The Long, Hot Summer

The Long, Hot Summer – Big Footprint Not to be mistaken for Wet Hot American Summer (a markedly different romp…), The Long, Hot Summer seems to be a largely forgotten entry into the canon of sweltering 1950s melodramas, mostly historically noteworthy as the project which united Paul Newman and Joanne Woodward, and generally overshadowed by higher profile ballads of illicit love and family angst in the deep south. However, rather than being clouded by a haze of 'Big Daddy's odour of mendacity,' Martin Ritt's film easily has enough merit to stand on its own accord, blending a collection of William Faulkner shorts into a tale of love, lust, and lineage, just clamoring for the qualifier 'steamy'. Although the plot is definitely familiar territory, and the script errs fairly strongly on the affected style customary to the post-Actors Studio era, the story resonates truthfully and remains engaging throughout, while the alluring undercurrent of barely-bridled sexuality keeps the proceedings energetic and urgent. Ritt's direction is taut but unfussy, allowing the inherent claustrophobia and tension of the film's small-town setting to speak for itself, and the sumptuous Technicolor cinematography is so crisp you can practically smell the marsh and sweat from the Mississippi bayou (and I'm not even just talking about Orson Welles). Although the climax feels like a somewhat forced attempt to escalate the stakes simmering throughout, with an overly hasty resolution to boot, the buildup is calm and confident enough to make the viewing experience worth its while without having to fight to engage its audience. Naturally, like the majority of its contemporaries, the story ultimately exists as a vehicle to foreground the performances of the cast, who are what ultimately make the film worthwhile. Paul Newman, cementing his iconic identity as the shrewd, laconic, effortlessly cool drifter, crackles with charisma as accused arsonist Ben Quick, magnetic throughout even before his surprisingly racy shirtless scene. Joanne Woodward gives arguably the film's strongest performance as the controversially unmarried Clara Varner, practically vibrating in place from a lifetime of feeling discounted and under-appreciated. Rather than playing up her predicament, however, Woodward embodies Clara with a steely confidence, which is altogether more effective and appealing. In contrast, Orson Welles delivers the film's most legendarily outlandish performance as the resident belligerent patriarch. Notoriously mocking the Actors' Studio by mumbling almost incomprehensibly through his cartoonish southern drawl, the vociferous Welles is skilled enough to steal scenes in his sleep (which he may well have been during certain scenes), outrageously fun when hamming it up, with occasional pockets of surprising solemnity and depth, as if coming up for air from his customary grunting and snorting. Anthony Franciosa is also a sturdy presence, even if he does occasionally overindulge in Method hand-wringing and hysteria, while a cameo from the delightful Angela Lansbury as Welles' cheerily aggressive suitor adds a dash of comedic perfection. While it may fall short of the acerbic intensity of similar fare such as Cat on a Hot Tin Roof, The Long, Hot Summer still serves a healthy slice of all the smouldering, robustly acted 1950s melodrama you could ask for. If only for the incandescent interplay between Newman and Woodward, with the added pleasure of cartoon-character Welles, the film is easily worth sinking into, on a dozy, hot summer evening or otherwise. -7/10

RELEASED IN 1958 and directed by Martin Ritt, "The Long, Hot Summer" is a Southern Gothic drama about an accused arsonist and opportunist (Paul Newman) who drifts into a Mississippi town and ingratiates himself with the wealthiest family, the Varners. Orson Welles plays the widower Varner patriarch, who's disappointed in his weak son (Anthony Franciosa) and unmarried daughter (Joan Woodward). Thus he sets his sights on the ambitious newcomer to properly carry on the Varner legacy. Lee Remick plays the son's wife and Richard Anderson appears as the daughter's seeming suitor, a Mama's boy. Angela Lansbury is also on hand as Varner's mistress who longs for marriage. The notable cast is great and the beautiful southern locations are magnificent. So I was expecting a quality drama, but the writing is weak. Examples: Would this new drifter really be able to switch from being a sharecropper to a horse seller to a store clerk so successfully in the matter of a few days? I could handle this, though, and the bulk of the movie is okay late 50's drama; nothing great, but okay. The lousy writing in the last act, however, ruins everything: Would the townsfolk really rush to lynch someone who clearly was nowhere near the crime scene? Would one character so readily warm up to another who idiotically just tried to murder him and slay several innocent creatures? After two hours of tension and bickering, even murder plots, would everyone just smile & hug and that's the end? Then there's the contrived "treasure in the front yard" element. Why sure! In other news: This was the film where Newman and Woodward met. They married the same year the film was released and stayed together until Paul's death in 2008 (50 years!). THE MOVIE RUNS 115 minutes and was shot entirely in Louisiana. WRITER: Irving Ravetch & Harriet Frank Jr. wrote the script from William Faulkner's novel. GRADE: C-/D+ (3.5/10)

Husband and wife team Paul Newman and Joanne Woodward made several movies together and this was the granddaddy of them all. Paul Newman plays Ben Quick, an accused (but never convicted) "barn burner"--i.e., he burned down people's barns out of revenge if they ticked him off! Ben is also a very, very slick operator and in local big-shot, Will Varner (played by Orson Welles), he finds a kindred spirit. Both are very power hungry and not too concerned about how they get it. Will gets the idea of marrying Ben to his daughter, Clara (Joanne Woodward) because he wants to have a rough, tough, he-man for a son-in-law capable of both running his business and producing a whole brood of tough boys! In a way, it sounds like he is looking less for a future husband for Clara and more a big stud mare! Well, Ben is crude and aggressive and in many ways a jerk, but something strange occurs when he begins courting Clara. He begins showing that there are some good attributes as well and a genuine interest unexpectedly results in nice-girl Clara! What happens next as well as how the barn burning comes into play is really something for you to find out yourself. Compared to some other Tennessee Williams plays, this one is a lot less sleazy and the bickering is much more subdued--sort of like "Tennessee Williams Lite". But, we are still left with a very interesting plot, magnificent acting and an exceptional movie.

This is a movie to sit back and really listen to--I mean there are word wars throughout it. you cannot find this anywhere nowadays. smart- direct- WITTY- eye opener- conversation. wonderful......love the cast, the story, and of course the Wit!

The Long, Hot Summer is what movies are all about. Newman is so sexy it's no wonder that Agnes pleads with her friend Clara not to send this handsome stranger away too fast, even if he's a sewing machine salesman. Joanne Newman as Clara looks beautiful with her blonde hair pulled back tight and a little half twist to her hips when she walks. Although some reviewers have said this film is more Tennesse Williams than Faulkner, Clara does not resemble Williams' tragic heroines who are mired in the past. She is mightily tempted by Newman's Ben Quick, the "modern man," who advises her than the world is ruled by the meat-eaters. It is Clara who makes their first tryst possible and though it ends with angry words, it is obvious these two are meant for each other. Will Varner, played over-the-top by Orson Welles, is Clara's father. He owns everything in town and figures his holdings extend to his daughter. He wants sons to carry on his name and Ben Quick looks like the man for his Clara. The movie creates a town that feels as though it will live on after the film is over and people who relate to each other as if there was no camera present. Granted it's not the real South but the mythic South. Sex goes hand in hand with the dust and the heat. Aristocratic blood is running thin. A handsome "bull" of a stranger appears to liven things up. Newman swings his battered old suitcase with the confidence of a man who knows he'll soon be sleeping on satin sheets.

Interesting and thought-provoking melodrama with marvelous acting from the entire cast , and outstanding Paul Newman as a stranger bringing with him a reputation for burning people's barns if they cross him . As Ben Quick (Paul Newman) , a young opportunist dirifter arrives in a little town and problems brewing . On the basis to get a job , Ben makes a strong impression on his landlord Will Varner (Orson Welles, he was 42 years old, but was cast as a 61 year old man due to his weight ) , the town bigwig and he meets his match in his sassy daughter Clara Varner (Joanne Woodward) . As Ben quickly ingratiates himself with its richest family, the Varners , formed by father , Will Varner (Welles) and sons : Clara , Eula Varner (Lee Remick ) married to Jody (Anthony Franciosa) . This tense and well performed adapatation is based on two short stories and part of a novel by Nobel winner William Faulkner , set in a small Mississippi town . The picture shot Paul Newmans as a man taken under a Southern patriarch's wing , his wife Joanne Woodward , and Lee Remick to stardom . Newman and his real-wife , Woodward , luckily carry the whole movie as the main roles . This is the first on-screen pairing of Newman and Woodward ; in fact , a month after production wrapped, Paul Newman and Joanne Woodward got married in Las Vegas. In this movie there is betrayal , scheming, seduction, improbable luck , suspicion, vengeance , heroism, compassion, and redemption . The locations, the soundtrack by Alex North , cinematography by cameraman Joseph LaShelle and the dramatic moments as well as the love stories between characters deliver an attractive and interesting flick . When the drama emerges there takes place incident and passion , and there's plenty of both . Paul Newman gives a fine acting as an accused barn burner and con man . Joanne Woodward is first-class as the spinster daughter Clara and one of the best characters . Support cast is pretty nice . Anthony Franciosa is fine as Welles' wimpish son who schemes a relentless vendetta . Orson Welles provides a boisterous and top-notch acting as the tyrannical Mississippi ¨pater familias¨ on his larger-than-life role . Lee Remick is wonderful as his sweet-natured daughter ; besides , Angel Lansbury as Will's longtime mistress . Being remade for TV in 1986 by Stuart Cooper with Don Johnson , Cybill Shepard , Jason Robards and Judith Ivey . The motion picture was well directed by Martin Ritt . The smash hit of the film helped Martin Ritt reestablish himself as a major director. Martin was one of the best and most sensitive American directors of all time, was a director, actor and playwright who worked in both film and theater. He was born in New York City. His films reflect, like almost none other, a profound and intimate humane vision of his roles . Ritt went on to direct 25 more films, including such classics as Black orchid (1958) , Hud (1963), The Spy Who Came in from the Cold (1965) , Hombre (1967) ,The Great White Hope (1970), Norma Rae (1979) and Murphy romance (1985). He was Blacklisted in the 1950s for his alleged support of causes deemed to be "Communist" by the House Un-American Activities Committee

This 1958 Drama literally reeked, from start to finish, of the movie Cat On A Hot Tin Roof (which was released in the very same year). This flick was almost like a continuation of that story. One of the only real differences in this story was that instead of being a drunken, closeted homosexual, and a rich-boy, the Paul Newman character was on the other end of the social scale, being a smart-ass, bad-boy drifter, as well as a suspected "barn-burner". There was almost no action in this movie at all. What this film's story mainly consisted of was the bitching, the complaining and the whining of some insatiable rich brats who held a deep, bitter resentment towards their wealthy, over-bearing father, a man who literally owned half the town. Anyways - One long, hot, summer day Paul Newman's drifting character steps into the middle of all of this vicious family drama and does his intrusive best to upset the whole dysfunctional apple-cart. Set in a small Mississippi town, this decidedly stuffy melodrama seemed to have a lot more going against it, than it did have going for it. I'd say that Orson Welles (who played the "Big Daddy" character, Will Varner) was one of this picture's biggest (and fattest) deficits. Every chance he got this bloated, temperamental slob chewed up the scenery to literal shreds. I think it's interesting to note that Welles and director Martin Ritt ran into some major conflicts with each other during the production of this picture. It seems that the pompous, self-loving Welles refused to learn his lines and requested that they be dubbed in later during the film's editing. This naturally angered Ritt who decided to ignore Welles and just film the scenes around him. When Welles realized that he was being ignored his vanity couldn't take the blow. And, so, somewhat reluctantly, he did finally begin to participate in this film's production like a good boy. All-in-all - I found The Long, Hot Summer to be a less than satisfying movie-experience.

I want Varners and more Varners. This is just one quote from one of the best written movies I have ever seen. The dialog is superb, in a class with such greats as "His gal Friday and 'All about Eve". Paul Neuman and Joanne Woodward are magical together. I don't think I have every seen a couple with such chemistry on the screen together. The supporting cast is also wonderful. Lee Remick is in the flower of her youth and beauty. Orson Well is crude and delicious, you may have to put on the dialog mode when he speaks. Tony Franciosa is pathetic in crying out for his fathers love. Some of the structure is a little dated and hollywoodish, but it is the script deliver by Neuman and Woodward that carries the show. It should be required viewing for all wantabe writers, or maybe not. The movie might just discourage them from pursuing that kind of a career.

Not quite near the quality of other Jerry Wald productions, but THE LONG HOT SUMMER does have its moments. And no, I'm not just talking about the scenes where Paul Newman struts around shirtless. The story comes to life thanks to the real-life chemistry Paul Newman shares with wife Joanne Woodward. Together, they combine a focused approach with artistic talent...something they always did when collaborating in motion pictures. But in this project, they are terribly overshadowed by a costar who can't stop chewing the scenery. Yes, the whole sumptuous affair tends to get bogged down by Orson Welles' kitschy performance as Will Varner, the southern patriarch who presides over the town and its inhabitants. Welles seems to be punching up his moments on screen so much that a few of the younger performers, Richard Anderson and Tony Franciosa, seem to have a hard time keeping their composure. Welles is able to get away with the camp he exudes in sinister film noir like THE STRANGER or TOUCH OF EVIL, but here it is almost comical and feels out of place. On a TCM 'Essentials' broadcast, Alec Baldwin slammed Welles' hammy acting. Baldwin made a comment that on the call sheets Welles was listed fourth or fifth, and clearly desperate to be regarded as the star, he pulled out all the stops in a supporting role. It's a dreadful characterization, matched only by the dreadful hair, make-up and endless Porky Pig sweat running down his face. I need a cool drink of water every time I watch Welles in this film. On second thought, make that a nice tall glass of lemonade on the veranda, honey chile.

I just saw this film for the first time...and walked out of the screening. Orson Welles was indeed unintelligible. Paul Newman did a nice job on the not-quite-James-Dean character. But the plot was ridiculous.I really wondered whether either Faulkner or the writers had spent any time on this planet and had any insight into how men, women, or families actually function. Also, maybe it was a really big shock in 1958 to have a school marm allow as how she wanted to have sex, but it's pretty ho-hum news nowadays, and it's not enough to carry a whole movie. I kept finding myself wishing that Lee Remick would appear more, since the other scenes were so deadly.