Suddenly, Last Summer (1959) - Turner Classic Movies

Suddenly, Last Summer


1h 54m 1959
Suddenly, Last Summer

Brief Synopsis

A dowager tries to buy a lobotomy to silence the woman who witnessed her son's murder.

Film Details

Genre
Drama
Adaptation
Release Date
Jan 1959
Premiere Information
Los Angeles opening: 20 Dec 1959; New York opening: 22 Dec 1959
Production Company
Horizon Pictures (G. B.) Ltd.
Distribution Company
Columbia Pictures Corp.
Country
Great Britain and United States
Location
Bagur, Catalonia, Spain; Costa Brava,Spain; Shepperton, England, Great Britain; England--Shepperton, Great Britain
Screenplay Information
Based on Suddenly, Last Summer from Garden District by Tennesse Williams (New York, 7 Jan 1958).

Technical Specs

Duration
1h 54m
Sound
Mono (Westrex Recording System)
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Synopsis

In 1937, at the Lyons View State Asylum in New Orleans, Louisiana, Dr. John Cukrowicz performs a delicate experimental surgery known as a lobotomy. After the primitive conditions at the institution nearly derail the operation, however, John threatens to return to his practice in Chicago. In response, Dr. Hockstader, the head of Lyons View, shows John a letter from wealthy widow Mrs. Violet Venable, offering financial assistance in return for a meeting with the venerable surgeon. That afternoon, John visits Violet at her mansion in the Garden District, where she makes a grand entrance by descending in an elaborate, cage-like elevator. John is surprised by his benefactor's relative youth and by her obsession with her deceased son Sebastian. In the mansion's jungle-like garden, which Sebastian modeled after Michelangelo's "Dawn of Creation," Violet asks John to perform a lobotomy on her niece Catherine Holly, who she claims is suffering from visions and hallucinations. Catherine has been confined at St. Mary's, but has offended the nuns who run the hospital with her violence and obscenities. Violet is particularly distressed by Catherine's babbling a stream of obscenities regarding her son Sebastian, who Violet asserts, has "seen the face of God." After Violet describes a trip with Sebastian to the Galapagos Islands, where they witnessed flesh-eating birds devour newly hatched sea turtles, she tells John that she traveled with Sebastian every summer, except for the last one, when Sebastian went with Catherine and died of a heart attack on the day that Catherine lost her mind. Because Violet implies that her contribution to Lyons View is contingent upon Catherine receiving a lobotomy, John goes to St. Mary's to interview his prospective patient. There, Catherine insists that she is sane and portrays Violet's relationship with her son as unnatural. When John asks her about Sebastian's death, Catherine becomes hysterical and is only able to recall a white-hot beach and the pounding noise of tin musical instruments. John arranges for Catherine to be transferred to Lyons View, where Hockstader informs him that Violet has agreed to donate $1,000,000 on the condition that John lobotomize Catherine. At Lyons View, Catherine is allowed to wear her own clothes and live in the nurses' wing. When Catherine's mother Grace and brother George come to visit her, Grace tells John that Violet was shaken after receiving a letter from the authorities regarding Sebastian's death. After Grace asks to speak to her daughter alone, John leaves the room, and once he is gone, George confides to Catherine that Sebastian left them $100,000 in his will, but that Violet has decided to block probate until Grace signs the consent form for the lobotomy. Distraught, Catherine runs from the room and blunders into the men's ward, where her presence sparks a riot. After being rescued by an attendant, Catherine asks John if he plans to lobotomize her, and he appeals to her to trust him. Once she is sedated, Catherine mumbles about Sebastian's appetite for blondes and his treatment of people like "items on a menu." Violet then comes to speak to John, and after handing him a volume of Sebastian's poetry, explains that each year during their summer travels, Sebastian would write a poem. When John asks her about the letter from the Spanish authorities, she vehemently denies receiving it and says she was sent only a death certificate. John then asks Violet to see Catherine, who is just awakening from her sedation. When Violet accuses Catherine of usurping Sebastian's affection, Catherine retorts that he used them both as procurers, and after Violet became too old and unattractive, he decided to use Catherine as his bait. Becoming hysterical, Violet implores John to "cut that hideous story out of Catherine's brain," then faints. Agitated, Catherine wanders onto the balcony of the women's ward and is about to jump when an attendant restrains her. Pressured by Violet, Hockstader insists that John perform the lobotomy the following day, but John asks him for one last chance to jar Catherine's memory. The next day, John, Hockstader and a nurse escort Catherine to the Venable home, where John has arranged to meet Grace and George. After administering truth serum to Catherine, John leads her into the garden and prods her to remember what happened that last summer. After recalling that Sebastian suddenly announced that he was taking her and not his mother to Europe, Catherine revisits the events of that fateful summer: As they traveled through Italy, Sebastian became increasingly restless, and by the time they reached Spain, he had abandoned his nighttime soirees for afternoons at the public beach. One day, Sebastian forced Catherine to wear a bathing suit that when wet, became transparent. As men came to leer at Catherine's body, hungry young boys swarmed Sebastian, who passed out tips to lure them into the bathhouse with him. While Catherine and Sebastian were seated at a restaurant one blazing white day, hungry boys, barred from the establishment by a wire fence, began calling for bread. After Sebastian derided them as little beggars, the children began to serenade them with tin cans and brass plates. Agitated, Sebastian stormed out of the restaurant and started up a steep street, walking faster and faster in panic. Chased by the urchins, Sebastian became trapped in a maze of narrow streets. After ascending a "steep white street," Sebastian found himself in some ruins at the top of a hill where he was overtaken and devoured by the frenzied crowd. Upon completing her recitation of that terrible day, Catherine finds that her memory has suddenly been restored. The revelation about her son's true sexuality is too much for Violet, however, who loses her mind and comes to think that John is Sebastian. John calms Violet, then returns to the garden where he takes Catherine's hand and hand in hand, they walk toward the house.

Photo Collections

Suddenly, Last Summer - Movie Poster
Here is the American One-Sheet Movie Poster from Suddenly, Last Summer (1959). One-sheets measured 27x41 inches, and were the poster style most commonly used in theaters.

Film Details

Genre
Drama
Adaptation
Release Date
Jan 1959
Premiere Information
Los Angeles opening: 20 Dec 1959; New York opening: 22 Dec 1959
Production Company
Horizon Pictures (G. B.) Ltd.
Distribution Company
Columbia Pictures Corp.
Country
Great Britain and United States
Location
Bagur, Catalonia, Spain; Costa Brava,Spain; Shepperton, England, Great Britain; England--Shepperton, Great Britain
Screenplay Information
Based on Suddenly, Last Summer from Garden District by Tennesse Williams (New York, 7 Jan 1958).

Technical Specs

Duration
1h 54m
Sound
Mono (Westrex Recording System)
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Award Nominations

Best Actress

1960
Katharine Hepburn

Best Actress

1960
Elizabeth Taylor

Best Art Direction

1960
Oliver Messel

Articles

Suddenly, Last Summer


Since the 1930s, the MPAA - the film industry's self-censorship organization - had been strictly enforcing its production code, which stipulated what could and could not be shown on the screen. But by the late '50s, public standards of morality were loosening, and filmmakers were pushing the boundaries of the code by dealing more frankly with once-taboo topics such as sex and drugs. One of the most daring productions was Suddenly, Last Summer (1959), which came at the end of the decade and served as a harbinger of things to come in the films of the '60s.

Based on a one-act play by Tennessee Williams, the film deals with then-shocking themes. Homosexuality, incest, lobotomy, even cannibalism are discussed or implied. The son of Mrs. Violet Venable (Katharine Hepburn) has died while on vacation in Europe with his cousin, Catherine (Elizabeth Taylor). Catherine knows what happened, and the knowledge has traumatized her. But what Mrs. Venable wants Dr. Cukrowicz (Montgomery Clift) to do to Catherine is just as unspeakable. As was the custom at the time, Producer Sam Spiegel submitted Gore Vidal's screenplay to the MPAA's review board before production began. But when the board expressed objections, Spiegel told them that he preferred to let director Joseph Mankiewicz shoot the film as written, and deal with the objections later. Although the board at first refused its seal of approval to the completed film, it was eventually granted after only a few minor changes were made.

During production, dealing with the grim subject matter of Suddenly, Last Summer was not made any easier by the equally grim moods of the participants. Elizabeth Taylor was still mourning the death of her husband Mike Todd, and realizing that her hasty marriage to Todd's friend Eddie Fisher might have been a mistake. Katharine Hepburn was unhappy about being away from her critically ill lover, Spencer Tracy, and furious that director Joe Mankiewicz was favoring Taylor over herself. Montgomery Clift was nearly catatonic from drug and alcohol abuse, and Taylor and Hepburn were angry that Mankiewicz was unsympathetic to Clift's problems. Mankiewicz was suffering from a painful skin condition that forced him to wear gloves at all times. Hepburn finally expressed her contempt by spitting at Mankiewicz. But consummate professional that she was, she waited until after the final shot to do so.

Critical reception of Suddenly, Last Summer ranged from disgust to raves. But the public was avidly curious, and the film was a popular success. Hepburn and Taylor both received Oscar nominations for their bravura performances. Arthur Knight, writing in the Saturday Review of Literature, was prescient about what it all meant: "The box office reception of this film will unquestionably have an important bearing on the future of adult films in this country."

Producer: Sam Spiegel
Director: Joseph L. Mankiewicz
Screenplay: Gore Vidal, based on the play by Tennessee Williams
Editor: Thomas Stanford, William Hornbeck
Cinematography: Jack Hildyard
Art Direction: William Kellner; Set Designer, Scott Slimon; Production Designer, Oliver Messel
Music: Buxton Orr, Malcolm Arnold
Principal Cast: Elizabeth Taylor (Catherine Holly), Montgomery Clift (Dr. John Cukrowicz), Katharine Hepburn (Mrs. Violet Venable), Albert Dekker (Dr. Hockstader), Mercedes McCambridge (Mrs. Holly), Gary Raymond (George Holly).
BW-114m. Letterboxed.

by Margarita Landazuri
Suddenly, Last Summer

Suddenly, Last Summer

Since the 1930s, the MPAA - the film industry's self-censorship organization - had been strictly enforcing its production code, which stipulated what could and could not be shown on the screen. But by the late '50s, public standards of morality were loosening, and filmmakers were pushing the boundaries of the code by dealing more frankly with once-taboo topics such as sex and drugs. One of the most daring productions was Suddenly, Last Summer (1959), which came at the end of the decade and served as a harbinger of things to come in the films of the '60s. Based on a one-act play by Tennessee Williams, the film deals with then-shocking themes. Homosexuality, incest, lobotomy, even cannibalism are discussed or implied. The son of Mrs. Violet Venable (Katharine Hepburn) has died while on vacation in Europe with his cousin, Catherine (Elizabeth Taylor). Catherine knows what happened, and the knowledge has traumatized her. But what Mrs. Venable wants Dr. Cukrowicz (Montgomery Clift) to do to Catherine is just as unspeakable. As was the custom at the time, Producer Sam Spiegel submitted Gore Vidal's screenplay to the MPAA's review board before production began. But when the board expressed objections, Spiegel told them that he preferred to let director Joseph Mankiewicz shoot the film as written, and deal with the objections later. Although the board at first refused its seal of approval to the completed film, it was eventually granted after only a few minor changes were made. During production, dealing with the grim subject matter of Suddenly, Last Summer was not made any easier by the equally grim moods of the participants. Elizabeth Taylor was still mourning the death of her husband Mike Todd, and realizing that her hasty marriage to Todd's friend Eddie Fisher might have been a mistake. Katharine Hepburn was unhappy about being away from her critically ill lover, Spencer Tracy, and furious that director Joe Mankiewicz was favoring Taylor over herself. Montgomery Clift was nearly catatonic from drug and alcohol abuse, and Taylor and Hepburn were angry that Mankiewicz was unsympathetic to Clift's problems. Mankiewicz was suffering from a painful skin condition that forced him to wear gloves at all times. Hepburn finally expressed her contempt by spitting at Mankiewicz. But consummate professional that she was, she waited until after the final shot to do so. Critical reception of Suddenly, Last Summer ranged from disgust to raves. But the public was avidly curious, and the film was a popular success. Hepburn and Taylor both received Oscar nominations for their bravura performances. Arthur Knight, writing in the Saturday Review of Literature, was prescient about what it all meant: "The box office reception of this film will unquestionably have an important bearing on the future of adult films in this country." Producer: Sam Spiegel Director: Joseph L. Mankiewicz Screenplay: Gore Vidal, based on the play by Tennessee Williams Editor: Thomas Stanford, William Hornbeck Cinematography: Jack Hildyard Art Direction: William Kellner; Set Designer, Scott Slimon; Production Designer, Oliver Messel Music: Buxton Orr, Malcolm Arnold Principal Cast: Elizabeth Taylor (Catherine Holly), Montgomery Clift (Dr. John Cukrowicz), Katharine Hepburn (Mrs. Violet Venable), Albert Dekker (Dr. Hockstader), Mercedes McCambridge (Mrs. Holly), Gary Raymond (George Holly). BW-114m. Letterboxed. by Margarita Landazuri

Mercedes McCambridge (1916-2004)


Veteran character actress Mercedes McCambridge, who won a Best Supporting Actress Oscar® for All the King's Men, and later provided the scary voice of a demon-possessed Linda Blair in The Exorcist, died from natural causes on March 2 in a rest home in San Diego. She was 87.

She was born Charlotte Mercedes McCambridge on March 16, 1916, in Joliet, Illinois. After graduation from Mundelein College in Chicago, she acted in local radio, doing everything from children's programs to soap operas. By the early '40s, she relocated to New York, where her powerful voice kept her busy as one of the top radio actresses of her day, including a stint with Orson Wells' radio dramas.

In the late '40s she appeared successfully in several Broadway productions, and this led a call from Hollywood. In her film debut, she was cast as Broderick Crawford's scheming mistress in All the King's Men (1949) and won an Oscar® for her fine performance.

Despite her strong start, McCambridge's film roles would be very sporadic over the years. Her strengths were her husky voice, square build, and forthright personae, not exactly qualities for an ingenue. Instead, McCambridge took interesting parts in some quirky movies: playing a self-righteous church leader opposite Joan Crawford in one of the cinema's great cult Westerns, Nicholas Ray's kinky Johnny Guitar (1954); a key role as Rock Hudson's sister in George Stevens' epic Giant (1956, a second Oscar® nomination), and as a gang leader in Orson Wells' magnificent noir thriller Touch of Evil (1958).

By the '60s, McCambridge's career was hampered by bouts of alcoholism, and apart for her voice work as the demon in William Friedkin's The Exorcist(1973, where the director cruelly omitted her from the credits before the Screen Actors Guild intervened and demanded that she receive proper recognition), the parts she found toward the end of her career were hardly highpoints. Some fairly forgettable films: Thieves (1977), The Concorde - Airport '79 (1979) and guest roles in some routine television shows such as Charlie's Angels and Cagney & Lacey were all she could find before quietly retiring from the screen.

It should be noted that McCambridge finished her career on a high note, when in the early '90s, Neil Simon asked her to play the role of the grandmother in Lost in Yonkers on Broadway. Her return to the New York stage proved to be a great success, and McCambridge would perform the play for a phenomenal 560 performances. They were no surviving family members at the time of her death.

by Michael T. Toole

Mercedes McCambridge (1916-2004)

Veteran character actress Mercedes McCambridge, who won a Best Supporting Actress Oscar® for All the King's Men, and later provided the scary voice of a demon-possessed Linda Blair in The Exorcist, died from natural causes on March 2 in a rest home in San Diego. She was 87. She was born Charlotte Mercedes McCambridge on March 16, 1916, in Joliet, Illinois. After graduation from Mundelein College in Chicago, she acted in local radio, doing everything from children's programs to soap operas. By the early '40s, she relocated to New York, where her powerful voice kept her busy as one of the top radio actresses of her day, including a stint with Orson Wells' radio dramas. In the late '40s she appeared successfully in several Broadway productions, and this led a call from Hollywood. In her film debut, she was cast as Broderick Crawford's scheming mistress in All the King's Men (1949) and won an Oscar® for her fine performance. Despite her strong start, McCambridge's film roles would be very sporadic over the years. Her strengths were her husky voice, square build, and forthright personae, not exactly qualities for an ingenue. Instead, McCambridge took interesting parts in some quirky movies: playing a self-righteous church leader opposite Joan Crawford in one of the cinema's great cult Westerns, Nicholas Ray's kinky Johnny Guitar (1954); a key role as Rock Hudson's sister in George Stevens' epic Giant (1956, a second Oscar® nomination), and as a gang leader in Orson Wells' magnificent noir thriller Touch of Evil (1958). By the '60s, McCambridge's career was hampered by bouts of alcoholism, and apart for her voice work as the demon in William Friedkin's The Exorcist(1973, where the director cruelly omitted her from the credits before the Screen Actors Guild intervened and demanded that she receive proper recognition), the parts she found toward the end of her career were hardly highpoints. Some fairly forgettable films: Thieves (1977), The Concorde - Airport '79 (1979) and guest roles in some routine television shows such as Charlie's Angels and Cagney & Lacey were all she could find before quietly retiring from the screen. It should be noted that McCambridge finished her career on a high note, when in the early '90s, Neil Simon asked her to play the role of the grandmother in Lost in Yonkers on Broadway. Her return to the New York stage proved to be a great success, and McCambridge would perform the play for a phenomenal 560 performances. They were no surviving family members at the time of her death. by Michael T. Toole

Quotes

Trivia

Screenplay writer Gore Vidal and Tennessee Williams' partner Frank Merlo may briefly be glimpsed among those observing Montgomery Clift operate in the opening sequence.

According to actress Mercedes McCambridge, she would ride to the London set of this film in the same car as costar Montgomery Clift. Clift always insisted that the driver stop by Wormwood Scrubs prison, so that Clift could scream out the car window at the convicts behind bars.

According to author Garson Kanin in his memoir "Tracy and Hepburn", Katharine Hepburn was reportedly so furious at the way Montgomery Clift was treated by 'Sam Spiegel' and Joseph L. Mankiewicz during the filming that, after making sure that she would not be needed for retakes, she told both men off and actually spat at them (although it remains unclear just which one of the two she spat at, or if she spat at both.)

Notes

The film's opening and closing cast credits differ slightly in order. Suddenly, Last Summer was one of the two one-act plays by Tenneessee Williams that opened off-Broadway under the title Garden District. The other one-act play was entitled Something Unspoken. Williams' play was more explicit in dealing with "Sebastian's" homosexuality and his cannibalistic death. In a May 25, 1959 letter from PCA head Geoffrey Shurlock to producer Sam Spiegel, contained in the film's file in the MPAA/PCA Collection at the AMPAS Library, Shurlock told Spiegel that due to the homosexuality of the leading character, the explicit cannibalism and the blasphemous attitude toward God voiced by Sebastian and his mother, the film would be denied a seal of approval. In that letter, Shurlock suggested taking the finished picture to the appeals board for approval. Spiegel responded by saying that the homosexual "pays for his sins with his life," that all references to cannibalism would be eliminated (in the film, the word "devour" replaces references to cannibalism), and that no offense should be taken on religious grounds because the mother and son are "obviously psychopaths." Although the PCA file does not contain any specific references to the nature of the cuts, a November 1959 New York Times article noted that Spiegel deleted unspecified scenes to win code approval, eliminating all explicit mention of homosexuality and cannibalism. Approval was finally granted after the matter was brought before the MPAA Code Review Board. According to a December 1959 Hollywood Reporter news item, the National Catholic Legion of Decency criticized the MPAA for approving the film on the grounds that it involved "perversion."
       According to Hollywood Reporter news items, Vivien Leigh, who was initially to appear as "Mrs. Venable," bowed out of the production to star in a West End London revival of Henrik Ibsen's A Doll's House. Following Leigh's departure, Margaret Leighton was considered for the role. A May 1959 "Rambling Reporter" item in Hollywood Reporter states that producer Sam Spiegel planned to have Bobby Helpman play the role of Sebastian. In the film, Sebastian's image, photographed from the back, appears briefly as "Catherine" describes his death. Because his face is never shown, Helpman's appearance in the film cannot be confirmed. Although a March 1959 item noted that Steve Forrest was cast, he does not appear in the film. Although Hollywood Reporter news items add the following actors to the cast: Sandra White, Sheila Raynor, Rory McDermot, Brenda Dunrich, Roberta Woolley and Joseph Arthur, their appearance in the released film has not been confirmed. Modern sources add Jake Wright Assistant Director to the crew, but the extent of his participation in the film has not been determined.
       According to a December 1959 Hollywood Reporter news item, location filming was done along the Costa Brava in Spain. A 1960 article in The Daily Mail noted that the village pictured in the film was the village of Bagur in Catalonia, Spain. The Hollywood Reporter item noted that all references indicating that the film was shot in Spain were deleted at the behest of the Spanish government, which objected to the depiction of local youths devouring a man.
       The film was nominated for the following Academy Awards: Katharine Hepburn and Elizabeth Taylor were both nominated for Best Actress, and the film was also nominated for Best Art Direction-Set Decoration. According to modern sources, Hepburn did not get along with director Joseph L. Mankiewicz. Hepburn objected to Mankiewicz's treatment of Montgomery Clift, who was suffering from alcoholic depression at the time of the production. She also objected to her washed-out appearance in her final scene, which was created by the director's insistence that she be shot in a harsh light without the benefit of makeup. Modern sources add that in a letter to Williams, contained in a collection of his unpublished letters sent to the playwright, Hepburn wrote that at the end of the production, she spit on the floor to express her contempt for the "botching of his play."
       In 1992, Columbia Pictures Television remade Williams' play as a television movie, directed by Richard Eyre and starring Maggie Smith, Rob Lowe and Natasha Richardson.

Miscellaneous Notes

Voted One of the Year's Ten Best Films by the 1959 National Board of Review.

Released in United States on Video October 15, 2000

Released in United States Winter January 1960

Re-released in Paris March 4, 1992.

Released in United States Winter January 1960

Released in United States on Video October 15, 2000