IMDb > This Property Is Condemned (1966)
This Property Is Condemned
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This Property Is Condemned (1966) More at IMDbPro »

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User Rating:
7.1/10   3,169 votes »
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Down 57% in popularity this week. See why on IMDbPro.
Tennessee Williams (suggested by a one act play of)
Francis Ford Coppola (screenplay) ...
View company contact information for This Property Is Condemned on IMDbPro.
Release Date:
7 October 1966 (West Germany) See more »
Alva wanted out in the worst way. See more »
A railroad official, Owen Legate comes to Dodson, Mississippi to shut down much of the town's railway (town's main income)... See more » | Full synopsis »
Nominated for Golden Globe. Another 1 win See more »
User Reviews:
Railroad track blues. See more (53 total) »


  (in credits order) (verified as complete)

Natalie Wood ... Alva Starr

Robert Redford ... Owen Legate

Charles Bronson ... J.J. Nichols

Kate Reid ... Hazel Starr

Mary Badham ... Willie Starr
Alan Baxter ... Knopke

Robert Blake ... Sidney

Dabney Coleman ... Salesman
John Harding ... Gerard Johnson
Ray Hemphill ... Jim
Brett Pearson ... Charlie

Jon Provost ... Tom
Robert Random ... Tiny (as Bob Random)
Quintin Sondergaard ... Hank
Mike Steen ... Max
Bruce Watson ... Lin Tate
rest of cast listed alphabetically:

Ralph Roberts ... Boarding House Tenant (uncredited)
Nick Stuart ... Railroad Conductor (uncredited)

Directed by
Sydney Pollack 
Writing credits
Tennessee Williams (suggested by a one act play of)

Francis Ford Coppola (screenplay) (as Francis Coppola) &
Fred Coe (screenplay) &
Edith R. Sommer (screenplay) (as Edith Sommer)

David Rayfiel  uncredited

Produced by
John Houseman .... producer
Ray Stark .... producer
Original Music by
Kenyon Hopkins 
Cinematography by
James Wong Howe (director of photography)
Film Editing by
Adrienne Fazan 
Production Design by
Stephen B. Grimes  (as Stephen Grimes)
Art Direction by
Philip M. Jefferies  (as Phil Jefferies)
Hal Pereira (uncredited)
Set Decoration by
William Kiernan 
Costume Design by
Edith Head 
Makeup Department
Sugar Blymyer .... hair stylist: Ms. Wood (as Maryce Bates)
Edwin Butterworth .... makeup artist
Gary Morris .... makeup artist (as Garrett Morris)
Wally Westmore .... makeup supervisor
Production Management
Clarence Eurist .... production manager
Second Unit Director or Assistant Director
Eddie Saeta .... assistant director
Sound Department
Charles Grenzbach .... sound recordist
Harry Lindgren .... sound recordist
Visual Effects by
Farciot Edouart .... process photography
Paul K. Lerpae .... special photographic effects
Camera and Electrical Department
Michael A. Jones .... electrician (uncredited)
Bob Stafford .... gaffer (uncredited)
Nelson Tyler .... helicopter photographer (uncredited)
Costume and Wardrobe Department
Ann Landers .... costumer: Ms. Wood
Ted Tetrick .... costumer: men
Joan Joseff .... costume jeweller (uncredited)
Editorial Department
Donald Freeman .... final colorist (uncredited)
Other crew
Dominic Santarone .... caterer (uncredited)
Ruth Santarone .... caterer (uncredited)
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
110 min
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

This movie had an especially troubled production due in no small part to the fact filming began without a finished script. There were constant rewrites during filming which left the actors wishing they could drop out of the film. In an interview years later, Natalie Wood recalled that the actors would resort to making up dialog on the spot, not as an improvisational exercise, but out of desperation, as the scripted dialog was often unusable.See more »
Anachronisms: A wall calendar shows it to be August, 1931. Natalie Wood and Robert Redford go to a movie that didn't come out until October, 1932See more »
Movie Connections:
References One Way Passage (1932)See more »
Li'l Liza JaneSee more »


This FAQ is empty. Add the first question.
7 out of 8 people found the following review useful.
Railroad track blues., 26 September 2001
Author: dbdumonteil

Natalie Wood ,giving one of her best performances ,portrays a typical Williams heroine.Alva is an innocent sinner.She knows she's attractive,she teases every man around,but she has kept her childhood's dream,she's an immature character.she's akin to the girl of "the glass menagerie".Alva hides her dream in a convert rail car which bears her own name,like the latter dreams her life away with her frail animals.All right,Laura is a pure young girl,Alva is not,by a long shot,but it does not make a big difference.Innocence ,for Tennessee Williams is only a matter of heart.Alva might have been some kind of Blanche Du Bois too.Both are victims,both have a romantic dream,both pretend (Natalie's red dress,Blanche's schlock jewels).I think Alma's arrival in New Orleans is a tribute to Kazan's "streetcar named desire":as she gets out of the train,there's some smoke around.

The over -possessive mother is also a constant in Williams' universe.Alma's mother (a magnificent Kate Reid) recalls Mrs Venable in "suddenly last summer".If Alma does not realize she's some kind of prostitute-Redford tells her so while they are hiding behind the bushes-,her mother resembles a madam in a brothel(the boarding-house).

It's Redford's character who will spoil the party.By revealing Alma who she really is,by telling her he's got no dream,by his social status,he's a man who lives in the material world.Many users noticed it was an ambiguous character:after all he comes to lay off railroad workers in this one-horse town which Alma longs to leave for broader horizons.

The boarding-house and the tiny railway station are certainly a dead end for the heroine.And this car named "Alma" symbolizes a land where time stands still.When Alma leaves for New Orleans ,James Wong Howe's wonderful camera becomes aerial with breathtaking high angle shots on the train.

This is a rather talky movie,and it loses steam in the third part in New Orleans,but it sure did not deserve such a poor rating when so many talents are involved(outside the already mentioned people,there's also Bronson and Ford Coppola -script writer-).It's the beginning of Pollack's heyday,when he was a genuine artist who gave us such major works as "Jeremiah Johnson" and "they shoot horses don't they?".A far cry from "Tootsie" or "the firm".

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