Suddenly, Last Summer

How could you not love a movie like Suddenly, Last Summer (1959)? It's a delightfully over-the-top Southern family drama from the mind of Tennessee Williams, in which Elizabeth Taylor plays a troubled woman whose dotty millionaire aunt (Katharine Hepburn) wants a prominent surgeon (Montgomery Clift) to perform a lobotomy on her. (Tennessee Williams's sister Rose was lobotomized and it was naturally a tragic moment in the life of the playwright, one which he fixates on in Suddenly, Last Summer.)

Aunt Violet (Hepburn) wants to put certain memories of her niece's to rest, particularly those about Violet's late son Sebastian, an eccentric poet with whom his mother had a bizarre, unhealthy, emotionally incestuous relationship. Sebastian's sexuality is the great big not-so-secret here: he used his mother and his cousin to procure young men for him. The film is of course somewhat coy about this, but only enough to avoid the moralistic but naturally insipid eyes of the Production Code that expurgated all of the Tennessee Williams adaptions at the time. (In Violet's house, we see lots of statues and portraits of muscly nude men in the background. And yet she was in complete denial!)

It's a satisfying bit of glossy trash that pushes all the right buttons, and once again proves how wonderful Taylor was at being campy but sympathetic. And of course, Hepburn flits around like an addle-headed butterfly, spouting her self-deceived monologues about her son as though we're supposed to believe she's the sane one. (But she is the one with the money, and she lures Clift's boss with a million-dollar-check, provided he can deliver the unpleasant surgical procedure.) Montgomery Clift gives a wooden performance, but he's not given much of a character here. His surgeon is just a device used to bring out the madness in the film's stronger characters. There's also cannibalism, and family quibbling, and a wonderful example of Hollywood's obsession with insane asylums. Madness never seemed so glamorous then with the raven-haired Elizabeth Taylor. Directed by Joseph L. Mankiewicz. With Mercedes McCambridge, Albert Dekker, and Gary Raymond. 114 min. ★★★

All About Eve

All About Eve (1950) is just about the bitchiest movie ever made. It's chock full of delicious dialogue (including the famous "Fasten your seatbelts. It's going to be a bumpy night.") and features Bette Davis in top form. She plays an aging Broadway star named Margo Channing. Anne Baxter plays Eve Herrington, an adoring young fan who cons her way into Margo's inner-circle in order to foster her own acting ambitions. She wants to be the new Margo. It's smashing good fun: overdramatic to the point of self-parody, but also a clever critique of Hollywood culture and the double-edged sword that is Fame.

Written and directed by Joseph L. Mankiewicz, All About Eve's impact on pop culture cannot be underestimated. Countless movies and television shows have borrowed its theme of the star being manipulated by a young and devious imposter, but none of these has ever come close to equaling it. 

Bette Davis had been the Queen of Warner Bros. in the 30s and early 40s, but in the years following Now Voyager (1942) her career sagged, and she had just about been written off as a performer. Her performance as the volatile, vicious and vulnerable Margo is perfection, and it briefly revitalized her career. And it's the performance you think of when you think of Bette Davis (unless it's What Ever Happened to Baby Jane, but that role moves beyond self-parody into something positively uncanny and even undignified).

With George Sanders, who won an Oscar for his performance as a witty, acerbic drama critic, Celeste Holm, Gary Merrill, Hugh Marlowe, Thelma Ritter, and, in a small role, Marilyn Monroe. Based on the short story "The Wisdom of Eve" by Mary Orr. ★★★★