The Long, Hot Summer

1958

Drama

39
IMDb Rating 7.4 10 9,654

Synopsis


Downloaded times
December 12, 2020

Director

Cast

Orson Welles as Bayan
Paul Newman as Self - 1968 Democratic National Convention
720p.BLU 1080p.BLU
1.05 GB
1280*720
English 2.0
NR
23.976 fps
115 min
P/S N/A / N/A
2.15 GB
1920×1080
English 2.0
NR
23.976 fps
115 min
P/S N/A / N/A

Movie Reviews

Reviewed by blanche-2 7 / 10 / 10

Long and hot all right, with a tremendous cast

Paul Newman stars with Joanne Woodward, Orson Welles, Lee Remick, Anthony Franciosca, Richard Anderson and Angela Lansbury in "The Long, Hot Summer," based on stories by William Faulkner. It's a lushly produced film about a drifter, Ben Quick (Newman), who comes to town. His reputation precedes him, and he soon upsets the status quo in the wealthy Varner family, headed by Orson Welles with a fake nose that kept melting off and an even faker southern accent. There's the weak, insecure son (Franciosa) married to a sex kitten (Remick) and an unmarried daughter (Woodward) saving herself for a momma's boy (Anderson). In town, there's also Varner Sr.'s mistress, played by Angela Lansbury. Ben sets his sights on Clara Varner and puts himself in direct competition with nervous son Jody for papa's approval. But Quick ultimately needs to reach underneath his swagger and bravura and confront his cut and run philosophy. This is a fantastic cast that delivers sparkling dialogue and an interesting story that has mostly well-drawn characters. The exception would probably be Remick, who has a small but showy role. She doesn't get to do much except show off her figure and sexiness. Welles is a riot - a marvelous technician, he knew how to externalize a character perfectly, and he is here the epitome of a Big Daddy type. His southern drawl is outrageous, and why he decided he needed a new nose (which he had in other roles as well) is beyond me. Woodward gives a touching performance as a young woman who has been living on hope and can't quite cope with her attraction to the overtly sexual Quick. Franciosa is excellent as a tortured young man unable to win his father's love. But as any film that stars Paul Newman, the movie belongs to him, one of the greatest actors to ever hit the screen. Macho, sexy and handsome, his Ben Quick is angry, determined, manipulative, and disturbing, with a hidden vulnerability. His scenes with Woodward sizzle, and you can see her character blossom under his attention. They're a great couple, both on and off the screen. Highly recommended, as is any film that stars Paul Newman.

Reviewed by caa821 8 / 10 / 10

Now even better

This is one of those films which is now even better, as it nears a half-century since its original release. The characters and performances are just as enjoyable to view today - the young Paul Newman and Joanne Woodward, vintage Orson Welles - and Tony Franciosa and Lee Remick (along with Orson, both now gone). The other actors' performances were also excellent, and the characters remain as interesting today as in times past. Newman's "Ben Quick" fuses the characteristics of both "hero" and "anti-hero" into one role as profoundly as virtually any other film or stage character you're apt to see. The nostalgia of a work such as this, now seen anew after so many years since production, is something added which only the requisite passage of time enables one to view and enjoy. In the company of other authors in this genre, such as Caldwell, Steinbeck, Williams, et al, Faulkner's works were among the best, and this is clearly revealed in this fine film. If I were required to find an area to criticize, it would be the same as I noticed in one of the comments on this site: namely, the somewhat overly-quick and brief "resolution" of the estrangement between Welles and Franciosa, the impatient patriarch and his older child/son. I realize this brevity may have been due to neither Newman nor Woodward being involved - but the writers and director could still have made it a bit more detailed and intricate, with only, say, another two minutes of film. But this aside, this is a superb motion picture - both then and now.

Reviewed by Nazi_Fighter_David 8 / 10 / 10

Newman's ingenious acting...

"The Long, Hot Summer," the first of six films he made for director Martin Ritt and the first of seven co-starring Joanne Woodward, is based on two short stories and part of a novel by Faulkner, provided him with his best role to that time… Ben Quick (Newman), a foolhardy, opportunistic young wanderer, drifts into a Mississippi town owned and run by the huge, powerful Will Varner (Orson Welles), who also dominates his daughter Clara (Woodward), a 23-year-o1d unmarried schoolteacher… Despite Quick's reputation as a "barnburner," he is hired by Varner, and rapid1y works his way up to a partnership in the general store and a room in the main house… Varner, like Big Daddy in "Cat on a Hot Tin Roof," wants strong descendants, and since his son is a weakling, he decides that Clara will marry Quick, whose aggressive masculinity he admires (he calls Quick a "big stud horse"). Clara, offended by Quick's very self-satisfaction and vulgar manner, and by both men's treating her as property, resists… Like Billy the Kid, Quick is an outcast, isolated from humanity because of his notorious reputation… But in temperament he's the opposite, an extreme extrovert… From the very beginning, Newman, hat down low over his forehead, eyes gleaming with ambition, projects an overwhelming confidence, self-satisfaction and, above all, electrifying virility… Cynical, arrogant, crude and unwilling to allow anything to interfere with his drive, he resembles Larry Maddux of "The Helen Morgan Story." But now the portrayal is more than one-dimensional: behind Quick's hard blue eyes, barely hidden sneer and devilish smile there's enough intelligence, humor, charm, and downright attractiveness to force our involvement in his quest for power… This is due entirely to Newman's ingenious acting, because as written the character reveals no positive traits until near the end, when he breaks down and tells Clara the truth about himself… It's a powerful scene: his voice breaking, eyes filling slow1y with tears, Newman effectively depicts a man whose carefully formed cold shell is finally cracking to reveal the vulnerable soul within… The confession gives him a bond of equality with Clara that enables him to stand up decisively to Varner… But even earlier, Quick was never completely dominated by the old man… Of all the father-figures in Newman's films, Varner seems the most imposing, but Quick, unlike the weakling sons in "The Rack" and "Cat on a Hot Tin Roof," isn't passive enough to be stepped upon… William Faulkner's characters are perfect foils: Newman is sexually sure, and seemingly devoid of vulnerability and humanity; Woodward is a virgin, extremely vulnerable, and longing to express her humanity… She teaches him humility and the value of an individual; he helps her discover her sexuality… Two scenes are among the best in their careers, partly because of the sharp dialog by the screenwriters… In the first, Clara comes to see Ben in the store at night… After much childish verbal attacks and a few unperceptive truths, the two have pierced beneath the surface and have found the nerve endings of each other's weaknesses… Later, in the film's finest scene, Clara expresses herself more maturely, asserting that he has the wrong idea about her: she is no "trembling little rabbit, full of smoldering unsatisfied desires," but a full-grown, intelligent woman, who will not be bought and sold… She says he's too much like her father: "I gave up on him when I was nine years old, and I gave up on you the first time I ever looked into those cold blue eyes." With his firm and fresh manner Quick sums up his honest, hard, purely sexual appraisal of life: "Well, I can see you don't like me, but you're gonna have me. It's gonna be you and me… "

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