classicsoncall There are two kinds of people in the world says Val Xavier (Marlon Brando) - buyers and those who get bought. He immediately qualifies that somewhat by including those who have no place to be at all. It's his perfect description of himself, purposely trapped in a run down, racist small town in which his unforced, smoldering sexuality begins to take it's toll on the film's inhabitants.Xavier 'Snakeskin', at once shiftless and ambitious, arrives with an inconsolable lament - "I'm not tired. I'm just fed up." Those who get close to Xavier are put on notice that he's a 'peculiar talker', and Tennessee Williams' brilliant screenplay explores all manner of insightful dialog. When Brando's Xavier launches into his 'birds with no legs, sleeping on the wind' symbolism, he provides further insight into his directionless character, while confounding Lady Torrance (Anna Magnani) with his subversive sounding language. What's to make of this drifter with a guitar as his life's companion? As fascinating as the story line is, this isn't one that will lead to a happy ending. The movie is filled with a stark desperation, exemplified by the county's scandalous Dolly Cutrere (Joann Woodward), who at one point despairs, "I tried to pour oblivion out of a bottle but it wouldn't come out". The principal characters are all off and running into their own personal train wreck without ever seeing it coming.It appeared to me that the film's principal theme had to do with Xavier's quest to determine if existence by itself makes any sense at all. His affair with Lady doesn't require passion or love but mere convenience, while her desperate need to be loved plays out in ultimate tragedy for both. The imagery of Dolly disappearing following the destruction of the confectionery is eerily striking, and is it more than ironic that in death, Val Xavier finally sheds his snake skin?

richard.fuller1 I've liked some Tennessee Williams stories, from Rose Tattoo to the more obvious Cat on A Hot Tin Roof and Streetcar, saw the TV version of Bird of Youth, think there was another one of his I saw and liked.But this was terrible! Like some odd retelling of Sweet Bird that needn't have been done.And the performances certainly didn't manage to save it. Brando and Magnani couldn't bring any believability to each other if they tried. It was like they phoned them in. Absolutely terrible! If you like Williams, watch this one with some skepticism. It was just incredibly dull.And the ending was a total letdown. The wonderful jilted husband was the only one who showed any worth.You cheat on your husband with his window just right overhead like that, what do you expect? Terrible film.

kdjoki I will make this short and sweet. I watched this for the first time on "This" TV. The directing was superb from the opening scene with Marlon Brando being talked to by a judge which starts immediately even before the title and list of characters. Brando hooks you in from the first words he speaks. From there the viewer is drawn into a long forgotten world of the deep south with compelling characters and phenomenal acting. It is surprising that this film didn't win more awards. The cinematography was stellar, the characters were believable and the performances were memorable. I am amazed that I had not heard of this film until now over 50 years since it debuted. Ten of Ten stars....

Charles Herold (cherold) I Love Tennessee Williams. Glass Menagerie, Streetcar Named Desire,Night of the Iguana; they are works of art full of poetic language and fascinating, complex characters.I was expecting to love The Fugitive Kind as well. Marlon Brando is a brilliant actor, as is Joanne Woodward, and Sidney Lumet is a great director. The cinematography is excellent, and some of the best moments in the movie are from great visuals.So if I don't care for this movie - and I don't - I'm inclined to think the problem is the script. Williams dialog is not especially poetic. His characters are not particularly sympathetic; Brando is intriguing even if he never entirely catches fire, Magnani also performs well but isn't likable or deep, and Woodward's caricaturish party girl is kind of annoying.Williams is still, to my mind, a genius, but after seeing this I think of him as a more fallible one than I had.