Thursday, January 15, 2009
Playwright's Corner- Tennessee Williams’ Cat On A Hot Tin Roof
Click on the headline to link to a "Wikipedia" entry for American playwright Tennessee Williams' "Cat On A Hot Tin Roof."
Play/DVD Reviews
Enough Mendacity To Sink A Ship
Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review
Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed films you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).
That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.
“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either by Brick, brother Goober (along with his scheming wife and their ‘lovely' brood of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.
In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.
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Showing posts with label southern justice. Show all posts
Showing posts with label southern justice. Show all posts
Friday, June 10, 2011
Thursday, January 15, 2009
Playwright's Corner- Tennessee Williams’ Cat On A Hot Tin Roof
Click on the headline to link to a "Wikipedia" entry for American playwright Tennessee Williams' "Cat On A Hot Tin Roof."
Play/DVD Reviews
Enough Mendacity To Sink A Ship
Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review
Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed films you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).
That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.
“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either by Brick, brother Goober (along with his scheming wife and their ‘lovely' brood of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.
In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.
Play/DVD Reviews
Enough Mendacity To Sink A Ship
Cat On A Hot Tin Roof, The Theater of Tennessee Williams, Volume Three, New Directions Books, New York, 1955
The first couple of paragraphs here have been used as introduction to other plays written by Tennessee Williams and reviewed in this space. This review applies to both the stage play and the film versions with differences noted as part of the review
Perhaps, as is the case with this reviewer, if you have come to the works of the excellent American playwright Tennessee Williams through adaptations of his plays to commercially distributed films you too will have missed some of the more controversial and intriguing aspects of his plays that had placed him at that time along with Eugene O’Neill and Arthur Miller as America’s finest serious playwrights. Although some of the films have their own charms I want to address the written plays in this entry first (along with, when appropriate, commentary about Williams’ extensive and detailed directing instructions).
That said, there are certain limitations for a political commentator like this reviewer on the works of Williams. Although his plays, at least his best and most well-known ones, take place in the steamy South or its environs, there is virtually no acknowledgement of the race question that dominated Southern life during the period of the plays; and, for that matter was beginning to dominate national life. Thus, although it is possible to pay homage to his work on its artistic merits, I am very, very tentative about giving fulsome praise to that work on its political merits. With that proviso Williams nevertheless has created a very modern stage on which to address social questions at the personal level, like homosexuality, incest and the dysfunctional family that only began to get addressed widely well after his ground-breaking work hit the stage.
“Cat On A Hot Tin Roof” is a prime example of the contradiction that a radical commentator is placed in. The themes of duplicity, latent homosexuality, adultery and dysfunctional families topped off by more than enough mendacity to sink a ship are the stuff of social drama that NEED to be addressed as outcomes in the modern capitalist cultural sphere. However, in the end nothing really gets resolved truthfully here. Old 1950’s-style All-American boy Brick, the ‘great white hope’ of the family, may or may not sober up after the ‘lost’ of his dear friend and fellow football player, Skipper. Saucy and sexy wife Maggie (the cat) may or may not really get pregnant by Brick and save the family heritage for him, or die trying. The only certainty, despite all that above-mentioned mendacity, is that Big Daddy is going to die and that 28,000 acres of the finest land in the Delta is going to need new management, either by Brick, brother Goober (along with his scheming wife and their ‘lovely' brood of children) or some upstart. Off of these possible outcomes, however, I would not get too worked up about the final outcome.
In the movie version, done in the 1950’s as well, which starred the recently departed excellent actor Paul Newman as Brick and a fetching Elizabeth Taylor as Maggie the question of Brick’s possible homosexual relationship with Skipper is far more muted than in the play. The implicit question seems to concern Brick’s fading youth, his search for perfect meaning to life in Mississippi and that one’s existential crisis can be eliminated by reliance on the bottle. The relationship between the dying Big Daddy and his ever suffering wife, Big Mama, is less dastardly than in the play as well. The scheming Goober and wife and family and those ‘lovely’ children, however, run true to form. My sense of the movie, unlike the deeper issues of the play, is that a few therapy sessions would put old Brick back on the right track. The play was far less hopeful in that regard.
Monday, March 10, 2008
The Scottsboro Boys-American Travesty
DVD REVIEW
The Scottsboro Boys: American Tragedy, PBS, 2001
Those familiar with the radical movement know that at least once in every generation a political criminal case comes up that defines that era. One thinks of the Haymarket Martyrs in the late 19th century; Sacco and Vanzetti, probably the most famous case of all, in the 1920’s; the Rosenburgs in the post-World War II 1950's Cold War period and today Mumia Abu-Jamal. Here we look at the case of the Scottsboro Boys in the 1930’s. The exposure of the tensions within American society, particularly around the intersection of race and sex, which came to the surface as a result of that case is the subject of the documentary under review.
In a certain sense this is another one of those liberal do-gooder films that the Public Broadcasting System (PBS) is known for. That is indicated in the title of the work-an American tragedy. The underlying premise is that the fate of the Boys, ugly in many aspects by the standards of that time and certainly by today’s standards, was now merely a long past singular aberration of the American justice system that eventually got righted. Tell that to the vast black and Hispanic majority of today’s victims of that same ‘justice’ system languishing in America’s prison’s in the overwrought ‘war on drugs’. Tell that to the kids down in Jena, Louisiana. But that is a story for another time.
What the PBS film does here is highlight the various legal trials and tribulations, over many years, which most of the nine Scottsboro defendants faced including four trials, many appeals and, ultimately for the lone survivor who lived long enough, a pardon. All for crimes that they did not commit and that the state of Alabama knew that they did not commit. For those unfamiliar with the case this chronology is a nice primer on the key aspects of the case. But it should make one think more about how the lives of the Scottsboro Boys were really saved.
Although the documentary tips its hat, somewhat begrudgingly, to the titanic efforts of the American Communist Party in 1931 to make the case internationally known, and gain a hearing from blacks on other social and economic issues as well, that tendency to highlight the legal side of the battle plays the filmmakers false here. There would have been no cause celebre without the communists, although the fate of the feisty New York Jewish lawyer who handled most of the stages of the case and holds center stage here is certainly of interest. As is the question of plebian anti-Semitism as a proper subject for study in its own right.
The vaunted NAACP, nominally the legal voice of the black community, did not want to touch the case because it involved accusations of interracial sex and would have wrecked havoc with their liberal base. I will argue here that without the dreaded communists to stay the state of Alabama’s hand the boys would have long before been executed –or been hanging from the nearest poles.
I might also mention that the American Communist Party was acting under the Communist International’s direction. On the black question in America that meant support for the slogan of national self-determination for blacks in the South (the actual configuration for that is rather weird by- black majority counties). That slogan played a propaganda role in the background for holiday occasions during this period, called the ‘third period’ in communist parlance, but the heart of communist work in the early 1930’s were in struggles over wage equality, saving jobs, evictions, unemployed work, the fight against lynch law in the South and labor and black defense work.
For most of my adult political life I have been an anti-Stalinist leftist but for their Scottsboro Boys defense-all honor to the party and its legal arm the International Labor Defense. As pointed out above this documentary is a good primer on the case but one should Google for books on the case. Then, I hope, you will be able to agree that this case was not merely an American tragedy but a travesty.
The Scottsboro Boys: American Tragedy, PBS, 2001
Those familiar with the radical movement know that at least once in every generation a political criminal case comes up that defines that era. One thinks of the Haymarket Martyrs in the late 19th century; Sacco and Vanzetti, probably the most famous case of all, in the 1920’s; the Rosenburgs in the post-World War II 1950's Cold War period and today Mumia Abu-Jamal. Here we look at the case of the Scottsboro Boys in the 1930’s. The exposure of the tensions within American society, particularly around the intersection of race and sex, which came to the surface as a result of that case is the subject of the documentary under review.
In a certain sense this is another one of those liberal do-gooder films that the Public Broadcasting System (PBS) is known for. That is indicated in the title of the work-an American tragedy. The underlying premise is that the fate of the Boys, ugly in many aspects by the standards of that time and certainly by today’s standards, was now merely a long past singular aberration of the American justice system that eventually got righted. Tell that to the vast black and Hispanic majority of today’s victims of that same ‘justice’ system languishing in America’s prison’s in the overwrought ‘war on drugs’. Tell that to the kids down in Jena, Louisiana. But that is a story for another time.
What the PBS film does here is highlight the various legal trials and tribulations, over many years, which most of the nine Scottsboro defendants faced including four trials, many appeals and, ultimately for the lone survivor who lived long enough, a pardon. All for crimes that they did not commit and that the state of Alabama knew that they did not commit. For those unfamiliar with the case this chronology is a nice primer on the key aspects of the case. But it should make one think more about how the lives of the Scottsboro Boys were really saved.
Although the documentary tips its hat, somewhat begrudgingly, to the titanic efforts of the American Communist Party in 1931 to make the case internationally known, and gain a hearing from blacks on other social and economic issues as well, that tendency to highlight the legal side of the battle plays the filmmakers false here. There would have been no cause celebre without the communists, although the fate of the feisty New York Jewish lawyer who handled most of the stages of the case and holds center stage here is certainly of interest. As is the question of plebian anti-Semitism as a proper subject for study in its own right.
The vaunted NAACP, nominally the legal voice of the black community, did not want to touch the case because it involved accusations of interracial sex and would have wrecked havoc with their liberal base. I will argue here that without the dreaded communists to stay the state of Alabama’s hand the boys would have long before been executed –or been hanging from the nearest poles.
I might also mention that the American Communist Party was acting under the Communist International’s direction. On the black question in America that meant support for the slogan of national self-determination for blacks in the South (the actual configuration for that is rather weird by- black majority counties). That slogan played a propaganda role in the background for holiday occasions during this period, called the ‘third period’ in communist parlance, but the heart of communist work in the early 1930’s were in struggles over wage equality, saving jobs, evictions, unemployed work, the fight against lynch law in the South and labor and black defense work.
For most of my adult political life I have been an anti-Stalinist leftist but for their Scottsboro Boys defense-all honor to the party and its legal arm the International Labor Defense. As pointed out above this documentary is a good primer on the case but one should Google for books on the case. Then, I hope, you will be able to agree that this case was not merely an American tragedy but a travesty.
Monday, October 01, 2007
*FREE THE JENA SIX!
Click On Title To Link To Associated Press, June 27, 2009, Article On The Latest On The Jena Six.
COMMENTARY
Recently in a commentary on integration (Reflections of the 50th Anniversary of Little Rock, September 2007 archives) I mentioned, in passing, the case of the Jena Six, a group of six black youth faces with, frankly, unwarranted pig-piled charges being accused of beating up a white youth after provocation down in rural Louisiana. The case has received international attention as a result of being taken up by ‘black leaders’ and Democratic Party stalwarts Jesse Jackson and Al Sharpton who led a large and spirited march in Jena by a predominately black crowd from many parts of the country. That is to the good. As always when the ‘hot button’ issue of race intersects the raw face of American justice ‘Southern- style' (or Northern style, for that matter) the plight of these teenagers has been the subject of comment from all sides all the way up to the leading presidential contenders.
Here the reported comment of Illinois Senator Barack Obama deserves special mention. He, in his inevitable ‘color blind’ way is looking for ‘fairness’ in the case. And there is the rub. I do not know what planet the Senator is on but even a cursory look at the history of Black existence in this country, and more importantly, CURRENT prison population patterns both on death row and as a result of the 'war on drugs' renders that search as rather illusive.
And to have a word on the Jackson-Sharpton Democratic Party-oriented leadership. In my Little Rock commentary I noted that in some ways, in this case on the standards of ‘justice’ for black people in this country, there has been little progress since that time. Yes, the question of freedom for the Six rather than ‘fairness’ is correctly posed. However, as Hurricane Katrina definitively brought to the surface, what justice, what program for black advancement has been carried through by a policy of 'toting water' for the Democrats lo these many years? What has that policy gotten the masses of black (and other people) in this country? But enough of that for now, we can fight that argument out at another time. The demand here is for justice for the Six- by any means necessary. Free the Jena Six.
COMMENTARY
Recently in a commentary on integration (Reflections of the 50th Anniversary of Little Rock, September 2007 archives) I mentioned, in passing, the case of the Jena Six, a group of six black youth faces with, frankly, unwarranted pig-piled charges being accused of beating up a white youth after provocation down in rural Louisiana. The case has received international attention as a result of being taken up by ‘black leaders’ and Democratic Party stalwarts Jesse Jackson and Al Sharpton who led a large and spirited march in Jena by a predominately black crowd from many parts of the country. That is to the good. As always when the ‘hot button’ issue of race intersects the raw face of American justice ‘Southern- style' (or Northern style, for that matter) the plight of these teenagers has been the subject of comment from all sides all the way up to the leading presidential contenders.
Here the reported comment of Illinois Senator Barack Obama deserves special mention. He, in his inevitable ‘color blind’ way is looking for ‘fairness’ in the case. And there is the rub. I do not know what planet the Senator is on but even a cursory look at the history of Black existence in this country, and more importantly, CURRENT prison population patterns both on death row and as a result of the 'war on drugs' renders that search as rather illusive.
And to have a word on the Jackson-Sharpton Democratic Party-oriented leadership. In my Little Rock commentary I noted that in some ways, in this case on the standards of ‘justice’ for black people in this country, there has been little progress since that time. Yes, the question of freedom for the Six rather than ‘fairness’ is correctly posed. However, as Hurricane Katrina definitively brought to the surface, what justice, what program for black advancement has been carried through by a policy of 'toting water' for the Democrats lo these many years? What has that policy gotten the masses of black (and other people) in this country? But enough of that for now, we can fight that argument out at another time. The demand here is for justice for the Six- by any means necessary. Free the Jena Six.
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