A southern house divided between patriarchal dominance and hypocrisy, rendered effectively despite censorship and a screenplay that bogs midway. The performances are the thing in this film version of the Tennessee Williams stage triumph, led by Ives, repeating his stage role like a force
of nature. Taylor and Newman make a handsomely unhappy husband and wife, with just enough sexual chemistry to justify the union. Mike Todd's plane crashed during filming, and the camera seems to capture Taylor's pent-up energy, but she isn't directed well enough to unleash it. This is fine
throughout most of the film, but her catharsis is finally lacking and her little vengeances c...