Steaming

Trailer—Steaming

Steaming_720p(480P)

source: Steaming

As the last film of director Joseph Losey (a groundbreaking British filmmaker of the 1960's), this screen version of the play by Neil Dunn seems like a mash-up of all of those sadly realistic working class dramas of the 1960's as told by the women who lived them to their closest chums, none seemingly very happy. They are losing this spot too, a rather dowdy looking steam room that could use either a really good spraying down or just plain reconstruction, with the assistance of a wrecking ball. Diana Dors, in her last film, looks a bit like the mature Ginger Rogers, playing the attendant, pal to regular patrons Vanessa Redgrave, Sarah Miles, Brenda Bruce and Patti Love. The set is quite an interesting one, but the conversations aren't all that interesting to audiences in general, because their subject matter is really only of interest to the type of maturing women that this talented cast portrays here. Some of the women are seen stark naked, and for women of a certain age, that's pretty daring. The steam room is shown to be an old fashioned gymnasium with chez lounges pressed up against radiators, then saunas and steam baths, and eventually rowing machines. The women pretty much do nothing but complain about their husbands and children, but reluctantly admit that they wouldn't change a thing, so the question becomes, "So what's the point of all this?" Very stagey and bland, yet occasionally magical when the women finally say something profound. It's definitely an acting exercise for the three legends and lesser known actors, but I wouldn't want to sit through this as a play.

Though it belies its stage origins this character study of a group of women who find a camaraderie in the local ladies steam bath that isn't available to them anywhere else keeps you involved thanks to Losey's firm directorial hand and superior performances by the cast. The showpiece performance is from Patti Love as the combative Josie but both Vanessa Redgrave and Sarah Miles score sharply in more muted roles. This was the final film for Diana Dors before her far too early death and it provides her a lovely opportunity to exit on a fine grace note. Her fabled beauty while not a memory had by this point softened into a mature softness filled with character. As the motherly Violet she shows that the stunning good looks of her youth weren't all she had to offer.

This is an extremely unambitious film.Strange film for Losey to end his career on.Also rather ssdly the end for Diana Dors.She actually looks much better than in previous films where she looked blousy and overweight.Vanessa Redgrave looks like a fish out of water.

This film is unfortunately like an extended edition of Loose Women. Loads of waffling, disagreements, precious little actual outcome. While it was nice to see some famous faces as I've never seen them before, the sheer boredom level is off the scale.

Five stars for this film of Nell Dunn's play set in an English council run Turkish bath on Women's day. There is some fine acting: Diana Dors steals the show of course for her sheer ability. Venessa Redgrave gives a stolid performance although there is nothing to stretch an actress of her abilities, and the rest of the cast give good performances. The whole film has an atmosphere of a BBC play for today and there is no real cinematic quality to the film as a whole. I really would not want to see this on the big screen. Perhaps this is due to the confines of the set: we see the plunge bath, steam room, hot room, exercise room, showers and rest room. And that's it. No exterior shots to establish the baths - all the action takes place in one location. The whole thing is simply a filmed play. Workmanlike but not inspired.The play however examines relationships between a number of women, mostly middle class.

Patti Love's often unbearable performance, during the first two acts of «Steaming», almost ruins Joseph Losey's final film. Nell Dunn's play decidedly must work much better on a theater stage, where the distance between the audience and the play being performed, where the sort of single frame with the same size and same gaze position that becomes the stage, and where the direct voices coming directly from actors' bodies, create conditions that make us take some poetic intimacy in the midst of the prosaic rawness of the representation, and make more tolerable sudden outbursts of intense drama out of the blue, for the simple fact of being in front of a live performances. As captured by a camera, and as set up in shots of different scales and angles, in an almost pointless intent to give some kinetic life to what is, in the end, nothing more than the filmization of a theater piece, it only stresses the artificiality of what we are watching. In compensation for this strange kind of cinematic product, there are fine and controlled performances by Vanessa Redgrave, Sarah Miles, and Brenda Bruce as clients, and Diana Dors (in her last film) as manager of an old Turkish bath in London, where regular female customers meet and exchange facts about their lives, in spite of their class differences. Love, as an amoral * addicted to brute men, and Felicity Dean as Bruce's teenage (and apparently mentally ill) daughter are in charge of the hysterical scenes. There is not much going on in Aristotelian terms: this is more a confessional kind of drama, where stories, emotions and morals are shared. Only when Dors breaks down as she informs that the bath is going to be demolished for the construction of an entertainment center (or mall), the action follows a more traditional structure. According to drama conventions, it is Love's Josie, the character whose change is more significant. Her performance is built on scenes where she delivers diatribes of social resentment, sexual gossips, and screeching, until the moment her character becomes the spokesperson of the group and the tone changes. In any case, even when the sense of human existence is often crushed, there is a positive and joyful sense of life that, besides the opportunity of seeing women interacting (and such a good cast playing them), makes the viewing rather amenable. It is also a respectable ending for the careers of a remarkable director, and of cinematographer Christopher Challis, both taking good advantage of the single set.

While this is not a real great piece of film making, I found it to be erotic in a very subtle sort of way. First, the whole concept of a movie about 40ish and 50ish women hanging out (in more ways than one) at spa is very exciting to me. Then add the fact that we have established actresses like Sarah Miles and Vanessa Redgrave spending a lot of time lying around in towels and less and you have a very erotic film in my opinion. I really hated to see it end. If you find this concept much more sexy that overt sexuality, then you might want to check out this film. It's hard to find, though. I found it in a small independent video store in 1987 and haven't come across it since.