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COMFORT DAY AND NIGHT
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■^MOVIES
THE FUGITIVE KIND , Marlon Brando Joanne Woodward Anna Magnani Maureen Stapleton Victor Jory
the despair of Tennessee Williams
■ No vague, symbolic metaphor obscures Tennessee Williams' philosophy in this film. With agonized (and sometimes boring) clarity he says: brutality and evil will sure enough conquer the world, there's no use fighting it. All we can do— in helplessness and nostalgia — is to value the few rare wild birds who fly into our world now and then, flutter their wings courageously against the downdraughts of evil and then die — violently, and in vain. The bird in The Fugitive Kind is Marlon Brando. He wears a snakeskin jacket, carries a guitar (his life's companion) and drifts, at thirty, into the life of storekeeper Anna Magnani. Anna is a bitter woman who never recovered from the fact that her father's house and grounds were burned out by unknown hoodlums of this very town. She's married to cruel Victor Jory who's just come home from the hospital to die. AU of Williams' characters (except Brando and the ineffectual Maureen Stapleton) feel like victims and make no effort to get out of the muck they're in. Joanne Woodward can react to her life only by becoming a defiant tramp; she is always around (looking like an unkempt ghost) to lure Marlon back to his old ways. Resisting her (it isn't hard), he gives in to Anna's great need for warmth. Anna plans to open her "confectionery"— an outdoor cafe — on the very night that Jory is dying. By this time Brando is
by Florence Epstein
caught. Like a bird he flutters to fly away, but the forces of evil embodied by the town sheriff, the dying husband, the pervasive smell of rot, the strangling grip of town history, all serve to destroy him. — United Artists.
FIVE BRANDED WOMEN van Hetim
Sylvana Mangano love and war Harry Guardino
■ The very confused thinking in this movie is swept away, in the end, by such a stand for the dignity of man that you find yourself accepting unbelievable people in a story that seems to have been filmed for its sensational appeal. The story opens in occupied Yugoslavia where a Nazi officer (Steve Forrest) seduces one girl after another. The girls give in for various reasons — one wanted coal for the stove; another wanted to save her brother; another (Barbara Bel Geddes), come hell or high water, is determined to become a mother; still another (Sylvana Mangano) hates war and wants love. The five girls have their heads shaved (as punishment for making love to the Nazi soldier) and are expelled from the village. Hunger makes them tough (they steal) ; necessity (to protect herself from the unwanted advances of a soldier) makes Sylvana kill, and the next thing you know the girls have joined up with the guerrillas— after first being warned not to become involved with them in love affairs. Too bad Vera Miles (one of the branded girls) succumbs to Harry Guardino (one of the
In Tennessee Williams' The Fugitive Kind, Anna Magnani and Marlon Brando are two tortured characters who try to find happiness.