Honest and hard-working Texas rancher Homer Bannon has a conflict with his unscrupulous, selfish, arrogant and egotistical son Hud, who sank into alcoholism after accidentally killing his brother in a car crash.
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.
Drifter Chance Wayne returns to his hometown after many years of trying to make it in the movies. Arriving with him is a faded film star he picked up along the way, Alexandra Del Lago. ... See full summary »
Up and coming, young lawyer Anthony Lawrence faces several ethical and emotional dilemmas as he climbs the Philadelphia social ladder. His personal and professional skills are tested as he ... See full summary »
Rachel is a 35 year old school teacher who has no man in her life and lives with her mother. When a man from the big city returns and asks her out, she begins to have to make decisions about her life and where she wants it to go.
Sixty-one year old widower Will Varner, in ill health, owns many businesses and property in Frenchman's Bend, Mississippi, including a plantation. To him, his children are a disappointment, they who he sees as not being able to carry on the Varner name in the style to which he has built around it. Son Jody Varner has no ambition and does not work, spending much of his time fooling around with his seductive wife, Eula. Twenty-three year old daughter Clara Varner he finds clever, but he feels she also wastes her time on more contemplative pursuits. While most of her contemporaries are married, Clara has been dating Alan Stewart, a genteel mama's boy, for six years. Will would not mind Alan so much if he too thought Alan had a bit of a forceful man in him, which he could demonstrate by actually asking Clara to marry him. Conversely, Jody laments that nothing he does is ever good enough for his father, while Clara plain does not like the way he treats them. Into their lives comes Ben ... Written by
Orson Welles was 42 years old, but was cast as a 61 year old man due to his weight. He had already played a similar older fat man the year before in Moby Dick and the following year in his Touch of Evil. See more »
When Varner sees Jody digging in the yard looking for so called treasures, Jody hands him a silver dollar and Will says it was minted in 1910. No silver dollars were minted after 1904 until 1921. The coin Ben showed him while at gunpoint was likely a $5 gold piece but Will is definitely holding what looks like a silver dollar. See more »
Thousands of acres out there. Millions of seeds put down in the ground, and every year the seeds come up again. Life goes on. Where's my crop, huh? What follows me? What happens when I'm dead?
You'll probably have the biggest funeral in the state of Mississippi.
That don't scare me none, just so long as there are plenty of Varners to mourn me.
Jody and I'll be there.
You and Jody and Jody's kids and yours and their kids, my descendants, sister, a line, a long line with my face stamped on 'em, ...
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The Long, Hot Summer Big Footprint Not to be mistaken for Wet Hot American Summer (a markedly different romp ), The Long, Hot Summer seems to be a largely forgotten entry into the canon of sweltering 1950s melodramas, mostly historically noteworthy as the project which united Paul Newman and Joanne Woodward, and generally overshadowed by higher profile ballads of illicit love and family angst in the deep south. However, rather than being clouded by a haze of 'Big Daddy's odour of mendacity,' Martin Ritt's film easily has enough merit to stand on its own accord, blending a collection of William Faulkner shorts into a tale of love, lust, and lineage, just clamoring for the qualifier 'steamy'.
Although the plot is definitely familiar territory, and the script errs fairly strongly on the affected style customary to the post-Actors Studio era, the story resonates truthfully and remains engaging throughout, while the alluring undercurrent of barely-bridled sexuality keeps the proceedings energetic and urgent. Ritt's direction is taut but unfussy, allowing the inherent claustrophobia and tension of the film's small-town setting to speak for itself, and the sumptuous Technicolor cinematography is so crisp you can practically smell the marsh and sweat from the Mississippi bayou (and I'm not even just talking about Orson Welles). Although the climax feels like a somewhat forced attempt to escalate the stakes simmering throughout, with an overly hasty resolution to boot, the buildup is calm and confident enough to make the viewing experience worth its while without having to fight to engage its audience.
Naturally, like the majority of its contemporaries, the story ultimately exists as a vehicle to foreground the performances of the cast, who are what ultimately make the film worthwhile. Paul Newman, cementing his iconic identity as the shrewd, laconic, effortlessly cool drifter, crackles with charisma as accused arsonist Ben Quick, magnetic throughout even before his surprisingly racy shirtless scene. Joanne Woodward gives arguably the film's strongest performance as the controversially unmarried Clara Varner, practically vibrating in place from a lifetime of feeling discounted and under-appreciated. Rather than playing up her predicament, however, Woodward embodies Clara with a steely confidence, which is altogether more effective and appealing. In contrast, Orson Welles delivers the film's most legendarily outlandish performance as the resident belligerent patriarch. Notoriously mocking the Actors' Studio by mumbling almost incomprehensibly through his cartoonish southern drawl, the vociferous Welles is skilled enough to steal scenes in his sleep (which he may well have been during certain scenes), outrageously fun when hamming it up, with occasional pockets of surprising solemnity and depth, as if coming up for air from his customary grunting and snorting. Anthony Franciosa is also a sturdy presence, even if he does occasionally overindulge in Method hand-wringing and hysteria, while a cameo from the delightful Angela Lansbury as Welles' cheerily aggressive suitor adds a dash of comedic perfection.
While it may fall short of the acerbic intensity of similar fare such as Cat on a Hot Tin Roof, The Long, Hot Summer still serves a healthy slice of all the smouldering, robustly acted 1950s melodrama you could ask for. If only for the incandescent interplay between Newman and Woodward, with the added pleasure of cartoon-character Welles, the film is easily worth sinking into, on a dozy, hot summer evening or otherwise.
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