Gorgeous adaptation of Tennessee Williams' Pulitzer Prize winning play benefits enormously from its beautiful stars Elizabeth Taylor and Paul Newman. It was substantially changed from Broadway because of problems with censorship, and also to give the film a more upbeat resolution.
Big Daddy (Burl Ives) is dying and the awful family of his elder son goes head to head with Maggie (the Cat) to inherit the estate, just as her husband, the younger son (Newman), takes to the bottle. Taylor as Maggie in her beautiful Grecian dress looks like another possession, something brought back from a trip abroad. We encounter no love in this opulent mansion, only materialism and greed.
There's a vacuum in the heart of film left by the removal of any references to the alcoholic son's homosexuality, which nothing else fills. What remains is poetic melodrama with many great lines and reflections of the themes of mendacity and endurance. Music is used to great effect to evoke past lives. And sex is approached quite directly for the period.
Like most fifties screen drama, it looks stunning. And not just its stars. The use of colour is sensual and the sets are eloquent. Taylor and Newman are exceptional as those classic Williams archetypes, the frightened, wounded souls adrift in an ocean of corruption, surrounded by monsters.