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.
George and Martha are a middle aged married couple, whose charged relationship is defined by vitriolic verbal battles, which underlies what seems like an emotional dependence upon each other. This verbal abuse is fueled by an excessive consumption of alcohol. George being an associate History professor in a New Carthage university where Martha's father is the President adds an extra dimension to their relationship. Late one Saturday evening after a faculty mixer, Martha invites Nick and Honey, an ambitious young Biology professor new to the university and his mousy wife, over for a nightcap. As the evening progresses, Nick and Honey, plied with more alcohol, get caught up in George and Martha's games of needing to hurt each other and everyone around them. The ultimate abuse comes in the form of talk of George and Martha's unseen sixteen year old son, whose birthday is the following day. Written by
The MPAA insisted on the removal of the term "screw you" from the film where it was replaced with the term "God damn you" but allowed the terms "screw" and "hump the hostess" to remain in the film. See more »
When George and Nick are outside talking under the large tree, George pours a small amount of bourbon into Nick's glass. A second later, we see the glass has much more bourbon in it than was originally poured. See more »
Simply put, this is one of my favourite films of all time. Great acting, great writing and great camerawork make this close to cinematic perfection. Liz Taylor and Richard Burton give the performances of their lives. Sandy Dennis also shines in an early-ish role. It's a dramatic film, but the wicked humour that permeates the film is absolutely devastating, and I mean that in the best possible way. Many moments in the film I find myself laughing only to think, "Should I be laughing at this." Certainly the film is loaded with uncomfortable moments, enhanced by the camerawork replete with uneasy close-ups. Most of all, this film shows how a lot can be accomplished with just a little: a cast of four and minimal scenery changes. "Who's Afraid Of Virginia Woolf" has become an absolute icon of American cinema. If you haven't seen it, what are you waiting for?
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