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This Property Is Condemned Movie Streaming.
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How could a movie fanatic go substandard with this one? Sidney Pollack directing, with Francis Ford Coppola helping out with the adaptation of a Tennessee Williams play? A vast cast, with especially memorable performances from Natalie Wood, Kate Reid and Mary Badham (as younger sister, Willie Starr)? Roberts Redford and Blake and Charles Bronson thrown in for lagniappe? Sounds like vast gumbo to me.
Natalie Wood is absolutely alluring in this one. She and Redford, who also teamed together in the memorable INSIDE DAISY CLOVER, did indeed appear to have a lot of shroud chemistry. He is the cynical company man who appears like the Grim Reaper in a cramped, shabby, depression-era southern town, carrying pink slips with him, instead of a scythe. The role has a lot of resonance now, what with all the corporate downsizing currently going on. Needless to say, the townfolk don’t considerable cotton to Mr Owen Legate, with his esteem suit and self-assured ways.
With a couple significant exceptions. Tom boyish Willie Starr is taken by him moral away and the petite her astronomical sister Alma sets eyes on him, she’s putty. Wood’s expression in that initial view is fraction of film history.
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Owen further antagonizes the townfolk because they discover that Alma has taken a shine to an outsider. Alma’s been something of a tramp up this point, givining it up to varying degrees to most of the men in the town. Several of them, including an broken-down geezer with an invilid wife, have been fantazising about further adventures with Alma. And Alma’s mother is upset with Owen, because she sees that he is going to bewitch away her gravy whine. Hazel Starr is one of Williams’ broad eccentric female characters, and perhaps his most unctuous (though Amanda Wingfield, in THE GLASS MENAGERIE, is no prize, either. Kate Reid is perfect in the role. This, to me is her most memorable performance, followed closely by her title role in AND MISS REARDON DRINKS A Limited, which unfortunatley appears to be impossible to get. It’s hard to own she never won an Oscar or a Tony.
This was only the second feature film that Pollock directed. He of course went on to large things with such films as THEY SHOOT HORSES DON’T THEY and TOOTSIE. He and Cinematographer James Wong Howe do a titanic job of capturing miniature southern town lethargy, as well as 30’s Modern Orleans ambience. The print, unfortunately, could definitely employ a stout restoration. It’s primitive noticeably over time. The film certainly warrants the extra work. Yet time cannot wither Natalie Wood. She’s unexcited one of the most attractive women a camera ever made worship to. This film definitely belongs advance the top of the list for cover adaptations of Williams’ plays.
BEK
When I first saw this film, as a preteen, I opinion it was the ultimate romance. Well, I got older … and saw it again. And it’s detached radiant romantic. In fact, it’s tranquil a film I look over and over.
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The performances are really juicy. Everyone in it seems to understand the over-the-top quality of Tennessee Williams, and no one disappoints. You’ll come by Charles Bronson and a very young Robert Blake in supporting roles here. Both Kate Reid, as Wood’s driving, ambitious `Mama’ using her sparkling daughter to hook the town’s men, and Mary Badham, as `Willie’, the not-so-beautiful younger sister who idolizes Wood, are quite simply ample. Every disappear, every gape from both are truly sublime.
Natalie Wood has always been one of my popular stars, and she is every crawl the star in this one. It’s distinct from her first closeup how special, how different, and how lively Alva Starr is to everyone she comes in contact with. She meets her match in Robert Redford, the man who has no dreams, who sees her in unvarnished sunless and white but comes to delight in her need to color life … in fact, realizes he can’t live without it when he’s separated from her.
Is it enormous drama? No. But it’s resplendent soap opera. The best soap opera, the most memorable Southern soap opera, you’re likely to collect. These people have genuine problems, sincere needs, and they’re beautifully drawn by the screenwriters (thank you, Francis Coppola, among others) and by the actors who play them. We’re given a lot of time to know them and care about them, and we do care, very distinguished.
It’s one of my celebrated guilty pleasures, and I ask I’ll preserve watching it for years to approach. Don’t miss it.
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