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Cat on a Hot Tin Roof (1958)

Not Rated | | Drama | 29 August 1958 (USA)
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.

Director:

Richard Brooks

Writers:

Richard Brooks (screenplay), James Poe (screenplay) | 1 more credit »
Reviews
Popularity
4,153 ( 18)

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Nominated for 6 Oscars. Another 3 wins & 10 nominations. See more awards »

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Cast

Complete credited cast:
Elizabeth Taylor ... Maggie Pollitt
Paul Newman ... Brick Pollitt
Burl Ives ... Big Daddy Pollitt
Jack Carson ... Gooper Pollitt
Judith Anderson ... Big Momma Pollitt
Madeleine Sherwood ... Mae Pollitt
Larry Gates ... Dr. Baugh
Vaughn Taylor ... Deacon Davis
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Storyline

The family of "Big Daddy" Pollitt convenes at his and Big Momma's. Among the attendees is alcoholic son, Brick; an ex-football player, who spends his time drinking and avoiding the ministries of his libidinous wife, Maggie - 'the cat'. As this gathering isn't so much as a gathering but a farewell (Big Daddy's terminally ill, a lot of memories and revelations which had been hidden come to the surface of both father and son. Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

Just one pillow on her bed ... and just one desire in her heart! See more »

Genres:

Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

29 August 1958 (USA) See more »

Also Known As:

Die Katze auf dem heißen Blechdach See more »

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Box Office

Budget:

$3,000,000 (estimated)

Gross USA:

$17,570,324

Cumulative Worldwide Gross:

$25,472,824
See more on IMDbPro »

Company Credits

Production Co:

Avon Productions (II) See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Perspecta Sound®) (Westrex Recording System)

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

The supper scene required several shootings, because the cast were concerned about Elizabeth Taylor's not eating after the death of her husband. One can sense this concern on the faces of the other cast members as Miss Taylor slowly eats her food, after innumerable takes. See more »

Goofs

In the opening scene, Brick is at a sports field bearing the sign "East Mississippi High School Athletic Stadium." Later in the film, after a storm, one of the characters states that the rain has "moved across the river to Arkansas." That implies that Big Daddy's plantation is somewhere close to the Mississippi River, which runs along the edge of western Mississippi. References to Gooper's law practice in Memphis and the 28,000 acres of rich land also indicate a plantation in the Mississippi Delta country, along the river in northwest Mississippi, rather than the eastern part of the state. See more »

Quotes

Harvey 'Big Daddy' Pollitt: Let's go home.
Ida 'Big Momma' Pollitt: Don't you want to ride with the children, honey?
Harvey 'Big Daddy' Pollitt: No!
Ida 'Big Momma' Pollitt: [laughing] He's his sassy old self again, all right!
Harvey 'Big Daddy' Pollitt: Be quiet, woman!
See more »

Connections

Featured in MGM/UA Home Video Laserdisc Sampler (1990) See more »

Soundtracks

(I Wish I Was in) Dixie's Land
(1860) (uncredited)
Composed by Daniel Decatur Emmett
Played by the children on various instruments
See more »

Frequently Asked Questions

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User Reviews

Not for Williams purists but a great film
2 October 2002 | by budikavlanSee all my reviews

Much has been made of the differences between Tennessee Williams' play and this film--the homoerotic themes have been driven further into subtext (though not eliminated entirely) and a more upbeat ending was added. The changes were necessary when the film was made; although theater and literary purists decry the "sanitizing" or censorship of plays when they are adapted for the screen, in some cases (such as this one) the changes can improve the work in question. "Cat" on film is clearer, for one thing. Tennessee Williams plays tend to be "cluttered" in their original form. They are also cynically downbeat; if that type of story appeals to one, this adaptation might be off-putting.

As with all theatrical adaptations, many of the scenes are excessively talky, especially the Brick/Big Daddy scenes in the second act. Some of the highlights are just as wordy but thoroughly enjoyable rather than tedious (especially Maggie's story about Mae's reign as Cotton Carnival Queen and the entire scene in the basement). All of the performances are excellent, though Paul Newman as Brick is less flashy; it's not really until the basement scene that one feels his talent is given a workout. Elizabeth Taylor is an emotional rollercoaster, venturing from flirtatious to hectoring to wheedling to calm to grasping to tender, often within a single scene, and yet she never slips the rails. Watching films from this period (her career peak), one wonders what happened to turn her into the vague, bleary-eyed woman we see today. Judith Anderson's Big Mama is loud, coarse, and bossy, but completely sympathetic both in the scene with the birthday cake and in the confrontation scene at the end. When Big Daddy invites her along with him at the end, it is every bit as welcome to the viewer as it is to her. Burl Ives is the most towering of all; the emotional growth in the film is as much his as it is Brick's. Jack Carson and Madeleine Sherwood are every bit as good despite being relegated to comic relief at times.

My favorite aspect of this story, however, is the social dynamic. Brick and Maggie are spoiled, young, "beautiful people" who have yet to take on any responsibility, while Gooper and Mae are the epitome of a serious young family. Brick is an alcoholic former football player, while Gooper is a corporate lawyer. Despite these obvious differences, however, both their parents and the audience (and Tennessee Williams, obviously) clearly prefer Brick and Maggie. Every aspect of Gooper and Mae's personalities, even those which bespeak traditional values, are portrayed as petty and unimaginative. Even if one believes that Gooper and Mae have done all the right things, they have done them for the wrong reasons. Thus the theme of the story is most clearly presented: all that is important is to love and to express that love.


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