An Italian-American neighborhood in Louisiana is disturbed when truck driver Rosario Delle Rose is killed by police while smuggling. His buxom widow Serafina miscarries, then over a period ...
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An Italian-American neighborhood in Louisiana is disturbed when truck driver Rosario Delle Rose is killed by police while smuggling. His buxom widow Serafina miscarries, then over a period of years draws more and more into herself, trying to force her lovely teenaged daughter Rosa to do likewise. On one eventful day, Rose finally breaks away; Serafina learns of Rosario's affair with another woman; and a new carefree, handsome Italian truck driver enters her life... Written by
Rod Crawford <firstname.lastname@example.org>
Though the script places the location in a small Mississippi Gulf town, exteriors were shot in Key West. When scouting for locations, a perfect fit was found for the exterior of the house owned by Serafina Delle Rose on Duncan Street. A fence indicating a goat paddock was needed next door and the crew was worried the owner may object to the filming nearby and the addition of a ramshackle fence on his property. They needn't have worried - the house and property next door at 1431 Ducan was the home that Tennessee Williams shared with his lover Frank Merlo himself who happily agreed to its use even inviting Magnani (close friends of Merlo and Williams) and Lancaster to use it as their dressing rooms. In later years, Williams had an enormous mosaic of a rose tattoo embedded in the floor of the pool behind the house, which is still there today. See more »
When the truck crashes in flames and rolls down the hillside, it is obvious from the beginning of the sequence that there is nobody in the cab. See more »
Mrs. Delle Rose. I don't understand how a woman that acts like you could have such a sweet and refines young girl for a daughter.
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We can always count on Tennessee Williams to give us an engrossing tale of love, lust, loss, betrayal, sexual frustration, and jealousy. Anna Magnani's corrosive performance absolutely dominates this film, which works well in black & white (the overheated emotions seem to leap out of the b&w more starkly than they would out of color); you can't take your eyes off her - it's like watching a train wreck. She makes this insecure, emotionally frightened, self-deluded, yet domineering woman a sympathetic figure in the end. Burt Lancaster is a bit over the top, but the role calls for it. A fascinating aspect is the parallel development of the daughter's budding sexuality with the release of her mother's long-suppressed yearnings. Those fascinated by Magnani here should catch her working with Anthony Quinn in "The Secret of Santa Vittoria", made just four years before her death. Once again, thank you American Movie Classics for bringing us this fine film.
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