Adicionar um enredo no seu idiomaAging movie star Alexandra del Lago, also known as Princess Kosmonopolis (Dame Elizabeth Taylor), fears her career is over due to her fading youthful looks. She takes up with a handsome youn... Ler tudoAging movie star Alexandra del Lago, also known as Princess Kosmonopolis (Dame Elizabeth Taylor), fears her career is over due to her fading youthful looks. She takes up with a handsome young man, Chance Wayne (Mark Harmon), who once had promise as an actor, but who has fallen in... Ler tudoAging movie star Alexandra del Lago, also known as Princess Kosmonopolis (Dame Elizabeth Taylor), fears her career is over due to her fading youthful looks. She takes up with a handsome young man, Chance Wayne (Mark Harmon), who once had promise as an actor, but who has fallen into the life of a gigolo. Together, they travel to Chance's home town, where he hopes to re... Ler tudo
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- CuriosidadesWhile a guest on The Late Show with Stephen Colbert in December 2019, Mark Harmon told a story about Elizabeth Taylor from the set of this movie: "She was such fun. She had a thing in her contract: she worked eight hours a day, and that was it. She'd arrive in the morning, and she was in wardrobe and made up, and she'd get out of her car, and she was ready to work. And then she had a woman who would come on the stage at eight hours and she'd just go [taps his watch], like this, and wherever we were she'd stand up and go, 'good night,' and was gone. And then we'd work for another six hours. And then I ended up doing all my closeups that first week with a stand-in , which is hard because [she's] a nice person, but [she's] not an actor, right? I was having a hard time, and I went to the producers and said, 'I've got a problem here,' and they said 'what do you want us to do about it, it's in her contract.' And I said [shrugs]. So now it's Monday and were on a location out in Altadena somewhere and for some reason that day she's been there two hours longer than her time and everybody knows it. It's like a working crew, so she's sitting on a couch, I'm standing right behind her, I'm on my mark, people are moving lights, and she's just sitting there like this [he crosses his hands on his lap]. And noise and people, you know, production, and all of a sudden in a voice about this loud [indicating his own moderate speaking tone] she says, 'all i have to say'--and everybody stops. and she waits until it's dead silent. And she said, 'is today, I have been here two hours longer than I am supposed to have been.' I'm standing behind her, and I go, 'Hey, Elizabeth, all I gotta say is welcome to the fucking club.' And she turned on me, with those blue eyes, and she went 'Oooh!' And I said, 'No, I'm not pitching you any grief at all, I'm really not. But here's the deal: you go home and we work another eight hours, and we're never going to get this done.' And she turned around, she just sat there very still, for twenty minutes, sat there. They come out, they go, 'we're ready,' she goes, 'Good night,' and she got up and left. So I'm looking to get fired, right? Next day, and from that point on to the rest of that picture, she's there every moment of that film to do everything there is to do. And at the wrap party, which she had at her house, with [her] Butterfield 8 Oscar and [her] Who's Afraid of Virginia Woolf [Oscar] standing on that mantel, she wants to meet [everyone] at the door, and as you leave, she has a present for you...and she wants you to open it as she gives it to you. Its a sterling silver frame with a cast and crew picture, that says 'Thank you very much, Elizabeth Taylor.' And she gives me a little box, and I open it up, and it's a 1959 Hamilton Sea-Lectric watch, solid gold, and on the back, you flip it over, it says 'M.H., Two Hours, Tick-Tock, Love E.T.'"
- Erros de gravaçãoThis remake is set in the late 1950s. Yet Alexandra del Lago pays with a credit card, not with checks as in the original play and original film. Also some of the costuming, especially Heavenly's, is much later in style than the 1950's-early 1960s.
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Princess Kosmonopolis: By the time I was your age, I was already a legend
- ConexõesReferenced in The Late Show with Stephen Colbert: Mark Harmon/Caitlin Weierhauser (2019)
There are two filmed versions. One being the 1962 feature film with Geraldine Page and Paul Newman. The other being this 1989 television film. While neither are in the same league as the play, there is no doubt in my mind that the former is the better version. The bold themes may not have had their full impact, but they were intact still (more so than other film adaptations of Williams' work at that time that, although with much to recommend on their own terms, not just toned down the material but ommitted content which the film didn't do as badly), the chemistry was electric and the performances powerful. In the 80s and 90s, there were a number of television films made adapted from Williams' work and most of them were more faithful in detail and content (if not always in spirit) than their feature film counterparts. This 1989 'Sweet Bird of Youth' is an exception.
In that while Williams' intentions are clear this felt like 'Sweet Bird of Youth' re-ordered and re-invented, which it actually essentially was. It contains revisions made by Williams himself and a wider range of his writing, but a large part of me felt that it was not for the better, while its dilligence is admirable it is somewhat too on the academic side. The chemistry isn't on the same level here than to before, the steam generally is missing and personally thought that Elizabeth Taylor and Mark Harmon didn't quite sizzle enough together all the way through. Pace-wise, it feels rather staid, needed more edge, and the action could have opened up more because there can be a filmed stage play feel here and don't think that was quite the intent.
Due to the re-work and re-interpretations, some of the story is rather jumpy and can feel confused, and some of the characters that were major before are abridged to extended cameo-like. Taylor looks beautiful but unlike the out of this world portrayal of Geraldine Page in the 1962 film (am really trying not to compare but it is inevitable rather in this aspect because the difference in quality is so wide) her performance is uneven. There are some intensely moving moments, but also some overwrought ones and those that show a lack of energy. Surprising seeing as she was experienced in Williams, especially good in 'Suddenly, Last Summer'.
Mark Harmon though is good and has the right amount of intensity, his chemistry with Taylor has moments. This is a case though of the supporting cast making more of an impression than the leads. Ronnie Claire Edwards and Cheryl Paris make a lot out of their rather abridged roles and Valerie Perrine is heavenly as Miss Lucy. The best performance comes from Williams specialist Rip Torn, and also the cast member being most familiar with the play so knows it inside out, as a malevolent with a pinch of subtlety Boss Finley.
'Sweet Bird of Youth' is pleasing to look at, with Taylor's costumes looking ravishing. Williams' dialogue has lost none of its order despite the nature of how the play has been adapted. The direction is respectable if never properly distinguished and there are parts that have tension and poignancy (just wish there was more though). If there is one thing this does better than the feature film, it is the ending which doesn't feel as tidy or as odds with the mostly bleak tone.
Altogether, interesting and worth a peek but somewhat bland. 5/10
- TheLittleSongbird
- 16 de out. de 2019
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