Tennessee Williams truly redefined the concept of having an old friend for dinner with Suddenly, Last Summer. A playwright who captured both the gritty nuances of the human condition, as well as the bold and absurd excess of our behaviour, Williams tapped into a side of life that has yet to be matched by any other artist. It has made his works both iconic and divisive, and stood him in good stead as one of the most eccentric observers of our shared existence. The film adaptation of his 1958 play, which he worked on alongside the notoriously brilliant Gore Vidal (albeit in name only, since Vidal is purported to have done the most work in terms of bringing it to the screen) and director Joseph L. Mankiewicz, is a controversial work – not only because it touches on various themes that were more spoken about only in the most hushed of tones at the time, such as homosexuality and mental illness (both of which were gradually becoming more acceptable as pivotal plot elements, but were still far from being as prominent in the mainstream industry as they deserved to be), it also gradually becomes an incredible dark foray into the recesses of the human soul, one where it isn’t enough to just imply a loss of morality, but also suggest that we are capable of the most visceral kind of evil. The cannibalistic side of Suddenly, Last Summer has certainly had its fair share of discussion, to the point where it almost defines the film as a whole – and while it’s not difficult to understand why audiences continue to latch onto this aspect, there is a wide range of other commentary Williams and his cohorts infuse into this story that are worth noting all on their own. This is a film that lends itself to a great deal of analysis – through vivid characters, fascinating storylines and a general intention to break conventions, Mankiewicz brings Williams’ compelling play to the screen in a powerful manner, giving audiences the chance to enter into the haunting corridors of the Venable mansion, should they dare to step over the threshold and immerse themselves into the trials and tribulations of a truly deranged family.

As a whole, Suddenly, Last Summer is not a perfect film in any way – it’s dark, twisted and often thrives on presenting a far bleaker picture of our species than most would be comfortable with. However, the benefit of such an approach is that we have access to a thoroughly unique story, which starts out as any Southern gothic melodrama but rapidly descends into much darker territory that will leave even the most hardened viewer absolutely reeling. This isn’t a perverse dark comedy that derives pleasure in shocking the audience – Mankiewicz is far too sophisticated to resort to cheaper tricks. Instead, Suddenly, Last Summer is a haunting psychological thriller with bold overtures of horror that burrows itself into our subconscious, and gradually erodes our sanity as we patiently wait to see the outcome, which we are certain isn’t going to be particularly pleasant. For these reasons alone, it’s not difficult to call this one of the darker films of its era, particularly since it is often so blase about some of its content, which it presents in such a matter-of-fact, direct manner – there are very few moments of surprising the audience, with the general atmosphere of Suddenly, Last Summer being one that establishes a more sinister tone from the very beginning, which gradually erodes into complete chaos as the film progresses. By the time we get to the moment of revelation (delivered in one of the most shocking monologues of its time, delivered expertly by Elizabeth Taylor), we’re shocked but not surprised at what we’re seeing and hearing. It’s a deeply unsettling piece that prepares the audience to be taken on a wild journey into the depths of the human condition, and while many films have offered this, not all of them have been capable of keeping to that promise, which is a further reason why Suddenly, Last Summer is a lot more fascinating than many give it credit for.

At the centre of Suddenly, Last Summer are a trio of incredibly impressive performances. Williams was a playwright who wrote some exceptional characters, and unlike some previous and subsequent adaptations, this one had interpretations that were thoroughly worth seeing. Montgomery Clift reunites with arguably his best collaborator, the enchanting Elizabeth Taylor, in a set of performances that were both rebellious in nature. Clift had only recently suffered the tragic accident that left him permanently scarred both physically and psychologically, and in working with Taylor, who herself chose to do this as her first film after being let go from a particularly restrictive contract, he finds himself doing some of his best work, undoubtedly a result of being at ease with someone he had a close personal and professional relationship with. Clift is very good in the film, even if it is understandably difficult to expect him to reach the same heights of his earlier work – but taken for what it is (and considering how Dr Cukrowicz isn’t a particularly strong individual in his own right, being more of a reactionary to the more notable female characters), it’s a fantastic portrayal by an actor who was thoroughly dedicated to his work. Clift also had the chance to work across from Katharine Hepburn at the peak of her dominance in Hollywood, and while her role here is slightly smaller than usual (with the actress being absent for nearly the entire second act), she commands the screen in that distinct way absolutely no one else has been able to match. With one of the most acclaimed young actors of his generation on one side, and arguably the greatest actress of all-time on the other, one can’t be envious of Taylor, who had to struggle to stand out amongst these two titans. Taylor was a gifted actress, but she unfortunately falters at some points in the film, but rapidly regains her strength as it progresses, and converges into a terrifying final act where she is central to the plot, and delivers a compelling monologue that is simply shattering. The trio at the core of Suddenly, Last Summer are all absolutely sensational, and while it may not be the defining work for any of them, their strengths as actors, and willingness to descend to the same depths as the events depicted makes this a worthwhile experiment on all accounts.

What makes Suddenly, Last Summer so compelling isn’t only that is has some interesting characters, but also because it knows what to do with them, situating them at the centre of a fascinating psychological study that is often very sinister, but draws us in with a seductive charm, pandering to our tendency to be curious about what lingers just outside of view. This is essentially the story of a family with secrets, and the unassuming doctor thrust into the middle of their bickering, which he soon realizes is far more disconcerting than he imagined. Mankiewicz is a master of restraint in this film, finding the quietly malicious allure of this film and exploiting it incredibly well, never allowing it to become gauche or uneven, but rather incredibly deranged in all the right ways. The director cuts to the core of this story, presenting a demented family saga that is complex and disquieting, but still so enjoyable. The viewer derives a perverse pleasure from getting to know these family secrets, and the manner in which Mankiewicz derives a kind of darkly comical edge from the proceedings is worth noting all on its own. It’s an incredibly rich and complex tapestry of human behaviour, as channelled through a trio of fascinating characters, and while it may sometimes veer towards becoming truly harrowing, the approach taken is absolutely worth every bit of discomfort. This isn’t an easy film to watch at all – Mankiewicz understands that this isn’t a text that is supposed to be reassuring or even entertaining beyond the fundamental premise, and instead allows it to flourish into the sinister mystery it was meant to be, which makes an enormous difference in a film that could have so easily seen itself struggling tonally and thematically, which has been seen in other adaptations of Williams’ work, where not many filmmakers are able to capture the spirit of the playwright’s work without resorting to excess or gaudy techniques.

As both a film that exists in theory and practice, Suddenly, Last Summer is quite a fascinating work – it doesn’t always seem to be reaching for all the potential it had (which is quickly remedied by a reminder that this was ultimately a film made in 1959, a while before more frank discussions on some of these ideas could be had – and in the case of the enormous revelation, there isn’t really any situation where such a conversation could be seen as normal), but still gradually emerges as an incredibly memorable piece. Most tend to look at the acting as the main quality to remember about this film, and indeed the formidable trio of Montgomery Clift, Katharine Hepburn and Elizabeth Taylor do make for thoroughly impressive watching, with their individual performances being incredible, and their chemistry absolutely palpable. However, where Suddenly, Last Summer really works is in the collaboration between the original text and its writer, and the two artists brought on to adapt it to the screen. This isn’t the case of merely transposing a play from the stage onto the screen, but something far more complex and – and Vidal truly had his work cut out for him, taking a one-act play and turning it into one of the most brutal psychological thrillers of the 1950s. He was assisted massively by Mankiewicz, who facilitated an arid atmosphere that only grows in hostility through the introduction of several plot points that are far more sinister than many would expect. As a whole, Suddenly, Last Summer is a fascinating work of social commentary, one that slowly loses its glamour and becomes almost hideous, showing the insidious side of humanity in frank, haunting terms. It’s not a pleasant film, but it’s an essential one – and it’s difficult to imagine many other filmmakers striking the balance between tone and intention quite as well, making this a truly haunting glimpse into our collective psyches, and a brutal evisceration of nearly everything we hold sacred.