Cat on a Hot Tin Roof (1958 Film) Richard Brooks

Reception

Tennessee Williams was reportedly unhappy with the screenplay, which removed almost all of the homosexual themes and revised the third act section to include a lengthy scene of reconciliation between Brick and Big Daddy. Paul Newman, the film's star, had also stated his disappointment with the adaptation. The Hays Code limited Brick's portrayal of sexual desire from Skipper, and diminished the original play's critique of homophobia. Williams so disliked the toned-down film adaptation of his play that he told people waiting in line to see the film, "This movie will set the industry back 50 years. Go home!"[9]

Despite this, the film was highly acclaimed by critics. Bosley Crowther of The New York Times wrote that although "Mr. Williams' original stage play has been altered considerably, especially in offering explanation of why the son is as he is", he still found the film "a ferocious and fascinating show", and deemed Newman's performance "an ingratiating picture of a tortured and tested young man" and Taylor "terrific."[10] Variety called the picture "a powerful, well-seasoned film produced within the bounds of good, if 'adults only,' taste...Newman again proves to be one of the finest actors in films, playing cynical underacting against highly developed action."[3] Harrison's Reports declared it "an intense adult drama, superbly acted by a formidable cast."[4] Richard L. Coe of Washington Post wrote "Cat on a Hot Tin Roof has been transposed to the screen with almost astonishing skill...Paul Newman does his finest work in the rich role of Brick, catching that remarkable fact of film acting—the illusion of the first time. It's a superlative performance and he's bound to be nominated for an Oscar."[11] Philip K. Scheuer of the Los Angeles Times wrote "It was a powerful stage drama and it is a powerful screen drama, and Brooks has exacted—and extracted—stunningly real and varied performances from his players...You may not like it but you won't forget it readily."[12]

Not all reviews were as positive. John McCarten of The New Yorker wrote of the characters that "although it is interesting for a while to listen to them letting off emotional steam, their caterwauling (boosted Lord knows how many decibels by stereophonic sound) eventually becomes severely monotonous." McCarten also lamented that the filmmakers were "unable to indicate more than fleetingly the real problem of the hero—homosexuality, which is, of course, a taboo subject in American movies."[13] The Monthly Film Bulletin shared that regret, writing "Censorship difficulties admittedly make it impossible to show homosexuality as the root of Brick's problem, but Brooks does not appear to have the skill to make convincing the motives he has substituted. Most of Williams' exhilarating dialogue has been left out or emasculated, and the screenplay fails to harmonise the revised characterisation of Brick with the author's original conception."[14]

Awards and nominations

The film received six Academy Award nominations. However the film did not win any awards. Best Picture went to Gigi (another Metro-Goldwyn-Mayer production). The same night, Burl Ives won Best Supporting Actor for The Big Country.

Box office

The film was successful with audiences and grossed over $1 million over the Labor Day weekend and was number one at the US box office for five consecutive weeks throughout September 1958,[15][16] before being knocked off the top spot by Damn Yankees.[17] It returned to the top spot for the next four weeks and was also the number-one film for the month of October.[18]

According to MGM records, the film earned rentals for the studio of $7,660,000 in the United States and Canada as well as $3,625,000 in other markets, resulting in a profit of $2,428,000.[2]