Yet another example of a 1950s stage to screen adaptation in which the entire reason for the play's existence is removed from the screen version in order to placate the censors. Why did people even want to make movies out of plays if they wanted to remove everything that made the plays interesting in the first place? Without the homosexual subtext, "Cat on a Hot Tin Roof" isn't about very much except Paul Newman and Elizabeth Taylor disliking each other until they do a complete 180 and get it on in the film's final scene. I guess at the time the pairing of two hot actors was enough to get audiences into the theatres, but that's not good enough now. This is tepid and bland, with uninspired direction, and would make anyone wonder why this Tennessee Williams play is considered to be such a classic.

There is one reason to see this film, though, and that's Burl Ives. Newman and Taylor fade into the background, and the movie becomes the story of Ives' Big Daddy, who gives a fascinating, bellicose performance as a dying patriarch, desperately in need of a worthy heir to carry on his legacy. With this and "The Big Country," released the same year, Ives had perhaps the best 1958 of any other actor working at the time.

Grade: C

For years I was turned off from watching this movie. I tried once, but found that the movie looked like an episode of MOMMA'S FAMILY where they finally gave everyone meat cleavers and told them to mix it up good!! It was that ugly and tough to watch in only the first 10 or 15 minutes, so I just turned it off and assumed it was not my type of movie. Thankfully, I tried it again and realized it was an exceptional film in every way.

The movie is essentially a film about how everyone in the family is dealing with the imminent death of the family patriarch, Big Daddy. For some odd and annoying reason, everyone has nicknames like "Big Momma", "Big Sister", etc. but considering this is my only complaint, it's no big deal really.

The problem is that the family is at heart really screwed up. The oldest son, played by Jack Carson, is the "good" son who became a lawyer and is superficially dutiful, though down deep he does everything to try to maneuver himself and his evil brood into the best position when the loot is divvied up when Big Daddy dies. It's totally sick the way he and his obnoxious brood fawn over Big Daddy so unconvincingly in order to ingratiate themselves.

His wife, Mae, played by Madeleine Sherwood, is probably the most detestable of all the adults in the film. Just how awful she is is revealed more and more as the film progresses, as she has both the mouth and heart of a viper AND she choreographs the kids to do some major sucking up to Big Daddy. This sucking up is so saccharine and annoying that Big Daddy obviously detested the kids! The children are basically evil spawns of Satan, as their parents allow them to do ANYTHING so long as they suck up to Big Daddy and Big Mamma. When the film starts, one of the brats is reaching her hands into a big bowl of ice cream--ruining it for everyone. When she sees her Aunt Maggie (Liz Taylor) she throws a huge handful on her. Another of these darlings later laughs at Aunt Maggie and taunts her because she doesn't have any kids! They did a great job of playing horrid kids, as I found myself wanting to strangle them.

Aunt Maggie is also pretty mercenary, though is much more subtle and likable than her brother-in-law and sister-in-law and the little demons. But she and her husband, Brick, played by Paul Newman, have a stormy marriage at best. Of all the kids and in-laws, the only one without designs on the fortune is Brick, who is so full of self-pity and self-loathing that all he really is interested in is staying drunk.

Big Mamma, played by Judith Anderson, is pretty ineffectual and lives in a constant state of denial. Otherwise, she would have to admit to herself that her kids are creeps and her husband doesn't care at all about her.

Big Daddy, played by Burl Ives, is a loud and obnoxious man who as insensitive and blunt. His way of showing love is through money and success. He appears to realize the score on everyone and where they stand--except for himself. Here he's got a huge blind spot--thinking he's done a fine job when the problems he sees are in many ways his own doing.

Initially, Big Daddy thinks that the stomach pains he's been having are not very serious--after all, that's what the doctor has told him. However, he's dying of cancer and his time left is very short. Once he learns this is so, he actually stops yelling and the most poignant part of the film begins. His conversation with Brick about the illness and the future is one of the finest moments in movie history. In particular, Paul Newman's performance nearly brought me to tears. It was only then that real raw feelings and pain began to emerge and the movie began to feel so real and wonderful.

Where all this goes from there you just need to see for yourself. I had a hard time choosing whether or not to give the movie a 9 or a 10, but I tend to be more conservative than some and reserve 10s for only a very select group of films--and this one nearly made it. See it and be amazed.

PS--A final interesting note is that one of the kids playing the brats was Rusty Stevens--"Larry Mondello" from the old LEAVE IT TO BEAVER show. Look quickly at the kid running around with the sparkler--it's him. He's not listed in the credits, but is on IMDb and I'm sure it's him.

I am studying Tennesse Williams's Cat on a Hot Tin Roof in English. It is a fabulous play, constantly entertaining and witty. I saw the film with great interest, and I was most impressed. Yes the filmmakers did tone down the sexual references and the language and some of the events are simplified or cut(ie. they suppressed Brick's supposed homosexuality) . But even with the changes, the film thanks to the stellar performances and the witty screenplay sizzles fantastically on screen. It is also very gripping and intense, like the play.

What makes the play so unique is this. Whereas directors tend to stage what they visualise in their heads when there are no stage directions to show exactly what the playwrights intend, Williams is very specific what he wants throughout. His characterisations are broad and his descriptions of everything down to the bed, which is very symbolic, are detailed. The film, like I said, is toned down, but it still retains the sizzle, wit and intensity of the play with consummate ease.

The screenplay is very witty, emotional and funny even. The direction is very good too, and respects Williams's style. The film for its time looks lovely with lovingly designed costumes and skillful cinematography. The music is great, and the editing is crisp.

Out of the performances, all of which were stellar in what is really an ensemble piece, Burl Ives stands out especially in a towering spot-on portrayal of the domineering patriarch Big Daddy, and managed to stay true to his character. Paul Newman is splendid as Brick, giving a performance of quiet intensity and broodiness. While she slightly overdid the Daddy Dawling routine, Elizabeth Taylor is deliciously catty and sexy as Maggie, and her and Newman's chemistry was evident throughout. While maybe not quite right in terms of build, Judith Anderson the brilliant actress she was is wholly convincing as Big Mamma. While loud and coarse, she is also sympathetic. Jack Carson plays Gooper well too, Madeleine Sherwood was a tad annoying as Mae, then again I never liked Mae that much in the play anyway.

There are many standout scenes, but the one that stood out for me was the scene in the rain with Big Daddy and Brick. Thanks to the contrasting personalities of the two characters and the powerful acting of Ives and Newman, it is one of the most powerful scenes in any film. It makes me wonder why Ives was so overlooked at the Academy Awards really. The final confrontation was also a highlight. All in all, Cat on a Hot Tin Roof has its minor flaws, but it is impeccably acted, atmospheric and very steamy. 9/10 Bethany Cox