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"Cat on a Hot Tin Roof" helps propel Paul Newman and Elizabeth Taylor to stardom

By Elana Estrin

Signet paperback edition of Tennessee Williams's play 'Cat on a Hot Tin Roof.'
Signet paperback edition of Tennessee Williams's play 'Cat on a Hot Tin Roof.'

The Tennessee Williams Film Series at the Ransom Center continues tonight with Richard Brooks’s Cat on a Hot Tin Roof (1958), featuring Elizabeth Taylor and Paul Newman. The series runs on some Thursdays through July 21 and features films highlighted in the current exhibition, Becoming Tennessee Williams, which runs through July 31.

Despondent ex-athlete Brick Pollitt (Newman) resists the affections of his enticing wife, Maggie “the Cat” (Taylor). Tensions climax during cotton tycoon Big Daddy’s 65th birthday celebration on the Pollitt Plantation.

Cat on a Hot Tin Roof helped propel Newman and Taylor to stardom. Although Taylor did not fit Williams’s own “idea of Maggie the Cat,” she was nominated for an Academy Award for her portrayal and was praised by Walter F. Kerr in the New York Herald Tribune for making herself “believable as a rejected wife, determined somehow to win back her cold and hostile husband.”

Williams offered his literary agent Audrey Wood a list of eight “acceptable” directors for the film version of Cat on a Hot Tin Roof. MGM, however, preferred to work with a director they already had under contract. MGM offered George Cukor the directorial job, but Cukor turned it down when he realized that the Hollywood version of the story cut out most of the play’s implications of Brick’s homosexuality. The changes also infuriated Williams, who is said to have cautioned audiences to stay away from the 1958 film, charging that “this movie will set the industry back 50 years!” Richard Brooks, whom Wood identifies as “maybe!” qualified for the job, was eventually chosen to direct the film.

Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings.

Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.

This post was written by Ransom Center volunteer Emily Butts.

Elizabeth Taylor connections to Ransom Center holdings

By Courtney Reed

Promotional still of Elizabeth Taylor from 'Who's Afraid of Virginia Woolf?'
Promotional still of Elizabeth Taylor from 'Who's Afraid of Virginia Woolf?'

Actress Elizabeth Taylor, who died today at the age of 79, has connections to the Ransom Center holdings, ranging from the Mel Gussow collection to the Ernest Lehman collection.

The former New York Times theater critic Mel Gussow, who died in 2005, wrote Elizabeth Taylor’s obituary. His obituary, with updated contributions from other reporters, was posthumously published today in the New York Times.

The Lehman collection, consisting of more than 2500 items, spans the forty year career of the screenwriter, novelist, short story writer, journalist, motion picture producer and director. Included in the collection are scripts, correspondence, photographs and other material from the production of Edward Albee’s Who’s Afraid of Virginia Woolf? for which Lehman wrote the screen adaption and produced. The 1966 release of Who’s Afraid of Virginia Woolf? won Elizabeth Taylor her second Academy Award for her performance as a bitter faculty wife, Martha.

As a part of the Ransom Center’s Tennessee Williams Film Series, the Ransom Center will show Cat on a Hot Tin Roof (1958), starring Elizabeth Taylor as Maggie “the Cat” on Thursday, June 23 at 7 p.m. Included in the Ransom Center’s current exhibition Becoming Tennessee Williams is an unidentified magazine clipping titled, Liz Plays “Cat on a Hot Tin Roof.” Though Taylor did not fit Williams’s own idea of Maggie the Cat, Taylor is praised in the article for making herself “believable as a rejected wife, determined somehow to win back her cold and hostile husband.”