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Cat on a Hot Tin Roof (1984)

TV Movie  |  Not Rated  |   |  Drama  |  19 August 1984 (USA)
6.7
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Ratings: 6.7/10 from 343 users  
Reviews: 10 user | 1 critic

An alcoholic and femme fatale face troubles before a family reunion.

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Title: Cat on a Hot Tin Roof (TV Movie 1984)

Cat on a Hot Tin Roof (TV Movie 1984) on IMDb 6.7/10

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Won 1 Primetime Emmy. Another 7 nominations. See more awards »

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Cast

Complete credited cast:
...
...
...
...
Penny Fuller ...
Mae
...
...
Reverend Tooker
Thomas Hill ...
Doctor Baugh
Fran Bennett ...
Sookey
Ami Foster ...
Polly
Jake Jundef ...
Buster
Neta Lee Noy ...
Sunnie (as Neta-Lee Noy)
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Storyline

An alcoholic and femme fatale face troubles before a family reunion.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

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Release Date:

19 August 1984 (USA)  »

Also Known As:

American Playhouse: Cat on a Hot Tin Roof  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

The original play "Cat On A Hot Tin Roof" by Tennessee Williams opened at the Morosco Theater in New York on March 24, 1955, ran for 694 performances and was nominated for the 1956 Tony Award (New York City) for the Best Play. The play also won the Pulitzer Prize in Drama in 1955. See more »

Connections

Version of Cat on a Hot Tin Roof (1958) See more »

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User Reviews

Moments of greatness
20 February 2003 | by (Virginia) – See all my reviews

I have an extraordinary attachment to this play. Aside from being my all-time favorite, which I have read at least fifty times, I was also cast as Big Daddy for an attempted high school production, which, fittingly enough for the history of the play, I suppose, was cancelled and replaced with something "more appropriate" under pressure from the school's administration. I saw the original Newman-Taylor version after reading it the first few times, but had heard a lot of raving that the 1958 film was horrible and that this was worlds better. I found a laser-disc copy and watched it this afternoon. I definitely have more complaints with this performance than I expected. I personally wish that the Rip Torn of 'The Insider' and 'Wonder Boys' had been present in the role of Big Daddy, rather than the version I saw, who despite playing the role with an enormous passion, produced a performance which saw his accent slide all over the place, from a few moments of European immigrant on one misguided extreme to Chris Kattan's incomprehensible sketches on SNL at another, the original lines by Tennessee Williams often escape him, and overall, it results in a very streaky and inconsistent characterization. Perhaps this is a result of being filmed live, or perhaps it's a Rip Torn without an additional fifteen years of experience. Jessica Lange also turned in an impassioned role, but she also seemed rather inconsistent. I actually longed for a little of Liz Taylor's cattiness in the first act, but the play as a whole I preferred Lange. My only quibble with Tommy Lee Jones was that he did not seem to make a decision whether Brick was indeed homosexual or not, which I think is important, because the issue of homosexuality, although the most controversial aspect, is not so crucial to the play as the issues of mendacity dissolving his friendship with Skipper. The two are interrelated, but while the belief that Skipper was homosexual would cause him to question his own sexuality, there were times when Jones seemed to actually believe the allegations, moreso than I would have expected from the character. Gooper, Mae, and Big Mama all were the finest I've seen those roles played. The other complaint was with some of the production values. I was glad that it was done realistically rather than expressionistically as Kazan first directed it on Broadway, but the liquor cabinet and bed are supposed to both have an awesome presence on the room, and neither does in this film, nor does the bedroom have the quality of "pale light on weathered wood" Williams specified in the production notes. Also, Big Daddy's entrance in a baseball cap seemed entirely out of place. Worst, however, was the soft-focus quality of the camera. There are some questionable directorial decisions, things I think could have been staged better, but the essence of the play shines through, and most importantly, the third act is nearly flawless. The passionate conflicts that Williams weaves together are communicated, and the play is so good that nearly any group, probably even my little high school troupe, could have moved an audience, even if not displaying master craft.


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