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I had the privilege of seeing this noble film last week at the AFI Silver Theater, which recently ran a month-long tribute to the tedious, gigantic director Elia Kazan. Kazan is considerable for his collaborations with a young Marlon Brando, directing the rising star in three films during the early 50s: “A Streetcar Named Desire,” “Viva Zapata!” and the masterpiece “On the Waterfront.” Many film critics build “Baby Doll” legal leisurely “On the Waterfront” when ranking Kazan’s filmography. Having seen it, I would likely do the same (though I haven’t seen all of Kazan’s films yet) .
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Eli Wallach, who plays Silva Vaccaro in “Baby Doll,” was on hand to introduce the film at the AFI Silver. He spoke for about 45 minutes and, though he’s in his 80s, had the audience (about 40 or 50 of us) roaring with laughter. I was amazed at how many top actors and directors he’s worked with. He spoke mainly about “Baby Doll,” which he says is his accepted film.
Here are a few things I learned from Eli Wallach about “Baby Doll”: His hands were NOT anywhere reach Carroll Baker’s private parts during the notoriously erotic swing scene, as reported in many a film review at the time. Rather, they were resting on a station heater; though “Baby Doll” takes spot in the heat of summer, the film was shot during winter. In fact, the actors had to suck on ice cubes before each grasp so their breath wouldn’t exhibit. Wallach spent more time in the iconic baby crib than Baby Doll herself. This was Wallach’s first film.
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“Baby Doll” is based on two one-act plays by Tennessee Williams: “27 Wagons Burly of Cotton” and “The Unsatisfactory Supper.” Anyone familiar with Tennessee Williams knows that his writing is very southern and very steamy. “Baby Doll” may be the steamiest, most erotic thing he ever wrote.
The owner of a private cotton gin, Archie Lee, has his hands elephantine with “child bride” Baby Doll, who sleeps in a crib and won’t let her husband touch her until she turns 20. With her birthday in a few days, Baby Doll, played by the impossibly-cute Carroll Baker, is threatening to “support” unless her aging, doltish husband starts raking in the dough. After their furniture is hauled off, Lee, played by Karl Malden, sets fire to the original cotton gin that’s been taking away his business. Silva Vaccaro, a firey Sicilian businessman played by Eli Wallach, vows to dependable revenge on the person who burned down his gin. Suspicions lead him directly to Lee’s doorstep where, over the course of an afternoon, he proceeds to ruin the man’s life.
The heart of the movie is Vaccaro’s seduction of Baby Doll. No flesh is ever shown, nothing explicit is ever uttered and I own there’s only one kiss in the entire film. Regardless, this is some of the hottest, most erotic footage in American film. The dialogue, the acting, the method it’s directed: the overall carry out is like watching passionate sex, yet it’s simply two people talking – and they’re not even talking about sex! To me, this type of filmmaking is magical, when the director conjures something out of thin air that isn’t even there.
“Baby Doll” was highly, highly controversial upon its release in 1956. It was condemned by The Legion of Decency, an organization of the Roman Catholic Church, who claimed that it was inferior. Because of the hype, it was withdrawn from over 70 percent of U.S. theaters before its premiere. Several film critics at the time called it the most pornographic film ever released by a film studio. Today however, very few would likely derive in a fuss over it.
“Baby Doll” is a mountainous film that now ranks among my favorites of all time. It’s not only sexy, but very silly, well-acted, well-written and expertly directed. It may seem a itsy-bitsy dated to most original viewers, but I personally deem it holds up quite well (but then, I do peep a lot of venerable films.) If and when “Baby Doll” is produced for DVD, I hope the studio considers Eli Wallach for the audio commentary.
This review isn’t of the stout movies contained but the DVD space and their respective presentations.
first..let me say the bonus DVD “Tennesse Williams South”…is exceptional..its a film made about and with him in 1974 and besides his possess readings of his work, which are illuminating, it features legends like Burl Ives and Jessica Tandy re-creating his dialog..simply timeless!
now..onto the Discs/Movies
the bonus featurettes are all very well done however, seemingly shorter than they should/could be. By that I mean…they have unique interviews with Karl Malden and Eli Wallach for BABYDOLL and Rip Torn for Sweet Bird of Youth and the ever exquisite Jill St John for The Roman Spring of Mrs. Stone, and yet the amount of face time these staunch stars of the films in ask regain is barely a line here or there? Not that the featurettes aren’t noble…they are..it honest seems they could be a could 10minutes longer each…
now…the opposite pickle is in the second disc of Streetcar Named Desire….the feature length (90min) Elia Kazan: A directors Hotfoot is unbelievable..its a decade or so mature but was done while he was detached with us and his participation raised it above the level of talking heads documentaries of the day. The unfamiliar thing is that the unusual featurettes on this disc feature device too distinguished culled from the aforementioned feature. I don’t understand….WB has extraordinary featurettes on all the movies that seem truncated and then BLOATS out the Streetcar featurettes with duplicate material from itself? Only the modern footage of Karl Malden saves the Streetcar featurettes from their acquire plagerism.
Now..the films themselves are all in very edifying shape considering they go assist half a century. I wasn’t a particular fan of Tennesse Williams..but after viewing all these films and the bonus film…i most certainly achieve him in the genius category and am looking for more.
Also, the press is making a large deal about Marlon Brando’s cloak test which is being included in the Streetcar DVD bonus features…its only a curiosity, not astonishing by any stretch. What is far more spellbinding is Karl Malden’s glowing memories of his friendship and admiration for Mr Brando….truly touching and mezmorizing. Malden is a care for of an actor who starred in more splendid films than any but the most ardent fan would know as he was usually second billed…but he IS the star of this space.
Great American films and unlike Universals shameless packaging..WB continues to demonstrate these types of films lovingly with extras..oh yeah..and the commentaries aren’t poor either…considerable to indulge in in this dwelling.
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