1950. Time is the longest distance between two points. Maybe it’s because of my skepticism about Tennessee Williams, but the film didn’t impress me. Modest minimalist decisions, limited to a few rooms in which most of the action of the tape will unfold, gave the tape a dreary mood that gives clasutrophobia. And even despite the quite decent production - the film did not look like a TV show, the unfolding story seemed to me unsaid, as if some important fragment was unsaid.
Families in which parents try to “preserve” children, protect them from the bitterness of losses and disappointments, thereby dooming them to a dependent existence – even today it is far from uncommon. Williams is very accurate in describing one such mother: “She is not paranoid, but her life is completely paranoid.” There is much to admire in her; she is funny in many ways, but she can be loved and regretted. Of course, her perseverance is akin to heroism, and although sometimes her stupidity unwittingly makes her cruel, there is always tenderness in her weak soul. Agree that this is controversial and interesting character. But in the movie, Mom was too one-dimensional. It's not that Gertrude Lawrence played badly. It was just that her role was not too accentuated.
All the attention in the tape was paid to the stars – Kirk Douglas and Jane Wyman (by the way, most recently received an Oscar for “Johnny Belinda”). Actors quite well, due to their talent, coped with the roles. It turned out a little linear, but all the questions here probably to Williams.
Perhaps I would have appreciated this film higher - there are no obvious failures. But a simple analogy with next year's "Stamp Desire" puts everything in its place. A sharp, accusatory sermon by Elia Kazan was not under the power of the creators of the Menagerie. Consequently, the filmmakers, telling a strong story, forgot about one thing - to raise the tension.
5 out of 10