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The Fugitive Kind (1960)

7.2
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Ratings: 7.2/10 from 2,909 users  
Reviews: 33 user | 39 critic

Val Xavier, a drifter of obscure origins arrives at a small town and gets a job in a store run by Lady Torrence, a sex-starved woman whose husband Jabe M. Torrance is dying of cancer ... See full summary »

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Title: The Fugitive Kind (1960)

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Cast

Cast overview, first billed only:
...
...
Lady Torrance
...
Carol Cutrere
...
Vee Talbot
...
Jabe M. Torrance
...
Sheriff Jordan Talbott
Emory Richardson ...
Uncle Pleasant, the Conjure Man
Madame Spivy ...
Ruby Lightfoot (as Spivy)
Sally Gracie ...
Dolly Hamma
Lucille Benson ...
Beulah Binnings
John Baragrey ...
David Cutrere
Ben Yaffee ...
'Dog' Hamma
Joe Brown Jr. ...
'Pee Wee' Binnings
Virgilia Chew ...
Nurse Porter
Frank Borgman ...
Gas Station Attendant
Edit

Storyline

Val Xavier, a drifter of obscure origins arrives at a small town and gets a job in a store run by Lady Torrence, a sex-starved woman whose husband Jabe M. Torrance is dying of cancer upstairs. Val is pursued by Carol Cutere, the enigmatic local tramp-of-good-family, who covets his snakeskin jacket as much as his body and tries to seduce him in the cemetery. Val is more attracted to the mature Lady and gets her pregnant. Written by alfiehitchie

Plot Summary | Add Synopsis

Taglines:

SOMETHING ABOUT THE WAY HE LOOKED AT A WOMAN...SOMETHING ABOUT THE WAY HE HANDLED A GUITAR...(original ad) See more »

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

30 September 1960 (Finland)  »

Also Known As:

The Fugitive Kind  »

Filming Locations:

 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Magnani became furious when she found out that Brando was asking director Sidney Lumet for rehearsals and getting them and insisting that scenes be reshot until he was satisfied with them. See more »

Quotes

Carol Cutrere: Juking? Oh! Well, that's when you get in a car, which is preferably open in any kind of weather. And then you drink a little bit and you drive a little bit, and then you stop and you dance a little bit with a jukebox. And then you drink a little bit more and you drive a little bit more, you stop and you dance a little bit more to another juke box! And then you stop dancing and you just drink and you drive. And then, you stop driving.
See more »

Connections

Featured in The Roth Show: The New York City Way (2014) See more »

Soundtracks

Blanket Roll Blues
Music by Kenyon Hopkins
Lyrics by Tennessee Williams
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
not Williams, Lumet, or Brando's best, but it's still pretty damn good!
14 November 2007 | by (United States) – See all my reviews

The Fugitive Kind is a hot story of desire and loss and craving and heartbreak between a man and two women set in the deep south. Sounds like quintessential Tenessee Williams, and it is in spurts. Sometimes Williams leans towards being a little preachy, however true (little moments like when Brando and Stapleton have a quiet back and forth about racism via her painting kind of nails it on the head much), but it's his skills at doing melodrama that strike up the coolest beats. In fact, this is one of those super-cool movies of the late 50s that could have only starred someone like Brando, who looks at times disinterested in the scene but at the same time completely engaged, curious, smooth, harsh, and knowing of what life can bring with his trusty Ledbelly-signed guitar. It's not necessarily a towering work for the ages ala Williams collaboration 1 Streetcar Named Desire. But that doesn't mean it should be much under-looked either.

As an early effort for Lumet it's also a scorcher dramatically; he's so good with the actors that whatever little missteps the script might take in pouring on the poetic prose in how some of the characters talk (there's a scene between Brando and Anna Magnani's characters by some ruin of a spot where she says people used to make love that is actually quite boring) can be usually forgiven. Magnani especially is interesting because she should be a case of miscasting, which, apparently in later years, Lumet admitted to. She seems low-key at first, but her strengths bloom out tenfold when it comes time to act like the hard-knock-life kind of woman she is, who's in a crap marriage and had a horrible affair with a man who didn't do anything after the summer they spent together. Now she's put into a situation where she does and doesn't want this drifter, and vice versa, and she's sometimes just as cool (though also quite tough and demanding in that big Italian mama way) as her counterpart.

Meanwhile there's also Joanne Woodard, who has the kind of part many actresses love to chew on; feisty, outspoken, loud but also emotionally moody to the point that she admirably tries (and doesn't quite get to) the heights of Vivien Leigh with her classic Blanche Dubois. Overall, Lumet gets a good feel for the period- and shot in New York state no less- while working with good material and an even better cast. It won't ever be as revered as his other work, and at the same time it's much better than some would give it credit for, where the tragedy acts like another sweaty Southern caricature bemoaning existence and fitting on a bad pair of shoes.


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