I think that before people take the time to comment on something, they ought to get their facts right. The play did not take place in the 60's, but rather the 50's. Lena was the Mother, not the Grandmother, and Walter was not a drunk, but got drunk now and then. If you had any concept of history and the context of civil rights in the 1950's you might have gotten something out of the play. But in todays world where young people expect everything to be given to them and don't know the meaning of what it is to struggle, I can see where this might have been over your head. If you would have listened to the words instead of waiting for something exciting to happen, you might have seen something you would have enjoyed.
8 Reviews
Just as good as the original
HotToastyRag23 October 2021
I've seen the original 1961 film A Raisin in the Sun a few times, because, even though it is hard to watch, I'm a sucker for excellent acting. When I found a copy of the 1989 American Playhouse live television performance, I was very excited to watch it. Starring Danny Glover, Esther Rollins, and Starletta DuPois, and Kim Yancey, this rendition is top-notch. The original paired the play down to two hours, but this version is a full, un-abridged three hours. You'll meet an entirely new character, Esther's neighbor and friend, who provides an interesting viewpoint on the family's desire to move to a white neighborhood. You'll also see more scenes with Kim and her suitor, Lou Ferguson. In the 1961 film, the sister's character was definitely reduced to a supporting role. In the full play, you can argue that each of the four leads have equal screen time.
I really liked all the actors' interpretations of the characters. In only the second adaptation to be filmed, they were all very conscious of their predecessors. All but one of the 1961 cast members were still alive in 1989; and in fact, John Fiedler (you'll recognize his voice) reprised his role as the board representative twenty-eight years later! The bare bones of the original actors can still be seen, but the modern actors put their own muscles into the roles. Esther still comes across as a long-suffering mom, but her demeaner is softer and more innocent. Because of her vulnerability, you're able to see Danny's frustration as he acts as the man of two houses (for his wife and his mother). Starletta really plays up the female bonding, and we're able to see her lack of privacy while the other characters pulling her in different directions.
In essence, the play shows a family of four adults, each feeling they have no identity. Esther's children are grown, so she's no longer useful as a mother; and as a recent widow, she's no longer a wife. Danny feels the pressure of providing for his family, but he doesn't feel like a man. Kim has a thirst for knowledge; when she understands her past, will it influence her future? Starletta is simultaneously daughter-in-law, mother, wife, and domestic worker. On the inside, who is she really?
Both the 1961 and 1989 casts are made up of very talented men and women, so if you've never seen this play, I'd wholeheartedly recommend either one. Pick which cast you're drawn to and get ready for a very well-acted, heavy drama. It breaks your heart every time you watch it, even when you know what's going to happen.
I really liked all the actors' interpretations of the characters. In only the second adaptation to be filmed, they were all very conscious of their predecessors. All but one of the 1961 cast members were still alive in 1989; and in fact, John Fiedler (you'll recognize his voice) reprised his role as the board representative twenty-eight years later! The bare bones of the original actors can still be seen, but the modern actors put their own muscles into the roles. Esther still comes across as a long-suffering mom, but her demeaner is softer and more innocent. Because of her vulnerability, you're able to see Danny's frustration as he acts as the man of two houses (for his wife and his mother). Starletta really plays up the female bonding, and we're able to see her lack of privacy while the other characters pulling her in different directions.
In essence, the play shows a family of four adults, each feeling they have no identity. Esther's children are grown, so she's no longer useful as a mother; and as a recent widow, she's no longer a wife. Danny feels the pressure of providing for his family, but he doesn't feel like a man. Kim has a thirst for knowledge; when she understands her past, will it influence her future? Starletta is simultaneously daughter-in-law, mother, wife, and domestic worker. On the inside, who is she really?
Both the 1961 and 1989 casts are made up of very talented men and women, so if you've never seen this play, I'd wholeheartedly recommend either one. Pick which cast you're drawn to and get ready for a very well-acted, heavy drama. It breaks your heart every time you watch it, even when you know what's going to happen.
A Fine Performance
zyxek18 November 2004
This updated version of Lorraine Hansbury's classic is a masterpiece of filmed drama. Rather than attempting to look like a film, it is shot entirely on a theatrical set, without any kind of special editing, thus giving it the feel of a play. This gives the actors and Hansbury's words all of the spotlight, and they work so well together. Danny Glover gives a stunning performance as Walter Younger, capturing all the idealism and naivité of the chararacter and combining them with his astute racial awareness. Starletta DuPois is very subdued as Ruth, but all the pent-up emotions and inner-conflict are gloriously apparent nonetheless. Esther Rolle simply has a vast authority as Mama, dominating the screen at every turn without overdoing anything. My only qualms were with the occasional exaggerations of Kim Yancey as the baby sister of the family and Lou Ferguson's unwaveringly simple spouting of Asagai's lines. But these do not bring the film down very far. 9/10
Note-Complete.
Tahhh24 May 2008
Danny Glover gives an outstanding performance as Walter Lee, and while I think Claudia McNeil (in the 1961 film) gave us a far more convincing and believable Lena Younger than did Esther Rolle--somehow, Miss McNeil gave me a woman whose hands smelt of "spic-'n'-span" cleaner and bleach, whereas Miss Rolle, even in costume and makeup, gives us the impression of having regular visits to a manicurist!--she and the rest of the cast give supporting performances that are worthy of much praise.
What's best of all, in this version, is that we get every scrap of dialogue that could be found of the play, including passages which were skipped in the original production. This makes for a longer, slower-moving drama, but it pays dividends in that the longer build-up justifies the more intense outbursts that climax each act of the play.
For example, the moving scene showing how upset Ruth becomes to learn that the neighborhood children have been combatting a live rat--this scene helps us share her motivation to visit an abortionist. Beneatha's lengthy monologues about her aspirations lend enormous depth to her character, and provide an important parallel to the thwarted ambitiousness which proves so painful and fateful for her elder brother.
The entire production gives one the impression of having had the chief goal of RESTORING Hansberry's play with the same respect and thoroughness as people apply to Shakespeare or Tennessee Williams or other "classics"--a production where all participants resolve, not to impose their OWN visions on the play, but to allow the playwright's vision and message to come forth, as originally intended.
A "definitive" version of this great play about living by principle and morality and thereby conquering limitations and adversity.
What's best of all, in this version, is that we get every scrap of dialogue that could be found of the play, including passages which were skipped in the original production. This makes for a longer, slower-moving drama, but it pays dividends in that the longer build-up justifies the more intense outbursts that climax each act of the play.
For example, the moving scene showing how upset Ruth becomes to learn that the neighborhood children have been combatting a live rat--this scene helps us share her motivation to visit an abortionist. Beneatha's lengthy monologues about her aspirations lend enormous depth to her character, and provide an important parallel to the thwarted ambitiousness which proves so painful and fateful for her elder brother.
The entire production gives one the impression of having had the chief goal of RESTORING Hansberry's play with the same respect and thoroughness as people apply to Shakespeare or Tennessee Williams or other "classics"--a production where all participants resolve, not to impose their OWN visions on the play, but to allow the playwright's vision and message to come forth, as originally intended.
A "definitive" version of this great play about living by principle and morality and thereby conquering limitations and adversity.
Masterpiece
ivan-2214 June 2000
Here's my immediate reaction from a 1989 diary entry:
I just had a memorable experience: I saw the play "A Raisin In The Sun" by Lorraine Hansberry. It played for three hours, but I didn't want it to stop. It is one of those artistic miracles, like Joplin's "Treemonisha", perfection itself, total and utter flawlessness. It was about the biggest subjects in life: hope and despair, dignity and indignity. I was tearful throughout the play, in awe at its perfection. I have never felt so alive. I must find out who Lorraine Hansberry is. The play was compared to "Death Of A Salesman", but to me there is no comparison. This is a one of a kind play. On the surface, the play is about black people struggling with their own and society's limitations, but actually, it is about the human condition in general.
I just had a memorable experience: I saw the play "A Raisin In The Sun" by Lorraine Hansberry. It played for three hours, but I didn't want it to stop. It is one of those artistic miracles, like Joplin's "Treemonisha", perfection itself, total and utter flawlessness. It was about the biggest subjects in life: hope and despair, dignity and indignity. I was tearful throughout the play, in awe at its perfection. I have never felt so alive. I must find out who Lorraine Hansberry is. The play was compared to "Death Of A Salesman", but to me there is no comparison. This is a one of a kind play. On the surface, the play is about black people struggling with their own and society's limitations, but actually, it is about the human condition in general.
3 Worthwhile Hours in the Younger's Apartment
Tatay5 February 2000
This movie is almost 3 hours long and the only setting is inside one apartment. Amazingly, it is fantastic. It's like going to see a live play. The quality of the writing and the acting (especially Danny Glover) is enough to make the film supremely entertaining and uplifting.
My favorite version of this story
joyceday25 February 2008
Warning: Spoilers
I just finished watching the latest version of Raisin in the Sun and while I enjoyed it, I cannot help but compare it not to the Sidney Poitier version but the Danny Glover/Esther Rolle rendition from the late 1980's. I was waiting with baited breath for the scene in which Walter Lee has lost all the money and his mama explodes about how his father worked himself to death to give them that money. Rashad and Combs were certainly good but nothing compares to the fireworks between Esther Rolle and Glover. You could feel the anger welling up in Rolle until her whole body was shaking from the inside while Glover is beside himself with grief, shame, and disappointment. That scene was so explosive that I'm surprised the plates didn't fly off the table. I just introduced my husband to this wonderful story but would love to show him the Glover and/or Poitier versions.
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