Released in 1960 and directed by Sidney Lumet from Tennessee Williams' screenplay, "The Fugitive Kind" is a B&W southern Gothic drama starring Marlon Brando as loner minstrel Val "Snakeskin" from New Orleans in pursuit of a new life and the people with whom to live it. He stumbles upon a Mississippi town and gets a job at a mercantile store, which is run by a lonely passed-her-prime woman, Lady (Anna Magnani). While Snakeskin works the store downstairs, Lady's terminally ill husband is bedridden upstairs (Victor Jory). Joanne Woodward plays a histrionic beatnik while Maureen Stapleton is on hand as a housewife enamored by Snakeskin. R.G. Armstrong appears as the redneck sheriff.

The first time I watched this movie (in 2008) I didn't much like it, probably because I wasn't familiar with Williams' stagey, melodramatic style of writing. However, after just viewing Williams' "The Night of the Iguana" (1964) and really appreciating it, I had a taste for more and so gave "The Fugitive Kind" a second chance. I'm glad I did because, this time, I was able to discern its highlights and got a lot more out of it.

Marlon was in the midst of my favorite period of his career while filming this movie. Arguably his greatest films, "The Young Lions" (1958),"One-Eyed Jacks" (1961) and "Mutiny on the Bounty" (1962),were all shot during this time. While "The Fugitive Kind" is easily the least of these it's worth checking out for a number of reasons, as long as you're in the mood for a talky adult melodrama. Like "The Night of the Iguana," this is a brooding rumination on the nature of existence. As such, there are numerous treasures to glean from the seemingly interminable dialogues. The movie's overlong and could've been tightened up, but the interspersed riches hidden within make it worth staying with, but you have to be a seasoned adult to appreciate it or, at least, mature for your years.

Woodward's beatnik character is interesting as she's basically a hippie before hippies existed. Although her character is histrionic and somewhat annoying, some of her reflections are poignant, like in the interesting cemetery scene with Snakeskin. Emory Richardson is almost fascinating as Carol's silent black friend in a racist community. Some of their platonic imagery together is unexpected and intriguing for a film shot in 1959.

Brando was 35 during filming and became the first actor to make $1 million for a single film (although Elizabeth Taylor earlier signed a $1 million contract for "Cleopatra," that movie wasn't released until 1963). Magnani was 51 and hot to sleep with the star, but Marlon didn't find her attractive which, needless to say, negatively affected the shoot. This is surprising because some of their scenes together are quite good. I incidentally had an Italian neighbor who passed away six weeks ago who was strikingly reminiscent of Magnani's character, both looks-wise and temperament-wise. So I know firsthand that people like her exist.

The film runs 119 minutes and was shot in Milton, New York.

GRADE: B

Marlon Brando plays a drifter that wanders into town in this Tennessee Williams film. As soon as he arrives, he receives some help but a nice but addle-brained lady (Maureen Stapleton),is repeatedly the object of a nympho's attentions (Joanne Woodward) and meets a sad and tired lady (Anna Magnani) whose husband is dying of cancer. Magnani's character is rather pitiful, as her husband (Victor Jory) is a cancerous man in personality, too. He is cruel, coarse and just plain nasty. And, after a while, Brando and Magnani begin an affair.

This might just be my least favorite Tennessee Williams film. I think most of it is because the chemistry between Magnani and Brando seems forced. It also is because the film is rather talky and slow--and with less fireworks than you'd expect from a Williams script. Yes, it's tawdry, but not nearly as tawdry as films like "Baby Doll", "Sweet Bird of Youth" and "A Streetcar Named Desire".

I am about to say something that I am sure will ruffle a few feathers--and it's the biggest reason why this movie doesn't work for me. Although Anna Magnani was a huge star for a few years in the US (with this film and her Oscar-winning performance in "The Rose Tattoo"),I have never understood her appeal in these films. While she supposedly exuded sex appeal, I just never saw this at all nor did I understand comments about how great her acting was, as she could barely speak English. And so, the idea of her character having an affair with the much younger Marlon Brando just made no sense to me--and the chemistry wasn't very convincing. I know this sounds harsh--but I think this makes her films age poorly. If you want to see a better Magnani movie, try finding one of her earlier Italian ones--they can be quite good.

With a different cast, this would have worked a lot better. And, despite the odd casting and some overacting by Woodward, it's still a decent film. There's enough hypocrisy and sleaze to make Tennessee Williams fans happy and Brando gives one of his better performances. Plus, the ending is a corker.

There were quite a few reasons for wanting to see 'The Fugitive Kind'. Have much appreciation and even love for Tennessee Williams, one of the great playwrights of the twentieth century, and there are some good and more film adaptations of his work (do think it lends itself better to stage or made for television). The cast is full of talented performers, especially love Marlon Brando. And it was directed by Sidney Lumet, a great director.

Found 'The Fugitive Kind' to be an interesting film. Not great but was actually led to believe that it wasn't even good, but it was better than expected and has a good deal to admire, especially the performances. There are far better film adaptations of Williams' work, have said more than once about considering 'A Streetcar Named Desire' being the definitive version and like the Paul Newman version of 'The Glass Menagerie' and 'Cat on a Hot Tin Roof' very much (although the latter is toned down from the play content-wise and thematically, the performances especially more than compensate for that). Consider it one of the lesser ones, 'Summer and Smoke' being a lesser one too, but a large part of the problem is the play, 'Orpheus Descending', itself which is very much lesser Williams.

Starting with what doesn't work, 'The Fugitive Kind' does have the same problems of the play, though it would in all fairness have been difficult to correct the problems. Although Williams is wordy, 'The Fugitive Kind' (and 'Orpheus Descending') is a case of it being particularly far too talky which bogs down the momentum quite a bit, so it does become a bit draining. Although there are moments thanks to the cast, the story doesn't always ignite, other Williams film adaptations and plays entertain, thought provoke and move much more and are bolder thematically.

Here, things do get over-heated and at times not always easy to follow, and the melodrama can get overdone. One example being the coda, that did have a tacked on feel to it as well. Joanne Woodward gives her absolute all and sears at her best, but her character is over-written and Woodward tries too hard in spots.

On the other hand, 'The Fugitive Kind' does look great, with one of the film's main attractions being that it is beautifully and atmospherically photographed without feeling like a filmed stage production. The bluesy score never intrudes in placement or mood and doesn't feel misplaced at all. Lumet is not at his best here, not like 'Network', '12 Angry Men' and 'Dog Day Afternoon' (nor is he at his worst, 'The Wiz' being among the biggest misfires for any great director),he does do nobly in opening up the play's drama and making the character interaction believable and he nails it on the visual front. There are some nice lines and some of the drama does have some fire while just about avoiding overdoing it.

Most of the above average rating goes to the cast, almost everybody giving immensely strong performances considering that the material is far from top Williams standard. Woodward is not always consistent but props have to go to her for making such a valiant effort in a problematic role. Anna Magnani is a big standout, with her touchingly vulnerable and also intensely fierce performance, while Victor Jory sends chills up the spine as Jabe. Brando is not at his best but he is always commanding and smolders in all the right places, and Maureen Stapleton brings a lot of heart to her character.

Summing up, not great but interesting. 6/10