Copyright 13 October 1950 by Charles K. Feldman Group Production. Released by Warner Bros Pictures. New York opening at the Radio City Music Hall: 28 September 1950 (ran exactly one month). U.S. release: 30 September 1950. U.K. release: 6 February 1951. Australian release: 11 April 1952. 9,634 feet. 107 minutes.
SYNOPSIS: Living in a St Louis tenement, a faded Southern belle seeks happiness for her poetic son and crippled daughter.
NOTES: The stage play opened on Broadway at the Playhouse on 31 March 1945, running an extraordinarily successful 561 performances. The play of course starred the great Laurette Taylor, America's number one actress, here making the most triumphant comeback ever recorded in the entire history of the Broadway stage. It was her last role. She died soon after the play closed in 1946.
"The Glass Menagerie" was the first Broadway play written by Tennessee Williams, who was actually under contract to M-G-M at the time. As a dutiful employee, he submitted the play to the M-G-M brass, only to be told in no uncertain terms what he could do with it. Williams was astute enough to obtain a release — which the studio was only too willing to grant. Following that colossal Broadway season, M-G-M tried to buy back — for $425,000 — the play they had originally let go for nothing. Williams spurned the mighty M-G-M's bid.
The play was produced by Eddie Dowling and Louis J. Singer. It was directed by Eddie Dowling, Margo Jones and Laurette Taylor. Other players were Eddie Dowling as Tom Wingfield and Julie Haydon as Laura. The play had a brief revival at City Centre in 1956 for only 15 performances. A more successful revival at the Atkinson in 1965 chalked up 175 performances, thanks to Maureen Stapleton, George Grizzard, Piper Laurie and Pat Hingle.
The movie was not well thought of by the majority of contemporary reviewers, many of whom heavily criticized Lawrence's performance as being too overtly theatrical.
Montage director David C. Gardner is Michael Curtiz's brother.
COMMENT: Adapted by Williams himself (in collaboration) this is a very satisfying screen treatment. True, a lot of the action still takes place in the original play set, but the expansions are deft and the use of Kennedy as a narrator seems more natural than they were in the play. Not only is he liberated from the stage set but his dialogue has been toned down, made less melodramatic — dated 1945 references have been deleted while retaining (and to my mind indeed improving) the flavor and poignancy of his comments.
The rest of the players, including Jane Wyman and Kirk Douglas, rank as nothing short of superlative. Perhaps Gertrude Lawrence is a trifle too theatrical in expression and gesture at times. Arthur Kennedy, of course, has by far his best role ever.
The theatrical origins of the piece are effectively disguised by Rapper's deft camera-work. Beautiful lighting and photography, plus a haunting but unobtrusive music score, also help.
SYNOPSIS: Living in a St Louis tenement, a faded Southern belle seeks happiness for her poetic son and crippled daughter.
NOTES: The stage play opened on Broadway at the Playhouse on 31 March 1945, running an extraordinarily successful 561 performances. The play of course starred the great Laurette Taylor, America's number one actress, here making the most triumphant comeback ever recorded in the entire history of the Broadway stage. It was her last role. She died soon after the play closed in 1946.
"The Glass Menagerie" was the first Broadway play written by Tennessee Williams, who was actually under contract to M-G-M at the time. As a dutiful employee, he submitted the play to the M-G-M brass, only to be told in no uncertain terms what he could do with it. Williams was astute enough to obtain a release — which the studio was only too willing to grant. Following that colossal Broadway season, M-G-M tried to buy back — for $425,000 — the play they had originally let go for nothing. Williams spurned the mighty M-G-M's bid.
The play was produced by Eddie Dowling and Louis J. Singer. It was directed by Eddie Dowling, Margo Jones and Laurette Taylor. Other players were Eddie Dowling as Tom Wingfield and Julie Haydon as Laura. The play had a brief revival at City Centre in 1956 for only 15 performances. A more successful revival at the Atkinson in 1965 chalked up 175 performances, thanks to Maureen Stapleton, George Grizzard, Piper Laurie and Pat Hingle.
The movie was not well thought of by the majority of contemporary reviewers, many of whom heavily criticized Lawrence's performance as being too overtly theatrical.
Montage director David C. Gardner is Michael Curtiz's brother.
COMMENT: Adapted by Williams himself (in collaboration) this is a very satisfying screen treatment. True, a lot of the action still takes place in the original play set, but the expansions are deft and the use of Kennedy as a narrator seems more natural than they were in the play. Not only is he liberated from the stage set but his dialogue has been toned down, made less melodramatic — dated 1945 references have been deleted while retaining (and to my mind indeed improving) the flavor and poignancy of his comments.
The rest of the players, including Jane Wyman and Kirk Douglas, rank as nothing short of superlative. Perhaps Gertrude Lawrence is a trifle too theatrical in expression and gesture at times. Arthur Kennedy, of course, has by far his best role ever.
The theatrical origins of the piece are effectively disguised by Rapper's deft camera-work. Beautiful lighting and photography, plus a haunting but unobtrusive music score, also help.