The fact that "Madame X" has been made four times is testament to the lure of its high melodrama. The 1966 version was hugely successful while this television version pretty much disappeared into oblivion.
There's little need to compare these versions. Lana Turner had a strong screen presence but as an actress was terribly limited. Throughout her career she seemed to reprise the same artificial, humorless, wooden persona.
Tuesday Weld too has a strong screen presence, noticeable from her very first appearances in the fifties, but she would develop into a first rate screen actress as well. One would be hard pressed to find such an odd career. There seems to be little argument as to her radiant beauty and nobody seems to doubt her dramatic talent either. Yet in her prime she only gained big starring roles in television movies. If Weld is under appreciated, its largely because these movies are rarely, if ever seen, and are in fact so hard to find (in particular "Madame X").When by rights she should have been playing leading film roles, she was giving of her best in material way below what she deserved. Despite the mediocre material, and "Madame X" is certainly no exception, she always acted with great subtlety and intelligence.
"Madame X" gives her much scope, since she gets to play the character from innocent young mother, through middle aged alcoholic, to old woman. It's a virtuoso turn; never flashy, always credible. It's simply great acting worthy of the highest award.
Director Robert Ellis Miller all in all has done a fine job. The movie has a slightly Douglas Sirk feel to it as far as the visuals are concerned. The supporting performances are adequate (Eleanor Parker) to good (Cariou, Stiller and Van Dusen), but this its Weld's movie from the first to the last frame.
There's little need to compare these versions. Lana Turner had a strong screen presence but as an actress was terribly limited. Throughout her career she seemed to reprise the same artificial, humorless, wooden persona.
Tuesday Weld too has a strong screen presence, noticeable from her very first appearances in the fifties, but she would develop into a first rate screen actress as well. One would be hard pressed to find such an odd career. There seems to be little argument as to her radiant beauty and nobody seems to doubt her dramatic talent either. Yet in her prime she only gained big starring roles in television movies. If Weld is under appreciated, its largely because these movies are rarely, if ever seen, and are in fact so hard to find (in particular "Madame X").When by rights she should have been playing leading film roles, she was giving of her best in material way below what she deserved. Despite the mediocre material, and "Madame X" is certainly no exception, she always acted with great subtlety and intelligence.
"Madame X" gives her much scope, since she gets to play the character from innocent young mother, through middle aged alcoholic, to old woman. It's a virtuoso turn; never flashy, always credible. It's simply great acting worthy of the highest award.
Director Robert Ellis Miller all in all has done a fine job. The movie has a slightly Douglas Sirk feel to it as far as the visuals are concerned. The supporting performances are adequate (Eleanor Parker) to good (Cariou, Stiller and Van Dusen), but this its Weld's movie from the first to the last frame.