Tom Lee is a sensitive boy of 17 whose lack of interest in the "manly" pursuits of sports, mountain climbing and girls labels him "sister-boy" at the college he is attending. Head master ...
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At an exclusive psychiatric clinic, the doctors and staff are about as crazy as the patients. The clinic head, Dr. Stewart McIver, thinks that it would be good therapy for his patients to ... See full summary »
Deprived of a normal childhood by her ambitious mother, Katie, Lillian Roth becomes a star of Broadway and Hollywood before she is twenty. Shortly before her marriage to her childhood ... See full summary »
Tom Lee is a sensitive boy of 17 whose lack of interest in the "manly" pursuits of sports, mountain climbing and girls labels him "sister-boy" at the college he is attending. Head master Bill Reynold's wife Laura sees Tom's suffering at the hands of his school mates (and her husband), and tries to help him find himself.Written by
Ron Kerrigan <firstname.lastname@example.org>
Bringing the play to the screen resulted in a years-long struggle with the production code office and the Catholic National Legion of Decency because of the play's inclusion of homosexuality, adultery and prostitution. At one point there was consideration that the film be produced by an independent production company outside of the studio system. See more »
While Tom Lee (Class of 1946) is still in school, Laura Reynolds drives a 1950 Dodge. See more »
Those who had the good fortune to see Deborah Kerr onstage in the Elia Kazan production of "Tea and Sympathy," will attest to her unforgetable performance. Kerr not only played it on Broadway but also toured with it, a treat for all attendees. Now nearly a half century later, her performance on film, which was very much influenced by her stage style, begins to show a little wear around the edges. It must be difficult to change one's approach after having played a role so successfully night after night. In this case, her inflections, accents, phraseology, pauses, gestures and the like are essentially theatre-based, designed to play to the whole house up to the balcony. In the intimacy of film, this becomes a bit much in the long run, and results in a much more broad, deliberate and stylized Kerr than in any of her other film work. Her character tends to emerge now more as a busy-body, snooper, peeping tom than was ever intended, and certainly it did not come across that way when the film was first released. A landmark film of sorts--for a major studio to tackle a sensitive subject in a major production--"Tea and Sympathy" benefits from a sincerely written script by Robert Anderson, solid direction by Vincent Minnelli and a secure supporting cast. Visually Deborah Kerr is beautiful, and is totally committed to both the play and her role. During her lengthy film career, Kerr certainly contributed a wealth of finely crafted performances.
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