not, the characters lie to each other with the same alacrity with which they lie to themselves, and when not repressing some deep, dark secret, are usually pressing forth some hidden agenda. Resentments, revelations, and epiphanies flow as freely as the bourbon from Brick's bottomless booze bottle, while unsure southern accents clash musically in the background. It's great stuff that I've come to appreciate more as I've grown older.

Mendacity Manor

I saw Cat on a Hot Tin Roof long before I was aware of the Hollywood Production Code-mandated excision of all references to homosexuality from Williams’ original play. This likely annoyed the hell out of those familiar with the play, but to me, the movie version of Cat on a Hot Tin Roof always came across like every other overly coy, repressed-yet-obsessed-with-sex ''50s-era movie I'd ever seen. Another one of those movies that never shuts up about the very thing it isn't allowed to speak of. 

I thought the entire hubbub in the movie surrounded Brick's belief that Maggie slept with his football buddy, Skipper, a man whom Brick, feeling unloved by Big Daddy, held up as a hero. That's it. I never picked up on any gay subtext beyond the fact that Paul Newman was impossibly gorgeous, but I did find all that evasive dialogue maddening. A sizable chunk of my early memories of watching Cat on a Hot Tin Roof on TV is scene after scene of characters proffering endless variations on: “Don’t say it, Maggie!”, “I’m gonna talk about it!”, “Tell him! Go on, tell him the truth!”, "It’s got to be told!”, "First, you've got to tell me!"

Yeesh! Just say it already!

"When a marriage goes on the rocks...the rocks are there, right there!"

The anthology TV program, Love, American Style was still on the air the first time I saw Cat on a Hot Tin Roof. An identical brass bed was featured in several of the comedy show's episodes and black-out skits (above) contributing to my feeling that sections of Cat on a Hot Tin Roof played out like an episode titled "Love and the Deep Dark Secret" 

I also remember being distracted by Paul Newman’s largely immobile, insanely photogenic face. Easy on the eyes as he is, he goes through the entire film with but a single, all-purpose expression: smoldering insouciance. Sure, he's playing a character all bottled up and cut off, and perhaps my biggest complaint might be rooted in how the character is conceived in the first place; but even with all that taken into consideration, I don't find those cool blue eyes registering very much. Every close-up looks like the same GQ Magazine cover. I guess they didn't call him "Brick" for nothing.

Winner of the Keanu Reeves/Kristen Stewart/Sean Combs one-face-fits-all Sphinx Award

WHAT I LOVE ABOUT THIS FILM
Over the years, Cat on a Hot Tin Roof has been restored to Williams’ preferred version in any number of permutations (two are linked in the Bonus Materials section below). But, as gratifying as it is to finally see the entire play as it was originally intended, the film version remains my favorite.
Why?
Because even at its most frank, Cat on a Hot Tin Roof is a seriously closeted play. Nearly 2½ hours are devoted to a man turning himself inside out over the "shameful" prospect that he might be gay. Another man kills himself over the fact. I recognize that as the work of a repressed playwright in a repressed era, Cat on a Hot Tin Roof is daring and groundbreaking as hell, but contemporary actors tackling this material today always come across as rather forced and false. They tend to over-emote and practically burst blood vessels portraying characters who are motivated by pretense and a need to play things close to their vest.
My feeling is that if I’m going to enjoy a work of closeted art, there’s something to be said for seeing it with all its repression intact.

The movie version of Cat on a Hot Tin Roof feels every inch a product of the 1950s. It’s an uptight, skirting-the-issue kind of movie that was made and takes place within the very era that created the closet-case Bricks and Skippers of our society. In some odd, meta kind of way, there is something perfect about Paul Newman starring in a movie dealing with latent homosexuality, which, in its telling, leaps through hoops and fire in an effort to avoid even mentioning the word. The drastic alterations Cat on a Hot Tin Roof underwent to make it to the screen still communicate Williams' themes pretty accurately, while subtextually giving the nod to the real-life Bricks and Maggies of Hollywood and those marriages of convenience rumors that follow the uncommonly long show-biz marriages of gossiped-about stars like Newman and Woodward.

Madeleine Sherwood (who I only knew as Reverend Mother on The Flying Nun) and Burl Ives
 (who will always be Sam the Snowman from Rudolph the Red-Nosed Reindeer) recreated
the roles they originated on Broadway

PERFORMANCES
What makes Cat on a Hot Tin Roof so re-watchable for me are its performances. Everyone delivers and is in fine form (even Newman, the immovable Brick, has his moments). The feel of a great ensemble cast is captured in the easy, familiar way in which the characters interact, and happily, the screenplay affords each at least one moment to shine. Madeleine Sherwood and Jack Carson are letter-perfect and major scene-stealers. I particularly delight in Sherwood's southern accent and single-minded, Lady Macbeth-ish maneuvering.

"One more crack, Queenie..."

Although he gave a near-identical performance that same year in the film version of Eugene O'Neill's Desire Under the Elms, Burl Ives is perhaps my all-time favorite Big Daddy. And while my vote for favorite Big Momma has to be split evenly between Maureen Stapleton and Kim Stanley (in the 1976 and 1984 TV movie versions, respectively), Judith Anderson's atypically refined interpretation of the character is surprisingly moving.

And then we come to Elizabeth Taylor. Given how many of her films have made their way onto this blog, it should come as no surprise that her Maggie the Cat is the central reason why Cat on a Hot Tin Roof has been a favorite of mine for all these years. For me, it really isn’t a matter of how well she embodies the character Tennessee Williams created (the screen Maggie is less tense, catty, and consumed with a clawed-her-way-up-from-nothing fear of poverty); it's that she succeeds in making Maggie both the heat and life force of the film.
Taylor is vivid and so celestially beautiful in the role, Brick doesn't come off as troubled so much as having rocks in his head. His heterosexual disinterest in her seems so unlikely that Cat on a Hot Tin Roof reclaims Williams' inked-out gay subtext without even trying. 

Taylor's third husband, Mike Todd, was killed
in a plane crash three weeks into the film's production

Even with that questionable southern accent of hers (“I caint! I caint!"), no one (at least no one I've seen in the role so far) can touch Elizabeth Taylor's Maggie. In this film she's more than a jewel; she’s the entire crown.

THE STUFF OF DREAMS
It’s no secret that Tennessee Williams didn't care for the film version of Cat on a Hot Tin Roof, but Williams, like a lot of artists conflicted by a desire for legitimacy and popular success, tended to hedge his bets after the fact. Williams had a habit of willingly complying with requested alterations to his text put forth by directors (Elia Kazan, most explosively) with a history of knowing what appealed to popular tastes. Williams did so with open eyes, but once a show proved successful because these changes were made, he berated himself with feelings of compromise and self-betrayal (all the way to the bank). Williams' self-recriminations habitually led to his making a great show of giving self-serving statements to the press about how he was forced to compromise his principles in order to satisfy provincial sensibilities (John Lahr’s exceptional biography Tennessee Williams: Mad Pilgrimage of the Flesh recounts this pattern of behavior in delicious detail.)

Virtually the entire third act was rewritten for the film. Among the changes: a sentimental
backstory for Big Daddy, and a father and son reconciliation

Certainly, the film version of Cat on a Hot Tin Roof thoroughly subverts the entire theme of Williams’ play, but given his run-ins with the censors and Hollywood Production Code during the making of A Streetcar Named Desire six years earlier, one wonders what else he possibly could have expected. Exactly what he got, it seems, for the half-million dollars he accepted from MGM for the rights to Cat on a Hot Tin Roof proved to be his guilt-ridden deal with the devil.

"I do love you, Brick. I do!"

"Wouldn't it be funny if that were true?"

Above is how Cat on a Hot Tin Roof's last scene might have played out had the film kept Williams' original ending. But for the movie version, Hollywood knew that after 108 minutes of sexual advance and retreat, audiences would have torn down the theater if these two beautiful specimens weren't granted their hard-won happy ending.

BONUS MATERIAL

The 1976 made-for-TV adaptation of Cat on a Hot Tin Roof starring Natalie Wood, Robert Wagner, Laurence Olivier, & Maureen Stapleton. (Features the Broadway ending.)

The 1984 made-for-TV adaptation of Cat on a Hot Tin Roof starring Jessica Lange, Tommy Lee Jones, Rip Torn, and Kim Stanley, features Williams' preferred "original" ending, restored text, and at a running time of almost 2 ½ hours, is the most complete filmed staging to date. 

Copyright © Ken Anderson  2009 - 2015