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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE FINAL FOUR FILM ADAPTATIONS OF TENNESSEE WILLIAMS A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in MASS COMMUNICATION by Kimberly Brandewie Beazley May 1987 Beazley is approved: California State University, Northridge ii To MA and PAPPY: For all your love, support, wisdom, and humor during this endeavor and the past twenty-four years. May the next quarter of a century be as good. In Memory of GEORGE EDWARD BRANDEWIE JR. Oct. 11, 1925 - Dec. 28, 1966 "It doesn't matter who you are or where you come from, just so long as you don't forget it and you ain't ashamed of it." William Faulkner iii ~\ ' "Nowadays is, indeed, lit by lightning, a plague has stricken the moths, and Blanche has been 'put away. ' " Memoirs "Then what shall I say? That I know that I am a minor artist who has happened to write one or two major works? I can't even say which they are. It doesn't matter." Where I Live iv TABLE OF CONTENTS ABSTRACT • . ix CHAPTER 1 INTRODUCTION ............................ 1 Introduction ••.•••• 1 Purpose . ........... 5 Research Questions .. 6 Hypothesis .•. 7 Design •••••• 8 Methodology •••••••• 9 Literature Review .. 11 Introduction .• 11 Books . ....... 11 Articles ...•. 21 Dissertations .. 24 Conclusion ..•• 25 Endnotes ••••. 27 Bibliography. 33 CHAPTER 2 THEATRE/FILM/ADAPTATION 38 Introduction •. 38 Plot/Story •.•• 41 Idea/Theme •.••.• 42 Mood/Atmosphere. ... 43 Character .••••.• 45 Dialogue .. ......... 47 Spectacle/Staging. .. 49 Concl us ion ••••. 51 Endnotes 53 CHAPTER 3 =IN~FL:...=..;U~E::.:.N.:...::C~E:::=S;..,_,:;O.:..:N--=.;TE=N:..:..:N:..:..:E:.:S::..::S~E::.::E::.-.:.;W:.:I=L~L=I:..::AM=-S .•.•..•• 55 Introduction •• 55 Fa.Illily . ........ .. 56 Early Life •••. .... 60 Health ••.•••• . ...... 62 Education and Employment •• . .. 65 Travel . ............. .. .. .. 67 Artistic Inspiration. ... .. 70 Theatre ••••••• 72 Conclusion •• .. ... 75 Endnotes •••• .. 77 v CHAPTER 4- TENNESSEE WILLIAMS' CHARACTERS, SYMBOLS, AND THEMES ........ 80 Introduction. .. .. .. 80 Characters .. ....... 81 Symbolism ... ..... 86 Themes ..... ...... 91 Conclusion .. ... .... 97 Endnotes ... .. 99 CHAPTER 5 THE NIGHT OF THE IGUANA . .. .102 Background of the Play ..... ............. 103 Synopsis and Main Characters ............. 103 Changes from Stage to Screen: Characters . .. 108 Reverend T. Lawrence Shannon ... 108 Hannah Jelkes ... .114 Maxine Faulk ..... .117 Jonathan Coffin ... ..... 119 Charlotte Goodall .. .. 120 Judith Fellowes .. ... .123 The Ladies ....... .124 The Men .......... .125 Changes from Stage to Screen: Symbolism .... 126 Mexico . .......... .126 Costa Verde Hotel .. .126 Time Change. .. .127 Iguana .. .128 Sea . ........ .129 Storm . ........... .131 "Mei Yoo Gauchi" ••.. ·131 Changes from Stage to Screen: Theme ........ 132 Influence of the Director ..... .... ·135 Conclusion. ...•..• . 138 Endnotes . ................ .140 CHAPTER 6 - THIS PROPERTY IS CONDEMNED. ............ .141 Background of the Play ....•.. .. 142 Synopsis and Main Characters. .142 Synopsis of the Film ....•.... .. ... 143 Changes from Stage to Screen: Characters ... 146 Alva Starr .. .. .. 146 Owen Legate .. .. .. .149 Willie Starr .. .... 151 Hazel Starr .. ......... 154 The Men...... .155 Changes from Stage to Screen: Symbolism. .157 Depression..... ... ..157 Boardinghouse. • . .157 Trains......... .158 vi New Orleans. ... .159 Stonn . ...... .160 Movies ......• . .. 161 Milky White Sky. .. • .162 Light . ......... .... .162 Changes from Stage to Screen: Theme. .163 Influence of the Director. .... .164 Conclusion •• . .... .. 166 Endnotes. .168 CHAPTER 7 BOOM ••••••••••••••••••.••••••••••••....• 169 Background of the Play .•.•...•.••..•...••.• • 170 Synopsis and Main Characters .. 171 Changes from Stage to Screen: Characters ... 173 Mrs. Goforth .••••.•.. .. ........ 173 Christopher Flanders. .• 178 Blackie ...•.........• . ... .. 181 The Witch of Capri.. .. 182 Rudy . ........ .183 Villagers .....•..... .. .183 The Rest .......... .184 Changes from Stage to Screen: Symbolism .... 185 Sea . ....... .... .185 Wind ...... .186 Earthquake ....... ... .186 Sun . ........ .. .187 Pink Villino. .187 Oubliette •..•• . .. 188 Roman •... .. .. 188 Oriental •. .. .. .189 Monkey .. .. • . •• 190 Games .•..•• . .... .. .191 Mobiles ..• ..... .191 Changes from Stage to Screen: Theme. .192 Influence of the Director. .. 193 Conclusion ... .. ... •. 195 Endnotes . ................. • .197 CHAPTER 8 .:;;TH;..:;E=-=L=A=S:....:T:...._::O;.::.F---""T=H=-E.....;M:..:..O=B::.:I==L=E::.....:.;H:..::;O;.::T_-.:=;S.:..:H...:;.O=TS=-. • • .198 Background of the Play . ....... ............ .. 199 Synopsis and Main Characters .. ............ .199 Changes from Stage to Screen: Characters .201 Lot .•... ... 201 Myrtle . .............. .208 Chicken ..•... ........ .... 212 Changes from Stage to Screen: Symbolism .. 216 The Flood ..•• ... .. .. 216 The Estate. ... .. .. .. 217 The Parlor .• .218 vii Kitchen versus Bedroom .............. 219 Changes from Stage to Screen: Theme ........ 220 Influence of the Director ................... 221 Conclusion .. ................................ 223 Endnotes . ................................... 226 CHAPTER 9 - CONCLUSION .............................. 227 BIBLIOGRAPHY . ....................................... 234 APPENDIXES .......................................... 236 A. The Works of Tennessee Williams .......... 237 B. The Films of Tennessee Williams .......... 241 viii ABSTRACT THE FINAL FOUR FILM ADAPTATIONS OF TENNESSEE WILLIAMS by Kimberly Brandewie Beazley Master of Arts in Mass Communication This thesis is an examination, in terms of char­ acter, symbolism, and theme, of Tennessee Williams' final four film adaptations. Completed between 1964 and 1970, the films are The Night of the Iguana (1964), This Property is Condemned (1966), Boom (1968), and The Last of the Mobile Hot-Shots (1970). Although much has been written about Tennessee Williams and his art, this period has not been given deserved or extensive coverage. Cer­ tain background material is covered. This includes the differences and similarities of film and theatre as they pertain to the process of adaptation, the personal and professional influences which contributed to Tennessee Williams' uniqueness, and a brief look at Tennessee ix Williams' characters, symbols, and themes. The analysis o£ the adaptations covers the back­ ground o£ the play, synopsis and main characters, the changes made in character, symbolism, and theme, and the influence of the director. The purpose is to show that Tennessee Williams' characters, symbols, and themes require virtually no modification when transferred from theatre to film. Rules for the development of an adaptation depend on each individual work to be adapted. Therefore, it is hard to look at a film adaptation and be able to state exactly why certain changes were made. One can only look at the results in an attempt to understand the filmmaker's reasoning. Whatever problems arise when employing adaptive material, it is, or should be, the filmmaker's responsibility to protect the work. As exemplified by these final four film adaptations of Tennessee Williams, sometimes the changes work and other times they do not. Of the four, The Night of the Iguana and Boom follow the original work more closely. The directors, in both cases, had an affinity £or Williams and his work and included the playwright in the productions. Opposed to this is This Property is Condemned and The Last of the Mobile Hot-Shots. The former was expanded way beyond the brief one-act upon which it was based. The latter was dealt a blow by a director who was not comfortable with comedy and an actor who was allowed, based on a personal X whim, to alter the essence of the work. xi CHAPTER 1 THE FINAL FOUR FILM ADAPTATIONS OF TENNESSEE WILLIAMS INTRODUCTION Tennessee Williams is considered one of the great­ est playwrights America has ever produced. Beginning with the appearance of The Glass Menagerie on Broadway in 1944 and on screen in 1950, his work has continued to command the world's attention for over four decades. The adapta­ tion of Williams' work from stage to screen has culminated, between 1950 and 1970, in fourteen films. Of these, some have garnered great public and critical acclaim while others have received little, if any, approval. As a play­ wright between 1945 and the early sixties, Tennessee Williams commanded a wide audience. The subsequent years witnessed a downward trend in Williams' popularity as well as the emergence of his new style of writing. Compounding these developments was Williams' personal battle with both physical and mental illnesses. During the late sixties and early seventies when Tennessee Williams experienced a decline in popularity, he 1 2 remained a prolific writer. Although he continued to write and produce plays, critics turned harsh in their reviews of Williams' latter works. They insisted on com­ paring these later, more experimental works to the success­ ful formula of "poetic naturalism" found in works like The Glass Menagerie, Cat on a Hot Tin Roof, and A Streetcar Named Desire. Williams' move toward looser construction, more stylized characterization, and increasing social criticism stemmed from his view of himself as a "play­ wright-in-progress." He viewed these changes as an im­ portant aspect of his career and was disheartened when audiences and critics failed to respond favorably. The final four films based on the works
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