Two-Time Oscar® Winner Elizabeth Taylor and Emmy® Nominee Mark Harmon star in this powerful production based on Tennessee Williams’ play. Once a beautiful screen idol, Alexandra Del Lago (Taylor) has fled Hollywood for fear that her beauty and fame has faded. Alexandra falls into the arms of Chance (Harmon), a shiftless would-be actor, who sees her wealth and position as his last shot at making it in Hollywood. Incorporating intense drama and steamy lust, this gripping story reveals the dark forces of human ambition and desire, as two people stop at nothing to achieve their goals.
 |  | "A Kind Of Magnificence." |  |
This 1989 film version of SWEET BIRD OF YOUTH based on the play by Tennessee Williams stars Elizabeth Taylor and Mark Harmon. She is a fading movie actress (Alexandra Del Lago) while he (Chance Wayne) is her driver/escort/confidante/gigolo/actor-want-to-be. The plot is classic Williams: the vulnerable, beautiful woman cast opposite the sexy stud but with a twist since Alexandra has a steeliness reminiscent of Maggie in CAT ON A HOT TIN ROOF. Both characters use each other for a quid pro quo: sex for furthering one's acting career. Thrown in for good measure are old-style demagoguery of the 1950's politician, racism, segregation, abortion and adultery. Add to that The theme of the perils of growing old, particularly if one has accomplished little (Chance); and you have quite a lot going on and a plot that does not always work.
Ms. Taylor remains tremendously beautiful here even with big hair and the essential lavender costumes. She plays again the role that she has done many times before, the exotic (often Southern but not always) woman (CAT ON A HOT TIN ROOF, REFLECTIONS IN A GOLDEN EYE, RAINTREE COUNTY, et cetera). At times she seems to be playing Elizabeth Taylor; on the other hand, it's great to watch her do only that. A character in the film describes Alexandra as having a "kind of magnificence." I have no words better to describe this screen legend.
Although by no means a perfect film, SWEET BIRD OF YOUTH is certainly worth watching.
May 20, 2006Elizabeth Taylor rules as a classic legendary actress who befriends a younger washed up actor using her to revamp his career.It's a must see!!!
September 15, 2005This had to have been Liz's last 'glamour' role. To be honest, I expected full-blown schlock and that's what I got. All I could focus on throughout the movie was how the camera was trying to camouflage this once great beauty's girth and double chin! Hellen Mirren's Karen Stone (in Willaims' "The Roman Spring of Mrs. Stone") is a much more authentic, and moving, portrayal of the consequences of the ravages of time - for a former stage&screen beauty and, indeed, for any of us. Best part of the movie for me was the flash of Mark Harmon's pretty butt - but my, what bushy eyebrows! ps - Fuggettabout Princess del Lago: Whatever happened to "Sexiest Man of the Year" Mark Harmon?! Therein, I suppose, lies Williams' not-so-surprising message...
March 26, 2005You have to really get the mood set to be an adapt actor for a Tennessee Williams production. I have seen Elizabeth Taylor do a couple of his works. In Sweet Bird of Youth she is just not Elizabeth Taylor but the ageing actress the way Williams would have wanted it. I believe Mark Harmon gave a good performan much different from Paul Newman. As I was watching it kept me interested. Individuals could learn much from this film if they just listen. Tennesse Williams had a message and it sure comes accross.
June 22, 2003 | | Star vehicle gets stuck in the mud | |
Though I'm only giving it two stars, this is not as bad a film as you'd think. And considering the price, I really shouldn't be complaining at all. After shining in "Cat on a Hot Tin Roof" and "Suddenly Last Summer," Elizabeth Taylor should be justified in claiming the crown as the quintessential Tennessee Williams actress. In one sense, she was a perfect choice to play the aging actress hiding behind the identity of the "Princess Kosmonopolis" in SWEET BIRD OF YOUTH. But Taylor is an actor who needs strong direction (think of what she an Mike Nichols accomplished in WHO'S AFRAID OF VIRGINIA WOOLF). What could have been every bit as good as the performance Geraldine Page turned in for Richard Brooks in the 1962 film is, in fact, something of a campfest--more of an Elizabeth Taylor impersonation than a true dramatic performance. (But then, is there a non-campy way to deliver the line, "Stupid, beautiful young man, that's my hash"?) As best as I could tell, this made-for-tv version of the play is closer to what Williams wrote than Brooks' theatrical release. (Back then, theater took more risks than movies ever did.) Although the Taylor movie is set in the 1950s the same as the play, it doesn't capture the mood of that period very well. In fact, when the Princess's traveling companion Chance Wayne (played by Mark Harmon) tries to blackmail her into giving him a movie contract (by tape recording her confessions about her drug use), the act seems downright implausible. When Paul Newman did the same in Brooks's film, it struck me more as a pathetic and ineffectual act, one that revealed Chance's boyish naivite and charm. In general, the remake is a conglomeration of unexplored nuances andd missed opportunities. Much of the film is shot in close-up and softened amber tones, giving it the feel of a daytime drama. (Tennessee Williams's plays are already dangerously close to being soap operas; they don't need an extra push.)
As for the play itself, I consider it to be the best of the second-tier Williams plays (the first tier consisting of THE GLASS MENAGERIE, A STREETCAR NAMED DESIRE, CAT ON A HOT TIN ROOF, SUDDENLY LAST SUMMER, and THE NIGHT OF THE IGUANA). Many of the great Williams themes are here: abuse of power, the predatory nature of sexuality, the human fascination with youth and beauty, and the delicate nature of society's outcasts. What I find interesting about this play is how when the play opens we are exposed to the Princess's obsessive concern about growing old and losing her physical attractiveness, but by the end of the play this obsession has been transferred to the male lead, to Chance. The Princess is the steely survivor, Chance is the one who suffers and is destroyed (like Blanche DuBois before him) by his inability to adapt and move on. This play is definitely worth seeing. My hope is that Richard Brooks' superior (but not perfect) film will be made available on DVD (with extras!). March 9, 2003
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