'Orpheus Descending' is not Tennessee Williams at his best, love him as a writer/playwright but not everything he did was gold. The dialogue is unmistakable Williams, the characters typically rich and there are powerful moments but other plays of his ('Cat on a Hot Tin Roof' being a prime example) have much more momentum and aren't as talky or melodramatic, the drama also igniting more in them too. Does that mean it's a dud? No. To me it just doesn't see Williams on top form.
The play was previously filmed in 1960 under the title 'The Fugitive Kind' with Marlon Brando, Victor Jory, Joanne Woodward and Anna Magnani and directed by the great Sidney Lumet. That was an interesting film with many things done well, like the photography and the performances of Magnani, Brando and Jory, but didn't find it a great one and that it didn't solve the play's faults really (that would have been hard though). Personally consider this made for television film as definitely worth watching if not a must see, and that it's the superior version. The spirit of the play is maintained and it manages to be a powerful production, while also not completely successful at overcoming what stops Williams from being at his best.
Like the source material, the momentum isn't always there with it dragging in the wordier parts. The melodrama can be a bit over-heated in parts and could have been clearer. The drama could have opened up a little bit more at times also, but none of these are sustained throughout the production.
However, 'Orpheus Descending' is an attractive enough production with some truly arresting set design especially that doesn't look cheap or get over-elaborate. The photography is neither too static or cluttered, not having too much of a filmed stage play feel. While talky, the writing is still poignant and eloquent. The staging from the get go gets the doomed atmosphere spot on and the tension and emotion mounts right up to the emotionally devastating climax, handled much better here than in 'The Fugitive Kind'. There are complex emotions throughout that are difficult to pull off, while not completely successful the production does admirably in doing so.
Although her accent is all over the place, Vanessa Redgrave's performance is impassioned and very touching. Kevin Anderson's Val does have a sizeable Brando influence, but he does bring enough of his own touches to avoid being too closely indebted and doesn't become an impersonation, an equally sincere performance. Brad Sullivan is both heart-wrenching and subtly chilling and Anne Towmey is a spirited Carol.
In summary, worthy if not great. 7/10
The play was previously filmed in 1960 under the title 'The Fugitive Kind' with Marlon Brando, Victor Jory, Joanne Woodward and Anna Magnani and directed by the great Sidney Lumet. That was an interesting film with many things done well, like the photography and the performances of Magnani, Brando and Jory, but didn't find it a great one and that it didn't solve the play's faults really (that would have been hard though). Personally consider this made for television film as definitely worth watching if not a must see, and that it's the superior version. The spirit of the play is maintained and it manages to be a powerful production, while also not completely successful at overcoming what stops Williams from being at his best.
Like the source material, the momentum isn't always there with it dragging in the wordier parts. The melodrama can be a bit over-heated in parts and could have been clearer. The drama could have opened up a little bit more at times also, but none of these are sustained throughout the production.
However, 'Orpheus Descending' is an attractive enough production with some truly arresting set design especially that doesn't look cheap or get over-elaborate. The photography is neither too static or cluttered, not having too much of a filmed stage play feel. While talky, the writing is still poignant and eloquent. The staging from the get go gets the doomed atmosphere spot on and the tension and emotion mounts right up to the emotionally devastating climax, handled much better here than in 'The Fugitive Kind'. There are complex emotions throughout that are difficult to pull off, while not completely successful the production does admirably in doing so.
Although her accent is all over the place, Vanessa Redgrave's performance is impassioned and very touching. Kevin Anderson's Val does have a sizeable Brando influence, but he does bring enough of his own touches to avoid being too closely indebted and doesn't become an impersonation, an equally sincere performance. Brad Sullivan is both heart-wrenching and subtly chilling and Anne Towmey is a spirited Carol.
In summary, worthy if not great. 7/10