Kirpianuscus
nothing new . at the first sigh. the atmosphere, the final fall, the love as ambiguous desire, the ordinary too late for the essential gesture. at the second sigh, a revelation. because Geraldine Page and Laurence Harvey are the perfect interpreters of a story who represents a fascinating game of nuances. a love story in the Williams style who conquest new nuances in the performances of the lead actors.Alma by Geraldine Page is fragile and tender and the perfect victim of her feelings, family and illusions. she is one of many victims from the Williams plays but the great familiarity with the role on the stage imposes the right tone for each gesture and word and decision. the transformation , the profound change of Alma is more than dramatic. it becomes the fall who remands so many from every day stories . and this could be the detail for impress.
Armand
a through work. precious for the acting and for the adaptation of play. but, more important, for the atmosphere. the angel, the fireworks, the force and fragility of idea makes the film to be different by ordinaries expectations. sure, Geraldine Page and Laurence Harvey are impressive but the essence is represented by a precise delicacy of director who explores different planes and give color to different levels of story. it is a Tennesee Williams but not only. new nuances, discreet details, the performance and the music are ingredients for a brilliant show of vulnerability, decisions and choices. a splendid film. or, more precise, a filigree.
victorsargeant
I have watched this film several times. It still holds its power over me. Earl Holloman, made "Giant" in 1956, "The Rain Maker" and now here he is again, doing a great job. Bravo Earl. Stood next to him at Sherman Oaks Tower Records, and out of respect, didn't say a word. If you like them, you allow them, their private lives. They know you know who they are, and are grateful, you don't bother them. The best zoo in the world, this Hollywood community? Geraldine Page deserved an Oscar. Yes, "Sweet Bird of Youth" is fine as well, but in "Summer and Smoke", she is brilliant as Alma.Ms. Page carries the film alone.Tennesse Williams, said, "He was all the women in his plays", and I believe it.Ahhhh...the battle with the flesh and the Soul, timeless struggle, that no one seems to win, completely. Life happens between rounds, somewhere in the middle perhaps? Elmer Berstein's score is haunting and one of my favorites, next to his "To Kill a Mockingbird". See his website.Alma represents the part of our collective psyche, that fights our sensual wild desires, that eventually, becomes "intergrated" into our whole self. The battle is white hot, on some summer nights. Summer is a sensual season, as our armor, mask, are shed, from the heat of the night, exposing our flesh, that screams to get loose, and thrive. Winter, where this battle resolves, allows these desires to be blanketed by heavy clothes, brisk winds, and we bury our self to put to sleep our pseudo-selves.Summer seems to be a favorite season for Tennessee Williams, "streetcar Named Desire", again sweat, blood, and tears, leave us naked with our demons of desire. In the hot Southern nights, where Bible passages, do not quiet the beast, blood fires burn hot, and white linen grows damp with passions."Summer and Smoke" changes me a little each time I allow myself, to become enmeshed in its desperate struggle. "Night of the Iguana" again, a hot summer night, seems to finally, release us, from "Summer and Smoke" and we are redeemed, refreshed, anew...from "the night of the blue devils". Bravo to the cast for this splendid theatrical presentation on film.
