La Gata Sobre el Tejado del Zinc BD 1958 Cat on a Hot Tin Roof [Blu-ray]
|Colaborador||Vaughn Taylor, Jack Carson, Judith Anderson, Larry Gates, Elizabeth Taylor, Richard Brooks, Paul Newman, Burl Ives, Madeleine Sherwood Ver más|
|Duración||1 hora y 39 minutos|
Descripción del producto
La inminente muerte del anciano patriarca de una acomodada familia sureña crea una gran tensión ambiental. Uno de sus hijos, Brick, indeciso y apático, se refugia en el alcohol y se muestra completamente indiferente ante la situación, pero Maggie, su mujer, no está dispuesta a contemplar impasible su destrucción. El otro hijo, Gooper, al igual que su esposa, es ambicioso y oportunista.
Detalles del producto
- Relación de aspecto : 1.85:1
- Descatalogado por el fabricante : No
- Dimensiones del paquete : 18.03 x 13.76 x 1.48 cm; 83.16 gramos
- Director : Richard Brooks
- Formato multimedia : Subtitulado
- Tiempo de ejecución : 1 hora y 39 minutos
- Fecha de lanzamiento : 3 septiembre 2015
- Actores : Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, Judith Anderson
- Subtitulado: : Español
- Subtítulos: : Español
- Idioma : Inglés (Dolby Digital 1.0)
- Estudio : Sotelysa
- ASIN : B012DSKXY4
- País de origen : España
- Número de discos : 1
- Clasificación en los más vendidos de Amazon: nº11,626 en Películas y TV (Ver el Top 100 en Películas y TV)
- Opiniones de los clientes:
Opiniones de clientes
Principales reseñas de España
Ha surgido un problema al filtrar las opiniones justo en este momento. Vuelva a intentarlo en otro momento.
A decir verdad, es el hijo mayor, Gooper (Jack Carson) el más carroñero, y más aún que él su esposa Mae (Madeleine Sherwood) y sus maleducados hijos, esos «monstruos cuellicortos».
El hijo pequeño Brick (Paul Newman) no está interesado en heredar sino más bien en la bebida. Se pasa casi toda la película agarrado a una botella con una mano y a una muleta con la otra. Se acaba de lesionar al intentar hacer una carrera de salto de vallas en una pista mientras corría beodo.
También está su esposa, Maggie (Elizabeth Taylor), con la que mantiene relaciones tensas, a pesar de que Brick y Maggie se sienten físicamente atraídos el uno por el otro. Las razones de esta desavenencia tardamos en enterarnos de cuáles son, y cuando nos enteramos se produce una decepción. Están muy traídas por los pelos, son muy endebles. Claramente, es una de las principales debilidades de la historia.
Lo mejor, lo más conseguido para mi gusto es el retrato del patriarca del Viejo Sur, ese hombre que se ha hecho a sí mismo, leñoso, berroqueño, capaz de dar dinero a los suyos, pero no afecto (con la posible excepción de Brick, por quien siente debilidad, pero desde luego no por el obsequioso hijo mayor ni tampoco por su esposa, interpretada por la gran Judith Anderson).
En suma, la película de Richard Brooks está bien dirigida e interpretada (el menos convincente a este respecto es Paul Newman), pero queda lastrada por un fallo de guión que se interpone en su camino hacia el logro de la excelencia.
Es intolerable que se comercialicen títulos en tan deplorables condiciones.
Reseñas más importantes de otros países
“I’m not living with you,” Maggie snaps at Brick. “We occupy the same cage, that’s all.” The raw emotions and crackling dialogue of Tennessee Williams 1955 Pulitzer Prize play rumble like a thunderstorm in this film version, whose fiery performances and grown up themes made it one of 1958’s top box-office hit.
Paul Newman earned his first Oscar® nomination as troubles ex-sports-hero Brick Pollitt. In a performance that marked a transition to richer adult roles. Elizabeth Taylor snagged her second Oscar® nomination. Elizabeth Taylor as Maggie “The Cat” Pollitt is a vivid portrait of passionate loyalty. Nominated for six Academy Awards®, including Best Picture, and also starring Burl Ives, repeating his Broadway triumph as mendacity-loathing Big Daddy Pollitt, Judith Anderson and Jack Carson, in ‘CAT ON A HOT TIN ROOF’ they sizzle!
FILM FACT: Awards and Nominations: 1959 Academy Awards®: Nominated: Best Picture for Lawrence Weingarten. Nominated: Best Actor in a Leading Role for Paul Newman. Nominated: Best Actress in a Leading Role for Elizabeth Taylor. Nominated: Best Director for Richard Brooks. Nominated: Best Writing, Screenplay Based on Material from Another Medium for James Poe and Richard Brooks. Nominated: Best Cinematography in Color for William H. Daniels. 1959 Golden Globes Awards®: Nominated: Best Motion Picture in a Drama. Nominated: Best Director for Richard Brooks. 1959 BAFTA Awards: Nominated: Best Film from any Source [USA]. Best Foreign Actor for Paul Newman [USA]. Nominated: Best Foreign Actress for Elizabeth Taylor [USA]. 1959 Directors Guild of America: Nominated: Outstanding Directorial Achievement in Motion Pictures for Richard Brooks. 1959 Writers Guild of America: Nominated: Best Written American Drama for James Poe and Richard Brooks.
Cast: Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, Judith Anderson, Madeleine Sherwood, Larry Gates, Vaughn Taylor, Zelda Cleaver (uncredited), Brian Corcoran (uncredited), Hugh Corcoran (uncredited), Patty Ann Gerrity (uncredited), Bobby Johnson (uncredited), Walter Merrill (uncredited), Deborah Miller (uncredited), Robert 'Rusty' Stevens (uncredited), Vince Townsend (uncredited) and Jeane Wood (uncredited)
Director: Richard Brooks
Producer: Lawrence Weingarten
Screenplay: James Poe, Richard Brooks and Tennessee Williams (play)
Composer: Charles Wolcott (uncredited)
Cinematography: William H. Daniels A.S.C. (Director of photography)
Video Resolution: 1080p [Color by Metrocolor]
Aspect Ratio: 1.85:1
Audio: English: 2.0 DTS-HD Master Audio, French: 2.0 Dolby Digital Stereo, German: 2.0 Dolby Digital Stereo, Spanish: 2.0 Dolby Digital Stereo, Spanish [Castilian]: 2.0 Dolby Digital Stereo, Czech2.0 Dolby Digital Stereo, Polish: 2.0 Dolby Digital Stereo and English: 2.0 Dolby Digital Stereo
Subtitles: English, French, German, Spanish, Korean, Spanish [Castilian], Czech, Polish, Romanian and Turkish
Running Time: 108 minutes
Region: All Regions
Number of discs: 1
Studio: Metro-Goldwyn-Mayer / Warner Archive Collection
Andrew’s Blu-ray Review: ‘CAT ON A HOT TIN ROOF’  Here we find a southern house divided between patriarchal dominance and hypocrisy, rendered effectively despite censorship and a screenplay that bogs midway. The performances are the thing in this film version of the Tennessee Williams stage triumph, led by Ives, repeating his stage role like a force of nature. Ms. Elizabeth Taylor and Paul Newman make a handsomely unhappy husband and wife, with just enough sexual chemistry to justify the union. Mike Todd's plane crashed during filming, and the camera seems to capture Ms. Elizabeth Taylor's pent-up energy, but she isn't directed well enough to unleash it. This is fine throughout most of the film, but her catharsis is finally lacking and her little vengeances come off less like a satiated alley cat than a pampered prize kitty. The homosexual overtones are just about laundered out of Paul Newman's role, but his pantherine eyes and profile suggest unplumbed depths between the lines.
This dynamic and commanding adaptation of Tennessee Williams Pulitzer Prize-winning play focuses on a troubled Southern family and the discord over their dying father's millions. Wealthy plantation owner Big Daddy Pollitt [Burl Ives], celebrating his 65th birthday, is visited by his sons, Brick Pollitt [Paul Newman] and Gooper Pollitt [Jack Carson]. Big Daddy Pollitt has cancer, but a doctor has deliberately and falsely declared it in remission. Seemingly perfect son Gooper Pollitt and his wife, Mae Pollitt [Madeleine Sherwood], have several children and are anxiously expecting to inherit Big Daddy Pollitt's millions.
By contrast, Big Daddy Pollitt's favourite, Brick Pollitt, is a has-been football star who's taken to drinking his days away since the suicide of his best friend a year earlier. Brick Pollitt resents his wife, Maggie “The Cat” Pollitt [Elizabeth Taylor]; because he believes that she had an affair with his deceased friend. As a result, Brick Pollitt refuses to sleep with her, although she remains devoted to him. Since Brick Pollitt and Maggie “The Cat” Pollitt have failed to produce any grandchildren, Big Daddy Pollitt is inclined to leave his estate to Gooper Pollitt, but Maggie “The Cat” Pollitt attempts to prevent that by telling him that she is pregnant.
Big Daddy knows better, yet he recognises that Maggie “The Cat” Pollitt loves Brick Pollitt so much that she would be willing to do anything for him. Although Brick Pollitt is self-destructive and resentful, unable to come to terms with his losses, it takes Big Daddy Pollitt's recognition of his own mortality to make Brick Pollitt change his perspective. Brick Pollitt's struggle with his sexual identity, and the nature of his relationship with his friend, had to be toned down for mass consumption, although this intelligently written and acted film covers such topics as infertility, adultery, and alcoholism that were still considered taboo in the 1950s.
However, his other and obviously much favourable son, Brick Pollitt, has made it clear that he does not want any of his father’s fortune, with the former high school stud more content staring into the bottom of a bottle, than take over as top dog of the Pollitt clan. Brick Pollitt is married to Maggie “The Cat” Pollitt. She is unfulfilled sexually and emotionally by Brick Pollitt, who resists her sexual advances and scoffs at her need to have a child, which has brought on its own social stigma in her upper class, conservative surroundings.
Maggie “The Cat” Pollitt’s frustration towards Brick Pollitt will be shared by most male viewers, who would love nothing more than to grab Brick’s liquor bottle and break it other his head. And who could blame them after watching an in prime Ms. Elizabeth Taylor writhing saucily for her husband. Yet, to call their relationship problematic would be an understatement. While she may long for him, he can’t stand the sight of her. This is due to Brick Pollitt’s belief that Maggie “The Cat” Pollitt contributed to the suicide of his best friend.
However, this differs greatly from the plays insistence that Brick was indeed struggling with feelings of homosexuality towards his best friend, and could not commit towards Maggie “The Cat” Pollitt’s sexually until he knew where he stood as a man, straight or otherwise. As a result, the bitterness and disharmony showed on screen is tragic, and is made even more so by a final act of purging from Brick Pollitt, who lets his emotions loose in a heart-breaking scene, scolding his father for his inability to show love, while proclaiming himself to be worthless.
It is a fine piece of acting by Paul Newman, the Southern gentlemen portraying his fragile and haunted character with an unparalleled amount of soul, which he had imbedded in many of his characters. However, this film unquestionably belongs to Burl Ives. From about a third of the way through it becomes apparent that you're watching one of the best performances committed to film probably ever. There's a brilliant extended scene between Big Daddy Pollitt and Brick Pollitt, later joined by Maggie “The Cat” Pollitt, which is one of the most charged moments of the entire piece but the conversation between father and son in the basement is the highlight of the film. It is just exquisite and left me totally in awe.
That direct references to Brick Pollitt's homosexuality were cleansed from the adaptation is unsurprising and, to be honest, I don't think it makes a difference but perhaps that's just because I watch everything with an eye to the subtext anyway. Ultimately, this film is a simple story told using outstanding dialogue and some compelling actors. I lost myself in it and was genuinely surprised when I realised I'd sat transfixed for so long. It's not a film you can easily stop in the middle of a scene, one of the highest forms of praise there is in this day and age.
The histrionics are plentiful. The dialogue is as well. In fact, there is almost no action; it’s all talking. You might expect that to make for a dull movie but instead it makes a very compelling one because it is all about the characters and their relationships. The directing by Richard Brooks makes it feel like a film visually, but it is really still a play. Although cinema is a visual medium and the general rule is to avoid words as much as possible, this film just shows it and this classic Hollywood film like ‘CAT ON A HOT TIN ROOF’ are reminders how dialogue, when it is good, it can be gold plated.
Blu-ray Video Quality – The Warner Archive Collection Blu-ray of ‘CAT ON A HOT TIN ROOF’ gives Richard Brooks film a major boost. The 1080p encoded image in Color by Metrocolor, and has really good sharpness which is really excellent, with also an excellent 1.85:1 aspect ratio to give you a really gorgeous viewing experience, and has remarkable detailed image, with delicately balanced colours showcasing the character-specific wardrobe and meticulous production design that were hallmarks of M-G-M's classic era, so either the negative was well preserved or some careful digital work brought the images back to their original lustre. Also outstanding is the Cinematographer by William H. Daniels A.S.C., who was nominated for an Oscar for his lush photography of ‘CAT ON A HOT TIN ROOF,’ which presented very special challenges in creating the new master for the Warner Archive Collection's Blu-ray 2K scan of a recently manufactured interpositive was subjected to multiple passes of colour correction, with the final work completed by one of the most senior and experienced colourists at Warner's Motion Picture Imaging. The earlier inferior DVD was finally in the right aspect ratio, but now it looks ready for new audiences to see it once again in a new cinema release how people saw it when it was originally shown in 1958.
Blu-ray Audio Quality – The Warner Archive Collection Blu-ray of ‘CAT ON A HOT TIN ROOF’ original mono audio soundtrack has been restored from the original magnetic masters and encoded in the 2.0 DTS-HD Master Audio. The dialogue is the critical element of this film, especially as it is set in the Deep South, and it is cleanly and intelligibly reproduced, along with key sound effects like the recurrent intrusions of Gooper's and May's unruly children or, as Maggie “The Cat” Pollitt calls them, "no-neck monsters." The sultry, jazz-inflected score by Charles Wolcott plays with good audio fidelity and excellent broad dynamic range for the 1958’s period, punctuating and modulating key moments of the drama.
Blu-ray Special Features and Extras:
Audio Commentary by biographer Donal Spoto, author of The Kindness of Strangers: The Life of Tennessee Williams: Donald Spoto is an American biographer and theologian. Donald Spoto is best known for his best-selling biographies of film and theatre celebrities such as Alfred Hitchcock, Laurence Olivier, Tennessee Williams, Ingrid Bergman, James Dean, Elizabeth Taylor, Grace Kelly, Marlene Dietrich, Marilyn Monroe, Audrey Hepburn, and Alan Bates. He has also written biographical accounts of the House of Windsor from the Victorian Era through to Diana, Princess of, and Saint Francis of Assisi, which was made into an American television programme by Faith & Values Media. Donald Spoto is very knowledgeable about both the play and its translation to the silver screen. While an admirer of the film, Donald Spoto's audio commentary track is one of the most interesting to be found on any Blu-ray and especially for ‘CAT ON A HOT TIN ROOF’ and gives someone really intelligent and educated as well as keeping us very informed and entertained. As the film commences, Donald Spoto introduces himself, and informs us that it was a great privilege of writing the Biography of Tennessee Williams entitled “The Kindness of Strangers: The Life of Tennessee Williams,” and informs us that he is delighted at looking at this film version and one of Tennessee Williams most famous one and indeed one of his most controversial plays “Cat On A Hot Tin Roof.” Donald Spoto points out that there a lot of things he wants to point out as we watch the film, and especially so many wonderful things to comment on, and something to keep in mind, and also something to enjoy, and also hoping you also have an enjoyable time and experience in viewing this film with Donald and points out that “Cat on a Hot Tin Roof” was a Pulitzer Prize Winning Play and was also a huge hit on Broadway from March 1995 and ran for 18 months until November 1956, and there were lots of heated debates and controversy about the play itself, as it dealt with things in the United States theatre going public and indeed the public in general, who were not too keen to deal with such sensitive subjects that were portrayed in the play, especially in the 1950s era, especially regarding sexual confusion, very unhappy marriages, and all Post-War America Capitalistic Triumphalism and the kind of greed that was ever present, that was taken to task. Donald also points out that 90% of the film was shot on the M-G-M film lot and they were keen to lavish vast amounts of money on the sets. Donald also points out that the film was a massive Box Office hit and people would flock to the cinema in droves, but on the other hand the critics were very upset by the film, but of course it won lots of plaudits at the Academy Awards. Donald gives great praise for Elizabeth Taylor’s professional performance and especially her perfect Southern accent, despite being born in England and of course eventually moving to America but also praises her professional acting, especially after three days shooting, her husband Mike Todd was killed in a plane crash. Donald also gives great praise to the actress Judith Anderson, and especially for her wonderful stage performances, and of course her famous character as Mrs. Danvers in the Alfred Hitchcock film ‘REBECCA.’ Donald points out that in the 1950s, certain aspects of life in America that would not be dealt with, especially in the theatre and in the cinema, and that the worst thing to happen to you if you were a communist and coming pretty close second was that you were gay. Donald also points out when you see the tears appear from Paul Newman in the dramatic scene in the basement with Burl Ives at around Chapter 20, they were real tears and not done by glycerine. Also around this point Donald that we are all struck by the fact that ‘CAT ON A HOT TIN ROOF’ is neither a play or a film, it is in fact about sexual confusion and certainly not primary or not even about greed, or the inheritance of a kind of emotional impotency and a tragic sense of mysterious part of human nature, that encourages people to be this way, that cooperates with the worst thing in a social structure, and remember that Tennessee Williams grew up and went to the theatre during the 1930s, which in America was a terrible time for social order and depression and at the same time the American Theatre rose to the response in dealing with the problem people that had a lack of money for food, in the social injustices and of course these problems have been multiplied in the decades since, but there in these plays, the tragedy sense of mysterious of a social order that impacts on people and the people impact on the social order, so much so, Donald states that you are watching magnificent acting, that is totally rewarding for a film of this calibre, and he feels Burl Ives gives his best performance in this film, who also gives a very profoundly moving performance. Donald also mentions in the final moments of the film, and of course the final scene, is that Brick really wanted Maggie all along and now that the family has been through a night of hell and now Brick rediscovers his passion in life and it is a lot more complicate that the play. Hollywood having to do Hollywood had to do, perhaps in light of these wonderful performances and the very skilful direction and the gifted and consistent production design of the picture. Perhaps we can be grateful that it wasn’t really contaminated far more and of course it is not hard to accept the final moment, in which Paul Newman and Elizabeth Taylor find themselves in their relationship, and the implication is that it is not an unhappy one. And finally Donald Spoto says, “I hope you have been enjoying ‘CAT ON A HOT TIN ROOF.’ Well I certainly have, as well as the brilliant audio commentary, that was first rate and not one to be missed.
Special Feature: Cat on a Hot Tin Roof: Playing Cat and Mouse  [480i] [1.33:1] [10:03] With this Warner Bros. old feature documentary, gives the drama in and around the production of the film ‘CAT ON A HOT TIN ROOF.’ With this documentary, it spends most of its time with informing about all who were involved with the film, especially what went on the film set; we also get the full rundown on Ms. Elizabeth Taylor's mid-shooting tragedy when her husband Mike Todd was killed in an airplane crash and what also very poignant is the fact that Ms. Elizabeth Taylor originally expected to be on that plane, and kept working tirelessly despite the impact of the terrible tragedy. We also hear a lot about how this picture was a big boost for Ms. Elizabeth Taylor and Paul Newman, but almost nothing about any of the other actors. When Madeleine Sherwood appears on camera, her comments are almost completely restricted to Ms. Elizabeth Taylor. Its dim, low-resolution film clips serve as a good reminder of how the show used to look on a video. Donald Spoto appears in the feature documentary and also provides a full feature commentary. Donald Spoto knows his subject, but fusses far too much over the star-worship particulars, and dumbs-down his technical explanations. Did you know that moviemaking is difficult for stage actors, because they have to chop their performances into little pieces, sometimes as short as three seconds? Contributors include Donald Spoto [Tennessee Williams Biographer], Drew Casper [Author of “Post-War Hollywood”], Eric Lax [Author of “Newman: A Celebration”] and Madeleine Sherwood [Actress]. Produced by Bernadette Bowman, Eric Neal Young, Jill Hoppenheim and Michael Crawford. Music by Miho Nomura. Cinematography by Dan Brockett.
Theatrical Trailer  [1080i] [1.78:1] [2:19] This is the original Theatrical Trailer for the film ‘CAT ON A HOT TIN ROOF.’ Sadly it is slightly soft in presentation, but despite this it is a great presentation of a classic Hollywood film and especially claiming “M-G-M Gives New Dramatic Stature To The Screen” and "Shocking impact and uncompromising realism!" and certainly packs a punch and it definitely wants to make you get your hands on a glass of Mint Julep.
Finally, ‘CAT ON A HOT TIN ROOF’ is one of the jewels in the Metro-Goldwyn-Mayer’s library owned by Warner Bros., and it is a memorable film, if only for the combustible chemistry between Paul Newman and Ms. Elizabeth Taylor. But Tennessee Williams had a special genius for transforming pulp novellas subject matter into tragic poetry, and that quality appears only sporadically in Richard Brooks’ film. ‘CAT ON A HOT TIN ROOF’ makes a good argument against judging directors by how few continuity errors are on view. They’re all over the place, and it doesn’t matter at all. To help the actors put something special into their parts, director Richard Brooks obviously didn’t hold up the flow of work for every detail. Things like how much ice is in a glass or where someone places their hands are made secondary to performance and pace of what you see on the screen. Editor Ferris Webster was no slouch, and neither were the cutters on Frank Capra’s films, which are packed with minor mismatches and jump cuts. On the other hand, the desire not to hold up the actors with technical details might be partly responsible for occasional shots with soft focus. All directors will say that the best acting take is always the one with a technical flaw. Still, Warner Archive Collection has brought ‘CAT ON A HOT TIN ROOF’ to this Blu-ray disc in a sterling presentation that should satisfy all the film's fans of this film and may even inspire viewers to seek out a good stage production. Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso