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I'd add Lumet's magnificent version of O'Neill's "Long Day's Journey Into Night".
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Just about anything by William Inge, "Come Back Little Sheba", "Picnic", "Bus Stop"...
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DEATH OF A SALESMAN (it was written for March; he finally got the chance)
Really? Wow. March is my favorite actor, and interestingly, the '52 film version is the ONLY version of the story I can stand. Knowing that it was written for him makes me wanna go back and watch it again!
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Posted: |
Dec 7, 2009 - 5:17 PM
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By: |
antipodean
(Member)
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For me, that would be Peter Sheffer's Amadeus. (And I have the signed soundtrack, too.)
I'd add that I received this for Christmas two years ago when it was on offer at amazon.co.uk:
The virtue of a set like this is having the entire Shakesperean canon (37 discs) on reference at your fingertips, especially obscure stuff like King John, Pericles and, oh, Henry VI Part 2. On the other hand, you are at the mercy of whatever production and casting the BBC has chosen for the plays, especially better-known ones which have been done with more verve by other filmmakers. (I'm thinking of the film version of A Midsummer Night's Dream which was gorgeously set in Tuscany.)
Just checked... it's still going on amazon.co.uk for £77.48, which is an astounding price - http://www.amazon.co.uk/exec/obidos/ASIN/B000B6F8V4/classicfromthes-21
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I have no photos, alas, but Jean Anouilh's BECKET was quite sensationally brought to the screen by Burton and O'Toole (not to mention Peter Glenville).
COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (Ed Graczyk) is a guilty pleasure of mine as well, loaded with choice lines and performed memorably, under the wonderfully creative direction of Robert Altman.
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Posted: |
May 7, 2017 - 8:15 PM
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By: |
Howard L
(Member)
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COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (Ed Graczyk) is a guilty pleasure of mine as well, loaded with choice lines and performed memorably, under the wonderfully creative direction of Robert Altman.
Holy cow just watched it for the first time. Can recall when it opened on Broadway due to the casting of Cher and that's pretty much it. Anyway, I found it to be something of a cross between Kennedy's Children and The Boys In the Band due to the premature death business, one-set aspect and deadly serious truth-telling after all the yucks. It is fascinating, in retrospect, to see it with all those big name actresses when some weren't such big names. And knowing that whoever was responsible for the stage version--which didn't last long--had also moved on to the filmization is a plus.
Overall, something to see but not necessarily something to re-see. There was a certain predictability to the goings-on in terms of where things were heading. And one can only take so much of the devastating neuroticism. Still, we're talking Sandy Dennis, Kathy Bates, Karen Black, Cher, Altman et al. and attention, as such, must be paid.
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Posted: |
May 7, 2017 - 11:56 PM
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By: |
Dana Wilcox
(Member)
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COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (Ed Graczyk) is a guilty pleasure of mine as well, loaded with choice lines and performed memorably, under the wonderfully creative direction of Robert Altman.
Holy cow just watched it for the first time. Can recall when it opened on Broadway due to the casting of Cher and that's pretty much it. Anyway, I found it to be something of a cross between Kennedy's Children and The Boys In the Band due to the premature death business, one-set aspect and deadly serious truth-telling after all the yucks. It is fascinating, in retrospect, to see it with all those big name actresses when some weren't such big names. And knowing that whoever was responsible for the stage version--which didn't last long--had also moved on to the filmization is a plus.
Overall, something to see but not necessarily something to re-see. There was a certain predictability to the goings-on in terms of where things were heading. And one can only take so much of the devastating neuroticism. Still, we're talking Sandy Dennis, Kathy Bates, Karen Black, Cher, Altman et al. and attention, as such, must be paid.
I pretty much agree as to predictability, which might be a common "shortcoming" among plays/films of this sort. The joy (for me) is in the unfolding, the process by which transparent falsehoods and neurotic fantasies are unraveled, how the inevitable meltdowns are depicted in words and images, and how the author deals with resolution (or not). I've seen JIMMY DEAN several times, though not close together, and found something I'd previously missed more often than not. I can say much the same for THE BOYS IN THE BAND, TOYS IN THE ATTIC, VIRGINIA WOOLF, SUMMER AND SMOKE, LONG DAY'S JOURNEY INTO NIGHT and a few others. Plays (even great ones) can be "stagey" or "campy" when lifted directly out of the theater and plunked onto film, but if the cast and the writing are good, and the direction is good, I'm okay with it.
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THE FUGITIVE KIND (1960) - Based on the play Orpheus Descending by Tennessee Williams, as presented on Broadway by Robert Whitehead for Producers Theatre, Inc. (New York, 21 March 1957).
Although the onscreen credits list only the play Orpheus Descending as the basis of THE FUGITIVE KIND, that play was based on Battle of Angels, the first Williams play to be staged professionally. Williams wrote Battle of Angels in 1939, but after an unsuccessful run, rewrote it and retitled it Orpheus Descending. Although Williams had earlier written a play entitled The Fugitive Kind, which was produced by a St. Louis theater group in 1937, that play is unrelated to the film.
Williams had originally wanted to cast Marlon Brando and Anna Magnani in the Broadway version of Orpheus Descending, and he wrote the film’s screenplay with the two actors in mind. Sidney Lumet directed the film. The score by Kenyon Hopkins was released on a United Artists LP. It was re-issued on CD by Film Score Monthly in 2008 as part of their MGM Soundtrack Treasury box set.
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