Cathardincu Surprisingly incoherent and boring

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Ross622 Richard Brooks' "Sweet Bird of Youth" is an excellent movie based on Tennessee Williams's play of the same name. The movie stars Paul Newman as a drifter named Chance Wayne (who is the central character to this movie) who is trying to get back into his relationship with a girl named Heavenly Finley (played by Shirley Knight in an Oscar nominated performance)but he knows that she wants the same thing to happen but both have a complication that won't let it happen which is Heavenly's father who is a corrupt politician named "Boss" Finley (played by Ed Begley in an Oscar winning performance). Brooks directed this movie the best way he possibly could which is what a director is supposed to do with a movie but what I wanted to know more about the movie was why did the separation happen otherwise there was other excellent qualities to the film, for example Milton Krasner's great cinematography, the art direction was fabulous especially for Florida weather, and costumes were top notch, and especially the acting was excellent, and while Wayne is going through this tough time he has a total stranger to him keeping him company which is an obscure film star named Alexandra Del Lago (played by Geraldine Page in an Oscar nominated performance).But in the end watching this movie was worth my time just by watching even though it isn't in my list for 1962's best movies but to me it is an honorable mention. I'm totally looking forward to seeing more of Richard Brooks's movies within the foreseeable future.

vitaleralphlouis In one of the silliest serious movies of the 1960's, Tennessee Williams has stereotyped everyone except Aunt Donnie as corrupt, nasty, evil trash. Mr. Williams must have had an amazing hatred for the human race to have written the whole lot of us as such garbage.A partial list of persons stereotyped for Mr. Williams broad brush of contempt: Hollywood actresses, gigolos, politicians, police, churchgoers, anyone from the South, doctors, hotel managers, plus anyone just standing around.Every scene in the film is predictable; none of it reflects any real people or situations; yet there are a large number of "intellectuals" who have always swallowed up his drivel.To be fair, a few of his works, including "Streetcar" are really good. Sweet Bird of Youth isn't one of them.

Brigid O Sullivan (wisewebwoman) Tennessee Williams's play is adapted for film by Director Richard Brooks. A wonderful cast brings this dramatic Southern soap opera to a sublime level the lead role of Chance Wayne given a sizzling performance by Paul Newman, a conniving, charming gigolo who keeps trying - and failing - to succeed at his chosen profession.Chance returns to his hometown towing a has been drug addicted alcoholic movie star, Alexandra Del Lago (Geraldine Page). Chance comes with the purpose of taking his old love, Heavenly (Shirley Knight) away from her obsessed father, 'Boss' Finley (Ed Begley) so the three of them can hit Hollywood together and Alexandra will help him get his first big break in the movies.Chance's homecoming goes off like nothing he has planned, he left a lot of damage when he took off before. Heavenly's dad, who, along with Finley, Jr. (Rip Torn), has a burning hatred for Chance along with a plot for revenge.The film does not evolve much from the stage play and appears stagey throughout.Geraldine Page is the only one who transferred from the original play to the film and her performances is completely overwrought but she manages to carry it off and steals every scene she is in. She puts one in mind of Gloria Swanson in Sunset Boulevard. The part of Alexandra is made for her.There is a beautiful score and Paul Newman is stunning in the role.The only complaint I would have (and thus a lower rating of 7 out of 10) would be the significant change both to the story of what happened to Heavenly after Chance disappeared the first time and to the ending of the film, due to censorship rules. Far far more heartbreaking and tragic than depicted here.And it is such a shame we will never be able to see the alternative ending with this incredible cast. In my opinion it would have put the film into the all time great list.7 out of 10. A must-see.

robb_772 There are numerous qualities that make SWEET BIRD OF YOUTH a stellar film, starting with the tremendous source material. Williams' tale of fading film actress and princess-by-marriage Alexandra Del Largo escaping Hollywood after a failed comeback attempt and being taken advantage of by aspiring actor/gigolo Chance Wayne is full of ripe drama, all of which is fully exploited by the 1962 film. Williams' typical subplots of southern hypocrisy are also well incorporated into central story by director/screenwriter Richard Brooks (who also helmed 1958's sensational CAT ON A HOT TIN ROOF), and actually heighten the tension of the piece. Even with the censorship of early-sixties cinema (including an unnecessarily re-written ending), Brook's SWEET BIRD OF YOUTH still packs a mean punch.Also crucial to the film's success is casting. No matter what film you're watching, you can always depend on Paul Newman to deliver the goods (which is precisely why he remained a top box office drawl up through the mid-eighties), and he gives one of his absolute best performances SWEET BIRD. Newman had originated the role of Chance in the original stage production, and his immortal screen performance of the role has clearly benefited from the hundreds times that he had previously played the role on stage. Arrogant, masculine, and painfully gorgeous, Newman nearly incinerates the colloid! Also returning from the original stage play is Geraldine Page as Alexandra, the ultimate boozing, wash-up actress. Page is nothing short of sensational – a true thinking, feeling, conflicted woman who is desperate to run away from her problems, but completely uncertain of her next move. Alexandra is vain, insecure, and even comedic at times, and Page finds the perfect balance in her portrayal, as she understands that the very qualities that make Alexandra so strong is also what causes her to be weak. Page won a well-deserved Golden Globe for Best Actress in a Drama, but lost the Oscar to Anne Bancroft for her tour de force performance in THE MIRACLE WORKER - seeing that both performances are so phenomenal, I would venture to say that the votes for both awards were probably mighty close.The rest of the cast is no less impressive. Ed Begley won a Supporting Actor Oscar for his role as 'Boss' Finely, and it is refreshing to see the actor let loose in a vile performance without any obvious apprehension. Rip Torn and Mildred Dunnock are great in supporting bits, and Oscar-nominated Shirley Knight is hauntingly lovely as the appropriately named "Heavenly." Director Brooks also makes excellent use of the widescreen frame, composing many exceptional shots that are all but destroyed when the film is altered from its original Panavision format.Certainly some viewers will carp about the re-written ending (the studio demanded that things end "happily") as well as the removal of such hot-button topics as abortion and castration to appease the censors, yet none of these omissions dramatically affect the film. Even though he caved in to the studio in terms of the finale, director Brooks must be given credit for focusing on the characters and dialogue and avoiding the temptation to "dress" the play up for movie audiences. The film is firmly planted in its central relationships, and this is what carries the day. No matter how censorious the Production Code may have been, no one could mask the white-hot dynamic between Newman and Page.