I wanted to see this film after reading reviews of "Splendor in the Grass", which claimed that the basic idea for that movie was borrowed by William Inge from Tennessee Williams' "Summer and Smoke". I love "Splendor," and wanted to see if the 'Bard of the Midwest' could possibly have copied from his friend's homework.
I think nearly all the films made from Tennessee Williams' plays reveal their stage origins, but none more so than "Summer and Smoke". Sometimes that theatricality works in a film's favour as it does in "A Streetcar Named Desire", but here, it put me off at first. Nonetheless, there are many things I do like about the film.
Set in a small town in Mississippi in the early 1900's, the story centres around Alma Winemiller (Geraldine Page), the daughter of a minister. She is in love with the boy next door, John Buchanan (Laurence Harvey), the son of the local doctor. Repressed emotionally, she believes that personal dignity is the most important thing of all; he on the other hand is adventurous and wild. While she stays at home nursing her mentally ill mother, he goes out into the world experiencing life to the full.
John returns and has affairs with other women, including Rita Marino's Rosa Zacharias in a couple of over-the-top sequences. Alma is crushed, but although both eventually come around to the other's way of thinking, in the end they are just as apart as they were in the beginning.
Although Inge probably saw "Summer and Smoke" when it opened on Broadway in the late 40's, any influence was slight to say the least. As far as the two movies are concerned, "Splendor" is the more accessible work while "Smoke" struggles to overcome its stage roots.
"Summer and Smoke" does picks up the pace along the way, and the two leads are good together. Geraldine Page is an unusually arresting actress, and repeats her role from the stage. She has some tough speeches to deliver, but the vulnerability of her character is painful to watch.
I've always found Laurence Harvey a terrific screen presence, but a number of his peers from British cinema and theatre would disagree - some even thought him a bad actor. Maybe they got his roles on-screen mixed up with his life off-screen. However, there could also have been sour grapes involved; he was very good-looking, had a great voice and the camera loved him; he gives a confident performance in this film.
I knew Elmer Bernstein's score long before I saw the movie. It is a beautiful and nostalgic work with a heart-wrenching main theme. The music gives a haunting sense of loss to the film, offsetting the static sets and overlit photography. It shows the power of music to enhance a film.
"Summer and Smoke" presents some challenging ideas. It's not the best translation of Tennessee Williams to the screen, but more than one scene stays in the memory.
I think nearly all the films made from Tennessee Williams' plays reveal their stage origins, but none more so than "Summer and Smoke". Sometimes that theatricality works in a film's favour as it does in "A Streetcar Named Desire", but here, it put me off at first. Nonetheless, there are many things I do like about the film.
Set in a small town in Mississippi in the early 1900's, the story centres around Alma Winemiller (Geraldine Page), the daughter of a minister. She is in love with the boy next door, John Buchanan (Laurence Harvey), the son of the local doctor. Repressed emotionally, she believes that personal dignity is the most important thing of all; he on the other hand is adventurous and wild. While she stays at home nursing her mentally ill mother, he goes out into the world experiencing life to the full.
John returns and has affairs with other women, including Rita Marino's Rosa Zacharias in a couple of over-the-top sequences. Alma is crushed, but although both eventually come around to the other's way of thinking, in the end they are just as apart as they were in the beginning.
Although Inge probably saw "Summer and Smoke" when it opened on Broadway in the late 40's, any influence was slight to say the least. As far as the two movies are concerned, "Splendor" is the more accessible work while "Smoke" struggles to overcome its stage roots.
"Summer and Smoke" does picks up the pace along the way, and the two leads are good together. Geraldine Page is an unusually arresting actress, and repeats her role from the stage. She has some tough speeches to deliver, but the vulnerability of her character is painful to watch.
I've always found Laurence Harvey a terrific screen presence, but a number of his peers from British cinema and theatre would disagree - some even thought him a bad actor. Maybe they got his roles on-screen mixed up with his life off-screen. However, there could also have been sour grapes involved; he was very good-looking, had a great voice and the camera loved him; he gives a confident performance in this film.
I knew Elmer Bernstein's score long before I saw the movie. It is a beautiful and nostalgic work with a heart-wrenching main theme. The music gives a haunting sense of loss to the film, offsetting the static sets and overlit photography. It shows the power of music to enhance a film.
"Summer and Smoke" presents some challenging ideas. It's not the best translation of Tennessee Williams to the screen, but more than one scene stays in the memory.