8.5/10. All the boyish taunting--"sister-boy" and the like--feels very dated, so 1950s that I wonder if anyone every talked that way, in the 1950s or otherwise. That being said, Deborah Kerr is tremendous, and her two "seduction" scenes have lingered in my memory since viewing the film. She entices with tenderness and warmth--something novel and quite lovely to behold.
This just might be the greatest movie I've ever seen, each moment, each gesture, each set & scene, each movement, each strand of light endlessly expressive, subtle & true. Its response to patriarchalism is as powerful as any I've seen in cinema. Every facet of this movie reverberates with meaning. Space here, the world, an arena of immense emotionality. Watch D.Kerr's hands, the wind, windows, the countless miracles.
Weakened yet still worthwhile adaptation of the Anderson play that exists as more of an artifact on 1950's morales/attitudes on queer identity than anything to give more credence too. Minnelli makes a strong cinematic potrayal that had to be compromised between stage and screen due to the 'codes' of the time period. Deborah Kerr quite memorable here in her potrayal of the neglected and caring headmasters' wife.