I'm partial to any film in which Sophia Loren appears. And, I like the work of Eugene O'Neill, arguably America's finest playwright of the twentieth century.
So, it's a sad to admit that, although Burl Ives is superb as the irascible old father, and Sophia does her best – given that she'd only been part of the Hollywood scene for about a year – this rendition of the story of mad love is good, but not great.
The problem, in my opinion, is Tony Perkins: he's just not up to the task of playing opposite Sophia Loren, a more experienced performer (she'd already appeared in over thirty Italian movies before starring in Elms), and a lusty, fiery woman who just exudes sex appeal like it's the only thing to think about. In contrast, Perkins allows his distracted, tortured persona to intrude to the point of annoyance – for me; others might find him adequate to the role, however, as he first attempts to fob off the apparently unwelcome sexual innuendo of Loren, but then succumbs all too easily, I think, to her temptations.
Most of the story revolves around those three; the other main players, Pernell Roberts and Frank Overton as the two older step-brothers to Perkins, exit to California in the first act (and don't return until the third). Thereafter, the second act – the entrapment of Perkins in Loren's arms and their deepening romance about which the father knows naught – lays the groundwork for the inevitable tragedy to come. As the viewer, I found it interesting to speculate about the outcome as the third act started, especially after experiencing the excruciating suspense of an earlier Act II scene in the barn – a scene through which I actually stopped breathing, as I watched, fascinated...
But, what a third act it was from Burl Ives, as he danced and pranced around with much of the village folk, to celebrate the birth of his new son, provided by Loren, but fathered by...whom? Without a doubt, something's got to break, I thought.
As I continued to watch, I kept thinking: I've seen this before. But, this was my first viewing. Then it came to me: a story of two lovers, embroiled in dark, mad love and with mounting intent to murder has been done before – in 1867, Emile Zola wrote a book called Therese Raquin. In 1950, it was an American TV movie, followed in 1953 with a French version with Simone Signoret. I've read Zola's novel, but I can't vouch for the films. I could suggest, also, that The Postman Always Rings Twice (made many times, first in 1946) has a similar story and plot.
O'Neill's play, however, has an horrific twist – unlike any of the other stories. So, it's worth seeing for that alone. The bonus is watching Sophia Loren as a delectable temptress and Burl Ives as a pathological caricature of all that a good father should not be – a grand piece of acting by Ives, and more murderous than his performances in, say, Cat on a hot tin roof (1958) or The Big Country (1958). What a banner year for that great performer.
Being a stage play, the film version faithfully adheres to that format: small sets, obvious backdrops, deep shadows, very obvious multiple lighting – all that you'd expect, as if you were in a theater, front row center, and as it should be for all O'Neill's plays.
Get it out from your video store or library, see it and enjoy; but don't expect too much from Perkins.
So, it's a sad to admit that, although Burl Ives is superb as the irascible old father, and Sophia does her best – given that she'd only been part of the Hollywood scene for about a year – this rendition of the story of mad love is good, but not great.
The problem, in my opinion, is Tony Perkins: he's just not up to the task of playing opposite Sophia Loren, a more experienced performer (she'd already appeared in over thirty Italian movies before starring in Elms), and a lusty, fiery woman who just exudes sex appeal like it's the only thing to think about. In contrast, Perkins allows his distracted, tortured persona to intrude to the point of annoyance – for me; others might find him adequate to the role, however, as he first attempts to fob off the apparently unwelcome sexual innuendo of Loren, but then succumbs all too easily, I think, to her temptations.
Most of the story revolves around those three; the other main players, Pernell Roberts and Frank Overton as the two older step-brothers to Perkins, exit to California in the first act (and don't return until the third). Thereafter, the second act – the entrapment of Perkins in Loren's arms and their deepening romance about which the father knows naught – lays the groundwork for the inevitable tragedy to come. As the viewer, I found it interesting to speculate about the outcome as the third act started, especially after experiencing the excruciating suspense of an earlier Act II scene in the barn – a scene through which I actually stopped breathing, as I watched, fascinated...
But, what a third act it was from Burl Ives, as he danced and pranced around with much of the village folk, to celebrate the birth of his new son, provided by Loren, but fathered by...whom? Without a doubt, something's got to break, I thought.
As I continued to watch, I kept thinking: I've seen this before. But, this was my first viewing. Then it came to me: a story of two lovers, embroiled in dark, mad love and with mounting intent to murder has been done before – in 1867, Emile Zola wrote a book called Therese Raquin. In 1950, it was an American TV movie, followed in 1953 with a French version with Simone Signoret. I've read Zola's novel, but I can't vouch for the films. I could suggest, also, that The Postman Always Rings Twice (made many times, first in 1946) has a similar story and plot.
O'Neill's play, however, has an horrific twist – unlike any of the other stories. So, it's worth seeing for that alone. The bonus is watching Sophia Loren as a delectable temptress and Burl Ives as a pathological caricature of all that a good father should not be – a grand piece of acting by Ives, and more murderous than his performances in, say, Cat on a hot tin roof (1958) or The Big Country (1958). What a banner year for that great performer.
Being a stage play, the film version faithfully adheres to that format: small sets, obvious backdrops, deep shadows, very obvious multiple lighting – all that you'd expect, as if you were in a theater, front row center, and as it should be for all O'Neill's plays.
Get it out from your video store or library, see it and enjoy; but don't expect too much from Perkins.