IMDb > Cat on a Hot Tin Roof (1958)
Cat on a Hot Tin Roof
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Cat on a Hot Tin Roof (1958) Plus avec IMDbPro »

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Cat on a Hot Tin Roof (1958) -- Sinematurk - Trailer (Flash)
Cat on a Hot Tin Roof (1958) -- Tennessee Williams' famous play "Cat On A Hot Tin Roof' has always been portrayed as a white, Southern family until now. An all-black, stellar cast has taken it to Broadway. Randall Pinkston reports.

Vue d'ensemble

Note Générale:
8,0/10   13 253 votes
MOVIEmeter: ?
Down 6% in popularity this week. See why on IMDbPro.
Réalisateur:
Richard Brooks
Scénaristes:
Tennessee Williams (play)
Richard Brooks (screenplay) ...
(suite)
Contact:
View company contact information for Cat on a Hot Tin Roof on IMDbPro.
Date de sortie:
20 septembre 1958 (USA) suite
Genre:
Drame suite
Accroche:
Just one pillow on her bed ... and just one desire in her heart! suite
Intrigue:
Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son. full summary | add synopsis
Plot Keywords:
suite
Récompenses:
Nominated for 6 Oscars. Another 2 wins & 8 nominations suite
Avis des utilisateurs:
It was the Cotton Bowl, sister-woman. plus de (106 total)

Ensemble

  (dans l'ordre des crédits) (Vérifié comme complet)

Elizabeth Taylor ... Margaret 'Maggie the Cat' Pollitt

Paul Newman ... Brick Pollitt

Burl Ives ... Harvey 'Big Daddy' Pollitt

Jack Carson ... Cooper 'Gooper' Pollitt
Judith Anderson ... Ida 'Big Momma' Pollitt
Madeleine Sherwood ... Mae Flynn Pollitt
Larry Gates ... Dr. Baugh
Vaughn Taylor ... Deacon Davis
reste de la distribution par ordre alphabétique:
Zelda Cleaver ... Sookey - Servant (uncredited)
Brian Corcoran ... 'Boy' Pollitt (uncredited)
Hugh Corcoran ... Buster Pollitt (uncredited)
Patty Ann Gerrity ... Dixie Pollitt (uncredited)
Bobby Johnson ... Pollitt Groom (uncredited)
Walter Merrill ... Party Guest (uncredited)
Deborah Miller ... Trixie Pollitt (uncredited)
Robert 'Rusty' Stevens ... Sonny Pollitt (uncredited)
Vince Townsend ... Lacey - Servant (uncredited)
Jeane Wood ... Party Guest (uncredited)
Create a character page for: ?

Réalisé par
Richard Brooks 
 
Scénaristes
Tennessee Williams (play "Cat on a Hot Tin Roof")

Richard Brooks (screenplay) and
James Poe (screenplay)

Produit par
Lawrence Weingarten .... producer
 
Musique originale
Charles Wolcott (uncredited)
 
Image
William H. Daniels  (as William Daniels)
 
Montage
Ferris Webster 
 
Direction artistique
William A. Horning 
Urie McCleary 
 
Décorateur de plateau
Henry Grace 
Robert Priestley 
 
Maquillage
Sydney Guilaroff .... hair stylist
William Tuttle .... makeup artist
 
Assistant réalisateur
William Shanks .... assistant director
Hank Moonjean .... assistant director (uncredited)
 
Technicien du son
Wesley C. Miller .... recording supervisor (as Dr. Wesley C. Miller)
Van Allen James .... sound editor (uncredited)
 
Effets spéciaux
Lee LeBlanc .... special effects
 
Cascadeur
Dean Smith .... stunts (uncredited)
 
Caméra et Département Electrique
Bill Johnson .... camera operator (uncredited)
 
Département Costume et garde-Robe
Helen Rose .... wardrobe: Elizabeth Taylor
 
Dpartement Editorial
Charles K. Hagedon .... color consultant
 
Divers
Merguerite Lamkin .... dialogue coach (uncredited)
 
Equipe vérifiée comme complète


Companies de productionDistributeurs
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Détails supplémentaires

Parents Guide:
Add content advisory for parents
Durée:
108 min
Pays:
USA
Langue:
Anglais
Couleur:
Couleur (Metrocolor)
Rapport de forme:
1,85 : 1 suite
Son:
Mono (Westrex Recording System)
Classification:
Portugal:M/12 (re-rating) | Spain:18 | Finland:K-3 (2007) | South Korea:15 (DVD rating) | Brazil:14 | Argentina:13 | Australia:PG | Canada:PG | Chile:14 | Finland:K-12 | Netherlands:AL | Portugal:17 | Sweden:15 | USA:Not Rated | West Germany:18 (original rating) | UK:12A (re-rating) (2005) | UK:X (original rating) | UK:15 (video rating) (1987) | UK:15 (video rating)
Lieux de tournage:
Coleman Estate, Muttontown, Oyster Bay, Long Island, New York, USA suite
Société:
Metro-Goldwyn-Mayer (MGM) suite

Curiosités

Anecdotes:
Although Elia Kazan directed "Cat" on Broadway, he was not involved in the film, despite having two cinematic successes with Tennessee Williams work A Streetcar Named Desire (1951) and Baby Doll (1956). Kazan had had trouble with Williams, demanding that he rewrite the third act of the play to bring Big Daddy back on stage. He also was tired of having critics call him a "co-author" of Williams work, which he knew he was not. He would eventually direct one more Williams play on Broadway, Sweet Bird of Youth (1962), but that film also would be directed by Richard Brooks. suite
Goofs:
Erreurs factuelles: Although it is filled once in the afternoon, the ice bucket in Brick's bedroom stays full well into the evening even though it's never replenished. suite
Guillemet:
Ida 'Big Momma' Pollitt: I'm talking in Big Daddy's languge now. I'm his wife, not his widow. I'm still his wif!
Gooper Pollitt: What we've got here...
Mae Pollitt: What Gooper's saying is just a plan, a basis.
Ida 'Big Momma' Pollitt: I'll tell you what your plan is. Margaret, what is it Big Daddy always says when he's disgusted?
Margaret "Maggie" Pollitt: He says bull when he's disgusted.
Ida 'Big Momma' Pollitt: Yes, that's right. I say bull too, like Big Daddy.
Mae Pollitt: Well, coarse language don't seem called for to me.
Ida 'Big Momma' Pollitt: Bull!
suite
Connexions:
Référencé sur Blodigt jävla helvete (2008) suite
Bande son:
Soothe My Lonely Heart suite

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Avis des utilisateurs

   (Faites un commentaire sur ce titre)
2 internautes sur 3 ont trouvé ce commentaire utile
It was the Cotton Bowl, sister-woman., 20 août 2002
9/10
Auteur : Harry David (harry_david1@yahoo.com) de Connecticut

I have just read through most of the comments on this great film. A few responses here, then, first. I disclose that I haven't seen the play on which it was based, and so was unencumbered by either false expectations or relevant expertise. And I "walked in" on the film when Big Daddy disembarked from his plane. I'm undecided whether that makes me mendacious, for hiding from my ignorance, or if that'd just be "Bull!"

Natasha thought "Guys might get bored". I notice on the demographics that men outnumber the women among voters, by a factor of 3-4. I suspect that reflects the centrality (to my -- male -- mind) of the male-male relationships: Brick-Big Daddy, and Brick-Skipper.

Maggie of course was a lead character, but -- firstly -- Taylor didn't imbue her with... well, with the life-spirit that her character unwittingly and eloquently claimed at film's end: "The gift of new life, sired by Brick." (I paraphrase.) Hence, Maggie didn't show any spiritual renaissance as the plot developed. I should be better off, though, remarking that, indeed, the plot gave her no *reason* to change, since (as I recall things) she didn't ever learn anything non-ephemeral. Maggie had a good bit of life in her; but her character was essentially a tool for the development of and between Brick and Big Daddy. Brick's reconciliation with his wife had everything to do with his newfound appreciation of the meaning of mendacity, and nothing to do with either Maggie's past or the manner in which she brought it to discussion in the present. My feeling was that Brick took to heart his father's purportedly cynical line about the world being a system of mendacity in which we must make love to wives we no longer love -- transformed, in Brick's action, into a healthy rejection of indispensible myths and indispensible truths.

So, to conclude that thought. Without presuming to speak against the pleasure a woman viewer might take in the film, guys have more than a few enthralling moments and themes for themselves. My take, at least, is that men, particularly (or perhaps even uniquely), must grapple with forging an identity reconciling Brick's loyalty to Skipper -- and other high-minded ideals -- with his eventual absolution -- and acceptance of a flawed reality.

At this point I can't remember what else I wanted to mention. I disagree with most of Telegonus' assessment, though (or: the portions I am qualified to judge). It didn't strike me as dated. Nor did I notice of the behind-the-scenes Williams, "he is out to enlighten his audience on sexual matters; also on life in the then still exotic Deep South. " (This may well be my shortcoming.) That is, how was it an attack on "Middle America"? Perhaps Telegonus refers to the theme that money can't buy love; I tend to see avarice as a perversion for the extremes of society, the vigilant elites and the covetous proles.

That'll do. Now I must sleep and face the day tomorrow without Kentucky bourbon and its "cold mechanical click".

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