The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.
Joseph L. Mankiewicz
A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and ... See full summary »
Julio, a Mexican teenager musician, tries to rehearse with his jazz band to win a scholarship to New York. While most of his time is spent with his father's band, who needs money to buy a ... See full summary »
The Rev. T. Lawrence Shannon has been living in Mexico for two years, working as a tourist guide for a cut-rate travel agency. Shannon lost his church and was defrocked after taking liberties with one of his parishioners. He's now accompanying a group of middle-aged ladies from Texas whose leader, Judith Fellowes, is keeping a close eye on her teenage ward, Charlotte Goodall, who definitely has an interest in the former priest. After Charlotte and Shannon spend the night together, Fellowes is out to have him fired and to keep her from communicating with his employer, Shannon strands them at a remote hotel run by his good friend Maxine Faulk. It's the arrival of Hannah Jelkes and her elderly grandfather that has the greatest impact however. Her approach to life and love forces Shannon to deal with his demons and re-evaluate his life. Written by
The original Broadway production of "The Night of the Iguana," which made its Broadway debut on December 28, 1961 and ran for 316 performances, was Tennessee Williams last hit play. Iguana was nominated for the 1962 Tony Award for Best Play. See more »
A boom mic hits Shannon's head when he's talking to Hannah. See more »
Watched this film recently for the seventh or eighth time -it' always a delight. Classic Burton hamming it up just enough. . . calm, cool Kerr proping up "Shannon's" sanity. . . free-spirited Gardner charging around trying to keep her sanity and reaching out for Shannon. . .Lyon, the "precocious" seductress. . . all were amazingly believable. I didn't have a problem with the black and white, in fact, I think it added to impact of the film, leaving it up to the actors to pull out the heart of William's magnificent play without the benefit of color, although I'm not sure color would have made any difference anyway. The final dialogue between Kerr and Burton was spellbinding: the meeting of two souls, if only for the moment.
Kerr, Burton, and Gardner were at their finest in this film.
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