Evengyny Thanks for the memories!

Beanbioca As Good As It Gets

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Kinley This movie feels like it was made purely to piss off people who want good shows

StrictlyConfidential To date - I believe that I have now seen every single film ever adapted to the screen from a Tennessee Williams' screenplay. And - IMO - "A Streetcar Named Desire" is the only one that has ever risen above the level of mediocrity and repulsiveness.And, speaking about an irritating story-line - Next to "Suddenly Last Summer" - I rank "The Rose Tattoo" as second in line for the worst of them all. I mean - This film was absolutely filled to overflowing with annoying characters and peasant-mentality situations.And casting Anna Magnani and Burt Lancaster as the "lovey-dovey" on-screen sweethearts was, indeed, a stroke of pure asininity of the highest order. 'Cause there was not even an ounce of passionate chemistry happening between these two duds at all.Anyway - If I ever do come across another film that has anything to do with the likes of Tennessee Williams - I will avoid it like the plague. Indeed, I will.

Syl It has been over fifty years since Anna Magnani played the wonderful and tormented Serafina Della Rosa for Tennessee Williams' Rose Tattoo. Anyway, I think it's time somebody out there reconsidered updating this film to today's color. How about Linda Fiorentino who is about the same age as Anna Magnani was for The Rose Tattoo? Sadly, I wrote and sent a DVD and an original first edition book of The Rose Tattoo to Linda's representatives in Los Angeles but to no response as of yet. Maybe they think that nobody would be interested in a story about a mature Italian American woman tormented inside, pretending to be outside. Of course, there are other actresses who can do the role whether on stage which it still is or for a television movie or film. I thought Anna's performance was remarkable in that she was raw, determined, fierce, yet vulnerable and heartbroken. It reminds us that good films are not about special effects, violence, or sexuality but about a story, characters that we love and never forget.

spammyas Burt Lancaster's character is the grandson of a Sicilian village's idiot, who raped his grandmother. He happily shares this information with Anna Magnani's character and it helps explain why he is such a BUFFOON. As she notes, he has the body of her hunky beloved husband and the head of of a clown. Attracted to him sexually, she really has to work to get past what an idiot he is, but she manages. The photograph on the cover of the DVD captures her revulsion and desire. Burt Lancaster is well cast in that his physique and athleticism are prominently featured, in counterpoint to the mindlessly happy, drunken, emotional truck driver he plays. A favorite scene is when he is perched atop a mast, singing "happy bird, happy bird," being a complete simpleton and yet being powerfully attractive as he gracefully descends. It's obvious Burt Lancaster is an athlete and an acrobat and a really good actor. The developing relationship between Anna's character and Burt's is the most interesting aspect of this film. Her reactions to him are funny, believable, understandable.

Fred If you're willing to be surprised, you may find this quite enjoyable. Any film buff going out of the way to see this (and ONLY film buffs go out of the way to see anything made more than a generation ago) will probably expect it to be a tragedy. The same film buffs, encountering this comedy, will be shocked at the serious turns it takes. This a comedy written by Tennessee Williams, a writer of tragedies. We are used to his tragic settings and, to see these turned upside-down is, if you will, dizzying. One scene could have been in any of his tragedies unaltered; a scene in which two gossiping gals, off to a convention, traipse around Serafina's house while waiting for her to make the dresses they've commissioned. They taunt her with innuendo about her late husband; they shout at the window at conventioneers in a car; they rub their luck in Serafina's face. It's grotesquely realistic. The rest of the movie is alternately brutal and giddy. Shakespeare's comedies are not laugh-fests, and O'Neill's are comedies because nobody's weeping at the end. Writers of tragedy practically celebrate catastrophe, and when they write comedies, cheerfulness is worn like a mask. Drama is second-nature to Williams. This comedy, containing every theme of his tragedies, is, of course, reliant on the Greek formula for comedy. I loved this big surprise of a motion-picture.