Rating: 
Summary: This modern world
Review: The question here is "How do one view a movie that's approaching its 50th Birthday?". All movies are products of their era but as times have changed so much it becomes increasingly difficult to identify with stories from the last decade, never mind the last generation.
The DVD blurb praises the way the movie treats "the then taboo subjects of homosexuality, prostitution and cannibalism" (although I'd suggest that cannibalism is still taboo...), although really none of these words is mentioned, and in fact, any specific mention of the terms is couched in euphemism and subterfuge that one almost wonders how an audience in 1959 (that isn't as savvy with homosexuality, prostitution and cannibalism as we are) would even have understood what was going on.
So to view the movie in modern terms is quite unfair. We're all familiar enough with Mental Health to condemn the idea of a lobotomy on a girl whose quite clearly suffering from some kind of repressed memory due to extreme trauma, we'd all happily call the mother out on her gay son's use of underage prostiutes, and the camera work and slow-moving dialogue heavy plots are intolerable to a young ADD audience brought up on Nintendo and car commericals. So I'm afraid as a modern viewer it's hard to watch this movie for anything but historical interest. It hasn't aged well and it's ground-breaking subject matter is now commonplace.
Two thoughts stay with me in closing though. Firstly the assumption in the movie that because Sebastian was homosexual, he was a pederast and had a voracious sexual appetite not only offends modern sensibilities, but also must've been difficult for Montgomery Clift to deal with.
Secondly, Elizabeth Taylor is beautiful, voluptuous and sexy, yet she'd be considered far to chubby to star as a sex symbol in a modern Hollywood movie.
The world moves on, but doesn't always get better...
Rating: 
Summary: Disturbingly Seductive
Review: This 1959 film adaptation of the Tennessee William's play was intelligently scripted by the playwright and Gore Vidal. Set in the 1930's south, effectively shot in black and white, and skillfully directed by Joseph L. Mankiewitz. The film has a slow and sometimes tedious pace but still spins a web that ultimately draws you in like a good mystery. For the most part the cast is well chosen. Katherine Hepburn gives a delicate unraveling performance as the shrewd, manipulative and tragically obsessive mother of the never seen central character Sebastian. Mercedes McCambridge is superb as the weak and greedy mother of the film's heroine Catherine. Elizabeth Taylor shines as the emotionally traumatized heroine Catherine and gives one of her most overlooked and underrated performances, culminating in a superbly acted tour de force monologue that reveals the truth surrounding Sebastian's death. Ironically it is Montgomery Clift who is the weakest link in this ensemble and seems miscast in the role of the Doctor who must decide Catherine's fate. On another note, in the scene where Catherine has been transferred to a new hospital, and allowed for the first time in a great while to wear her own clothes and have her hair done, we are joltingly reminded of how absolutely breathtakingly beautiful Miss Taylor was.
Rating:
Summary: The strength of the performances make this film sizzle
Review: This 1959 film starred both Elizabeth Taylor and Katherine Hepburn. Each is a fine actress in her own right. But put them together, and the screen just sizzles. Each one has long monologues lasting for more than 15 minutes, but, because of their talents, I was riveted to my seat the entire time. Adapted from a play by Tennessee Williams who was joined by Gore Vidal in writing the screenplay, it's a strikingly weird story set in 1937 New Orleans and deals with the sensitive subjects of insanity, lobotomy and cannibalism. When we consider that the film was released during a time of high censorship, we have to applaud the writing, which had to conform to the guidelines of the time. Perhaps for this reason though, some of the story is not quite crystal clear. But this doesn't matter, nor does it matter that the Southern accents seem either non-authentic or missing altogether. That's because of the strength of the performances. And not every detail has to always be tied up in a neat package. If you're looking for a lightweight, comfortable film, you won't find it here. Instead you'll find a disturbing controversial theme and some of the best on-screen performances by you'll ever see.
Rating:
Summary: Consider other Williams' offerings first
Review: This film is a solid Tennessee Williams/Joseph Mankieowitz
collaboration. It will appeal most to those who enjoy films from the heyday of the dialogue-laden melodramas (late 50's-early 60's). Having said that, this film is ultimately inferior to pictures like Cat on a Hot Tin Roof, Streetcar.., the Long Hot Summer, and Who's Afraid of V. W. The dialogue is not nearly as crisp in this film, although it does have a fairly engaging plot. We are exposed to different perspectives on the truth, as well as controversial themes (for the time) such as homosexuality and female sexuality. Other pluses include innovative camera angles throughout, and the split-screen perspective of the final scene, in which we never see Sebastian's face.
One thing that hurt this film was Montgomery Clift's disturbingly shaky performance (both figuratively and literally). He was unable to hold his own in any of his scenes with Liz Taylor or Katherine Hepburn, and seemed both distracted and physically weak. Perhaps he already was, even in 1960. It was also impossible to believe that anyone in their right mind could deem Liz Taylor was an incorrigeable case; obviously, the audience needed to be drawn to her and the plot needed drama, but both should have been possible without loss of plausibility. (I don't attribute this to Taylor's acting by the way; her performance here was stronger than Hepburn's). The film also treats the symptoms of, and recovery from, psychological trauma in a grossly oversimplified way. The same though could be said of Spellbound, The Manchurian Candidate, and just about any other 'mental illness film' from the era.
Vertigo alone is perhaps above the fray in that regard, as it is in so many other respects.
Rating:
Summary: Consider other Williams' offerings first
Review: This film is a solid Tennessee Williams/Joseph Mankieowitz
collaboration. It will appeal most to those who enjoy films from the heyday of the dialogue-laden melodramas (late 50's-early 60's). Having said that, this film is ultimately inferior to pictures like Cat on a Hot Tin Roof, Streetcar.., the Long Hot Summer, and Who's Afraid of V. W. The dialogue is not nearly as crisp in this film, although it does have a fairly engaging plot. We are exposed to different perspectives on the truth, as well as controversial themes (for the time) such as homosexuality and female sexuality. Other pluses include innovative camera angles throughout, and the split-screen perspective of the final scene, in which we never see Sebastian's face.
One thing that hurt this film was Montgomery Clift's disturbingly shaky performance (both figuratively and literally). He was unable to hold his own in any of his scenes with Liz Taylor or Katherine Hepburn, and seemed both distracted and physically weak. Perhaps he already was, even in 1960. It was also impossible to believe that anyone in their right mind could deem Liz Taylor was an incorrigeable case; obviously, the audience needed to be drawn to her and the plot needed drama, but both should have been possible without loss of plausibility. (I don't attribute this to Taylor's acting by the way; her performance here was stronger than Hepburn's). The film also treats the symptoms of, and recovery from, psychological trauma in a grossly oversimplified way. The same though could be said of Spellbound, The Manchurian Candidate, and just about any other 'mental illness film' from the era.
Vertigo alone is perhaps above the fray in that regard, as it is in so many other respects.
Rating: 
Summary: Give me a break!
Review: This film is overwrought and silly, much like the play upon which it is based. The effort to avoid having the characters say "the unspeakable" leaves you exasperated with Elizabeth Taylor's inarticulate whining and Montgomery Clift's obtuse psychiatrist. The fate met by Sebastian Venable is lurid and absurd. The film is redeemed solely by its historic importance as an exploration of homosexuality in a repressive era and by the chance it offers to see the three principles (Montgomery Clift, Elizabeth Taylor, and Katherine Hepburn) together.
Rating: 
Summary: Gothic Mind Games!
Review: This is a film you simply have to watch to believe!
Katharine Hepburn turns in a fantastic performance as the ever so bent mother of Sebastian. Her solution to "secrets" is to simply cut them out of the brain of her tortured niece.
Elizabeth Taylor truly turns in a grand performance, which certainly should have garnered her an Oscar, not just the nomination that she deserved. Watch for the scene in the santitarium's sunroom where she really holds her own with Hepburn.
The movie's climax will have you riveted to the screen.
Overall a great film, one of Liz's best performances!
Rating:
Summary: A must see!
Review: Violet Venerable is a great character created by KH. Her performance in the film is worth the price!
Rating:
Summary: SOUTHERN GOTHIC HORROR....
Review: Watered down film version of Tennesee Williams' stage play that contains one of the most horrific storylines brought to the screen at the time (1959). Katharine Hepburn is memorable as the very weird Mrs. Violet Venable, a wealthy New Orleanian matron who keeps a monstrous jungle of carnivorous plants on her patio grounds. She attempts to procure the services of a new young neuro-surgeon (Montgomery Clift) with a radically new method of lobotomy to lobotomize her supposedly mad niece Catherine (a stunning Elizabeth Taylor) to shut-up her ramblings about the death of Violets' son, Sebastian, who died a grotesque death "suddenly last summer". Of course, Catherine isn't mad but still in shock since she witnessed Sebastians' death. While showing her "garden" to the doctor, Mrs.Venable relates a morbid story of she and Sebastian witnessing baby turtles being devoured by sea birds as they scrambled for their lives to the ocean. This tale is allegorical to the way Sebastian died but Mrs.Venable is in extreme denial about the nature of his death and the twos' true relationship. The doctor begins interviewing Catherine and discovers the truth through the use of truth serum. Sebastian was a sexual predator who used his mother while they vacationed to attract young men and when Violet was no longer young or pretty enough he turned to Catherine. This leads to the horrible revelations about his death that Violet Venable is determined to stop Catherine from revealing---even if it means a lobotomy. This is amazing subject matter for the time and daringly brought to the screen. The film is somewhat stagily done but fascinating to watch thanks to the awesome performances of Hepburn and Taylor. Essential viewing for truly off-beat psycho-drama and what could be gotten away with in 1959 when handled properly. Give this one a good watching.
Rating:
Summary: An Underrated Classic
Review: What more could a movie buff ask for? Elizabeth Taylor, Katharine Hepburn and Montgomery Clift; 3 great actors of film in ONE movie! I am a 20 year old college student and let me tell you that there is just something about this movie that captures me. I LIKE this film very much. This movie is complex, yet understated but if anything is to entice you to buy this movie, it should be the performaces. Both Hepburn and Taylor were nominated for Oscars for thier roles here and it is easy to see why; their performances are brilliant and mesmerizing. Clift is also good here too, but the film truly belongs to the two female stars. If this film was good enough to capture a 20 year olds attention, then that should be proof as to just how good the movie and the performances in it are! The DVD also features stills from the movie, is available in both widescreen and full screen and also features bios on all the stars!
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