Michael_Elliott The Long, Hot Summer (1958)*** (out of 4) Con man Ben Quick (Paul Newman) is accused of burning down a barn so he's forced to hit the road where he winds up on the farm of the Varner family. While trying to woo the daughter Clara (Joanne Woodward) Ben also strikes up a partnership with her father (Orson Welles), which doesn't sit well with the son (Anthony Franciosa) who can't ever seem to do anything right.THE LONG, HOT SUMMER was the first collaboration between Newman and Woodward who would be married shortly after this film wrapped production. The film is known for that but it's also known for the heated on-set battles between Welles and director Martin Ritt. These two things usually take a lot of the spotlight away from the film itself and that's really too bad because it's a pretty good soap opera from Fox.The term "soap opera" will be seen by some of a criticism but it's certainly not meant to be. There were countless movies made during this era that likes to be over-dramatic at times with a strong sexuality and a blazing music score going in the background. This film here has the benefit of some great locations, a pretty good story and of course some legendary actors doing great work. I will admit that the one really weak thing is the music score, which is constantly blaring at the wrong time and taking away from the actors and their magic.As for the cast, the heat that Newman and Woodward were feeling off the set certainly burned on screen because the two have some wonderful chemistry here. There's no doubt that they bring a lot of smoke to the screen and the two manage to capture the sexuality of the story as well as the dramatic nature of the love story. Welles is also excellent in his part as the fiery father. Again, Welles had various issues on the set but I thought he was very believable in the part. Franciosa, Lee Remick, Angela Lansbury and Richard Anderson are all very good as well.THE LONG, HOT SUMMER features some terrific cinematography and director Ritt certainly knows how to milk all the sexuality from the story. There are certainly some flaws throughout the movie but the star power alone makes it a must see.

dougdoepke A wealthy local tyrant in the deep South runs roughshod over his son and daughter until an equally sharp stranger drifts into town. For better or worse, this 2-hour movie has about all the earmarks of a 1950's A-production. Consider the following: wide-screen Technicolor, (no little b&w TV here); strong acting, (the New York Method has invaded Hollywood); a sex suffused plot, (just don't go beyond kissing); a contrived happy ending, (send the audience home feeling good); and no thought-provoking politics (there's a Cold War going on). All of these are present in spades in this slick production, marking results very much a creature of the time.I can see why the devilish Ben Quick amounts to Newman's breakout part. I expect girls were swooning in the aisles. That combination of manly chest, deep blue eyes, and tricky smile must have struck deep from Maine to California. I like the way the screenplay builds Ben's battle of wits with old man Varner (Welles) into mutual respect. They're like two circling foxes that may not like each other, but a mutual shrewdness commands respect. On the other hand, Woodward's Clara presents an apt contrast to both Dad and Ben. Woodward's excellent as the proudly self-contained Varner daughter. The actress makes her resistance to the assured Ben not only believable but compelling. Considering what must have been going on off-camera between the soon-to-be-marrieds, makes Woodward's on-camera distance a real accomplishment. All in all, Clara's may not a glamorous role, but it is a pivotal one.Then there's Welles as the obnoxious paterfamilias and local tyrant. To say he over-does his role would understate the result. But, according to IMDb's trivia, he's not about to let this bevy of Method graduates overshadow the great man. (Contrast his version of a big daddy with Burl Ives' calibrated version in the thematically similar Cat on a Hot Tin Roof {1958}). Frankly, I thought Franciosa miscast as the weakling son, Jody. The actor's natural forte is a strong personality. To me, his efforts here strike a sometimes hollow note. There's no really cohesive plot. Instead the narrative is more like an album of how a dysfunctional family finally comes together. The production does a good job of providing authentic southern background, filming extensively in Louisiana. Those dirt roads the horses escape on are both revealing and atmospheric. Then there's Richard Anderson's enigmatic Alan Stewart. His stiffly proper bearing remains an interesting wild card in the mix. It's not clear, to say the least, why he rejects marriage to the willing Clara (Woodward) and life on easy street. The screenplay sort of implies he's a mama's boy, but that doesn't come through in the dramatics. My guess is that he's, oh my gosh, gay, a topic that 50's Hollywood could not safely broach, but would explain his behavior with Clara. On the other side of the coin, is Lee Remick's wanton little Eula. With her low-cut frocks, I was hoping director Ritt would find more reasons for her to lean over before the camera. Oh well, the teasing titillation is also very much indicative of the time.Anyway, the movie's generally over-heated but still entertaining, with colorful characters, and sometimes sharp dialog. Maybe most importantly, it's the first of Newman's rascally characters that he would later raise to a near art form.

bbmtwist 1958 was certainly the year for Paul Newman and southern drama. He appeared in both THE LONG HOT SUMMER, adapted from Faulkner short stories and one novel, and Williams' CAT ON A HOT TIN ROOF. The coincidences don't end there.SPOILERS FOLLOW IN ANALYZING THE PLOTS:Both works have an overweight "boss" - Will Varner in the first, Big Daddy in the second. Both have returned from a hospital visit. Although Big Daddywill have a terminal diagnosis, Varner has seemingly none at all, although we expect any moment to learn otherwise, as Varner seems pushed to get his first daughter married and pregnant, which would seem to indicate he is aware of his mortality.Varner has an ineffectual son, Jody, who can do nothing right. Big Daddy has a son who can do nothing right, Gooper. Both Varner and Big Daddy have a fondness for the characters played by Newman, Ben Quick and Brick. There is a strong, defiant woman in each, Clara Varner and Maggie.Switching to Williams' SWEET BIRD OF YOUTH, Newman plays a drifter, Chance Wayne. In THE LONG HOT SUMMER, Newman plays a drifter, Ben Quick. In THE LONG HOT SUMMER, Varner has a local mistress, Minnie. In SWEET BIRD OF YOUTH, the Big Daddy character, Boss Finley, has a local mistress, Miss Lucy.So you can see someone stole from someone. Since the names of the Faulkner stories are not given credits, unless one is a Faulkner scholar, one can't look up the publishing dates. These could be applied to the dates both of Williams' plays premiered on Broadway. I tend to think there is a good chance that it was Williams who stole these plot ideas from Faulkner. It might be an interesting topic for a school or college paper.As far as the film THE LONG HOT SUMMER goes, it is compelling, constantly interesting, superbly directed by Martin Ritt, and universally both well cast and well played. The heat between Newman and Woodward off screen leaks convincingly on screen, helping the performances of both. Welles steals the film as the patriarchal tyrant, Will Varner - I would have given him an Oscar nomination for this performance. Lansbury is wasted in a small role as Varner's mistress, as is Remick as Varner's vapid second daughter. Franciosa is excellent as the unloved son, his pain and frustration constantly evident. However, it is Woodward who shines best. Her character is level-headed, sensible, but passionate beneath. She is as much a cat on a hot tin roof as is Williams' Maggie, seething beneath the surface with sexual passion, but unable to fulfill it.Playing CAT and SUMMER as a double bill would be an interesting event for a college level class with discussion following.SUMMER is an excellent film, well worth your time.

madcardinal An excellent movie. Considered very racy at the time of its release, today it is the excellent performances that stand out. Welles, Newman and Woodward are superb. There's one scene where Welles breaks a table (not in the script), and it's fantastic. All the other actors are very good. Plus Lee Remick is a wet dream come true for heterosexual young men. And how can you go wrong with William Faulkner providing the source material?Well written; stylish; and clever, simmering dialog. This film deserves its classic status.