Cat on a Hot Tin Roof shows incredible quanlification on Paul Newman and Elizabeth Taylor's performance.During watching this film,one who appreciates it must contribute adequate concentration to their expression.

Censorship or not it was okay. If they remove the homosexual theme today it would not have been received well. So if we ignore that for a second it is like one of those movies in real time where the scale is 1 minute in the movie equals 1 minute in the real world. At first you are aware that Brick's relationship with his wife is strained and the same goes to his relationship with his father. His father is dying and all family members have gathered like vultures. Brick's brother and family were shameless at it. If you hate the antagonists then its good acting. If you love the good guys despite their faults because they are relatable and seem human its a good plot and script. Bring back what we ignored and add whitewashing to its list of crimes then its just sad. If you can look past that then good for you.

This is what passed for adult fare in the repressed 1950's-- Elizabeth Taylor walking around in her underwear while Paul Newman broods darkly about something or other, nobody can figure out what. Few films date as badly as this one. Nor do many from that decade illustrate its afflictions more vividly than Cat on a Hot Tin Roof. Pitched about 10 decibels too high so that the audience can confuse loud talk with superior acting, the result is more annoying than thought-provoking or even, perish the thought, entertaining. For a screenplay that prides itself on honesty, what could be more "mendacious" than excising playwrite Williams' homosexual theme from the endless palaver, leaving the audience of that day and this pondering just what is Brick's problem. This is two hours of sound and fury that finally boils down to the tritest of messages-- boys need fatherly love. And how transparent are several of the characters, especially the luckless no-neck clan who make even a Gene Autry B-Western appear sophisticated by comparison. Only Newman manages to come through with professional dignity intact. To think that a slew of Academy Award nominations went to this overheated gab fest proves once again that the awards are more about investments than artistic invention. So pass this one up unless you have a yen for a punctured eardrum and a headache.

Tennesse Williams. Liz Taylor. Paul Newman. and a film who seems be a Swiss watch. not only for splendid cast acting but for the atmosphere who transforms the play in a portrait with role of mirror. its virtue - the breaking of screen. ambiguity, angry, fear, the truth scenes, the dialogs, the need of the other and, sure, the ghosts of past are not only presented but explored by viewer. the actors are only tools. other adaptations of Tennessse Williams plays are more brilliant, impressive or spectacular. but in this case the axis is represented by deep honesty. the fragile force of Maggie, the levels of Big Daddy in admirable work of Burl Ives, Paul Newman in the perfect Brick skin and Judith Anderson as the wife of a statue are important not only for artistic purpose but for the the escape from South cage. a play and a special adaptation about vulnerability as heart of existences.