| Marlon Brando | ... | Valentine 'Snakeskin' Xavier | |
| Anna Magnani | ... | Lady Torrance | |
| Joanne Woodward | ... | Carol Cutrere | |
| Maureen Stapleton | ... | Vee Talbot | |
| Victor Jory | ... | Jabe M. Torrance | |
| R.G. Armstrong | ... | 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 | |
| Janice Mars | ... | Attendant's Wife | |
| Debbie Lynch | ... | Lonely Girl | |
| rest of cast listed alphabetically: | |||
| Jeanne Barr | ... | Bit Part (uncredited) | |
| Neil Harrison | ... | (uncredited) | |
| Herb Vigran | ... | Caliope Player (voice) (uncredited) | |
Directed by | |||
| Sidney Lumet | |||
Writing credits | ||
| Tennessee Williams | (screenplay) and | |
| Meade Roberts | (screenplay) | |
| Tennessee Williams | (play "Orpheus Descending") | |
Produced by | |||
| Martin Jurow | .... | producer | |
| George Justin | .... | associate producer | |
| Richard Shepherd | .... | producer (as Richard A. Shepherd) | |
Original Music by | |||
| Kenyon Hopkins | |||
Cinematography by | |||
| Boris Kaufman | (director of photography) | ||
Film Editing by | |||
| Carl Lerner | |||
Art Direction by | |||
| Richard Sylbert | |||
Set Decoration by | |||
| Gene Callahan | (as Eugene Callahan) | ||
Costume Design by | |||
| Frank L. Thompson | (as Frank Thompson) | ||
Makeup Department | |||
| Robert Jiras | .... | makeup | |
| Phil Rhodes | .... | makeup (as Philip Rhodes) | |
| Mary Roche | .... | hair stylist | |
Production Management | |||
| Steve Bono | .... | production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Charles H. Maguire | .... | assistant director | |
Sound Department | |||
| James A. Gleason | .... | sound recordist (as James Gleason) | |
| Frank Lewin | .... | sound editor | |
| Dick Vorisek | .... | rerecordist (as Richard Vorisek) | |
| Philip Gleason | .... | sound recordist (uncredited) | |
Stunts | |||
| Larry Duran | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Howard Fortune | .... | head gaffer | |
| Edward Knott | .... | head grip | |
| Saul Midwall | .... | camera operator | |
| Muky | .... | unit photographer (as Muky Munkacsi) | |
| Jimmy Gatland | .... | grip (uncredited) | |
| Harold Posner | .... | assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| George Newman | .... | wardrobe | |
| Flo Transfield | .... | wardrobe | |
Music Department | |||
| Kenyon Hopkins | .... | conductor | |
Other crew | |||
| Stephen Bono | .... | production coordinator | |
| Helen Burta | .... | production secretary | |
| Marguerite James | .... | script supervisor | |
| Mickey Knox | .... | dialogue supervisor | |
| Jud Taylor | .... | dialogue supervisor | |
| Robert Whitehead | .... | producer: Broadway, Producers Theatre, Inc. | |
| Mart Crowley | .... | production assistant (uncredited) | |
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| Gone with the Wind | The Stunt Man | The Good Earth | The Best of Youth | The Last Seduction |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
While The Fugitive Kind suffers from inconsistent pacing and some over-blown dialog, it is worth watching for the peerless performances delivered by Anna Magnani and Victor Jory. Magnani's desperate vulnerability and passionate need for love and vindication are so powerfully and truthfully portrayed that even the great Brando seems pale and insubstantial beside her. Without Jory's vilely hateful depiction of the dying husband, however, even Magnani's powerhouse performance couldn't save the film. Seldom has such wanton cruelty been so effectively captured on screen. Brando is a bit mannered at times but the sheer animal magnetism he possessed at this point in his career transcend the script's pretensions. Woodward wrings more than could rightfully be expected from her over-written part. R.G. Armstrong as the corrupt sheriff and Maureen Stapleton as his kind-hearted wife shine in supporting roles, but it is Magnani and Jory who transform the film into a riveting cinematic experience.