Great Lumet with great Brando and Magnani performances. The first half was a bit of a chore to sit through at times, suffering from staginess and Woodward's beyond annoying character. The second half was a whirlwind of emotions though and more than made up for this. Very tight direction, with great moody photography. An easy film to recommend and another great adaptation of Williams. 4 stars
Starting out somewhat slow with unconvincing protagonist, it wasn't until Magnani-Brando duo started off it got the pace and style it seemed to sought after. Theatricality of their interaction, interrupted by secondary characters of the same tone, is the thing that keeps the story both intriguing and unlikely.
***1/2. The film doesn't age very well, it's so theatrical that whenever a character opens his mouth, we're waiting for the Word of God to come out So let's focus on the performances of the actors, mute the sound and observe how they move. A DVD zone Tennessee Williams and his weird friends.
3 1/2 out of 5 stars. There's no denying Brando's sex appeal in The Fugitive Kind but the claustrophobic adapted play quality kind of leaves the movie shuffling its feet for most of its running time. There wasn't enough of Sidney Lumet's style to make up for it but the title sequence was gorgeous.
Rough-trade Brando wants to get out of the Life, but finds that he brings out the doomed queer in everyone he meets, so his lot pretty much remains fuck or get fucked. As honest as can be - which means we have to allow for the fact that Joanne Woodward's character should actually be a transvestite - and all in a day's work for the U.S.'s greatest playwright, Tennessee Williams.