Cat On A Hot Tin Roof: The Difference Between The Movie And The Play

With this goal in mind he adds a detailed exposition of the background story to the beginning of the movie, to let the audience experience what is just told in stories in the original play. With this approach, the movie leaves less to the imagination of its audience, but gives the viewer what he expects - not theater in the movies but a theater based movie.

Drama in the stage Cat is created via dialogue. The film version relies on a more outward form of drama, particularly visible in the scene between Big Daddy and Brick in the basement, where he finally destroys a life sized picture of himself. The internal

drama turns into an external, visual one, imminent to the medium of film that can show subtle emotions in close up. The close up of theater is the character's word.

Content as well has been adjusted to the film's time and audience. Direct verbal acknowledgement of sex, prostitution, and homosexuality were reduced to faint hints. Contrary to the play, Maggie denies her adulterous affair with Brick's friend Skipper in the filmed version, and succeeds at convincing Big Daddy that it was just a misunderstanding. The reason for Skipper's death, Maggie proving him to be a failure when in bed with him, is never revealed in the film, which leaves Brick's contempt for his wife unexplored.

In the third act, at the climax of the rivalry, Brooks and Poe choose to extract Brick from the scene, thus depriving the audience of an actual insight in the relations

Some topics in this essay:
Daddy Brick, Williams' Hollywood, Gooper Hence, James Poe, Brooks Poe, film version, play maggie, original play, language movie,