Picnic (1955): Starring William Holden, Kim Novak, Betty Fields, Rosalind Russell, Cliff Robertson, Susan Strasberg, Verna Felton, Arthur O'Connell, Reta Shaw, Nick Adams, Raymond Bailey, Elizabeth Wilson, Steve Benton, Warren Frederick Adams, Carle E. Baker, George E. Bemis, Paul R. Cochran, Adlai Zeph Fisher, Harold A. Beyer, Shirley Knight, Phyllis Newman, Harry Sherman Schall, Henry Pagueo, Flomanita Jackson, Floyd Steinbeck, Abraham Weinlood....Director Joshua Logan, Screenplay Daniel Taradash.
Based on the award-winning play by William Inge, a playwright who was at the level of his contemporaries Arthur Miller and Tennessee Williams, this is director Joshua Logan's successful screen adaptation released in 1955. If ever there was a film that best represented the 1950's, this movie is it. There are certain elements within the "angst" story that evoke other classics such as "Rebel Without A Cause" and "Streetcar Named Desire". This is the story of an average small town in middle America in the 50's suddenly rocked by the tension and conflict brought on by the appearance of the newcomer, a former Hollywood actor and the ensuing rivalry between two sisters that desire him. For its time, this film was thoroughly modern and covered new ground in its realistic depiction of real life, a film that was far from the escapist nature of other 50's films such as Vincent Price horror films, Westerns, ancient-times epics and romantic comedies. The cast is very strong in their performance. William Holden (Sunsent Boulevard, Sabrina) was not only a well-known star at this time, but considered something of a veteran. He portrays Hal Carter, the good-looking, mature-aged actor who left California to seek a peaceful life in a small town in the Mid-West. Rosalind Russell is terrific as the school teacher Rosemary, a minor role but a great one. Holden's co-stars Kim Novak and Betty Field deliver strong performances as the Owens sisters Madge and Flo, each with their own issues and troubles, competing for his affection. Other fine performances by Verna Felton as Helen Potts, Cliff Robertson as Alan Benson and Susan Strasberg as the mother Millie Owens. Even the bit part portrayed by Shirley Knight is good. Other praiseworthy elements include the nostalgic 50's milieu via the music (songs "Moonglow", "It's A Blue World"), the costumes by Jean Louis which reflect the 50's down to the last detail and fine cinematography by James Wong Howe. As mentioned, this film's strength lies in its frank realism. The subtleties of sexual repression, frustration concerning lost dreams, the hope of a second chance, the tragic condition of living out-of-synch with the rest of the forward-moving world, issues about age, gender roles and other aspects covered in the terrific William Inge play, are done justice in this film, even if they fly right by you. This is unquestionably William Holden's best work, for he took a big risk in presenting himself in an entirely different light. He is not only intelligent as an actor, but oozes sensuality and animal magnetism coming close to being a sort of Marlon Brando, for this film anyways. While in the 50's some women were relegated to "sexy" types (Marilyn Monroe being the front runner), Holden boldly struts around the film without his shirt like a piece of man-meat for the women. This is a well-made film and a fine document in an era that was not as "nifty" as you think it was. The sad quality of this film, the drama of real life and the accurate representation of life is what makes this film a winner. The 50's are suddenly less rose-colored and far more complex when you see this powerful film.
Based on the award-winning play by William Inge, a playwright who was at the level of his contemporaries Arthur Miller and Tennessee Williams, this is director Joshua Logan's successful screen adaptation released in 1955. If ever there was a film that best represented the 1950's, this movie is it. There are certain elements within the "angst" story that evoke other classics such as "Rebel Without A Cause" and "Streetcar Named Desire". This is the story of an average small town in middle America in the 50's suddenly rocked by the tension and conflict brought on by the appearance of the newcomer, a former Hollywood actor and the ensuing rivalry between two sisters that desire him. For its time, this film was thoroughly modern and covered new ground in its realistic depiction of real life, a film that was far from the escapist nature of other 50's films such as Vincent Price horror films, Westerns, ancient-times epics and romantic comedies. The cast is very strong in their performance. William Holden (Sunsent Boulevard, Sabrina) was not only a well-known star at this time, but considered something of a veteran. He portrays Hal Carter, the good-looking, mature-aged actor who left California to seek a peaceful life in a small town in the Mid-West. Rosalind Russell is terrific as the school teacher Rosemary, a minor role but a great one. Holden's co-stars Kim Novak and Betty Field deliver strong performances as the Owens sisters Madge and Flo, each with their own issues and troubles, competing for his affection. Other fine performances by Verna Felton as Helen Potts, Cliff Robertson as Alan Benson and Susan Strasberg as the mother Millie Owens. Even the bit part portrayed by Shirley Knight is good. Other praiseworthy elements include the nostalgic 50's milieu via the music (songs "Moonglow", "It's A Blue World"), the costumes by Jean Louis which reflect the 50's down to the last detail and fine cinematography by James Wong Howe. As mentioned, this film's strength lies in its frank realism. The subtleties of sexual repression, frustration concerning lost dreams, the hope of a second chance, the tragic condition of living out-of-synch with the rest of the forward-moving world, issues about age, gender roles and other aspects covered in the terrific William Inge play, are done justice in this film, even if they fly right by you. This is unquestionably William Holden's best work, for he took a big risk in presenting himself in an entirely different light. He is not only intelligent as an actor, but oozes sensuality and animal magnetism coming close to being a sort of Marlon Brando, for this film anyways. While in the 50's some women were relegated to "sexy" types (Marilyn Monroe being the front runner), Holden boldly struts around the film without his shirt like a piece of man-meat for the women. This is a well-made film and a fine document in an era that was not as "nifty" as you think it was. The sad quality of this film, the drama of real life and the accurate representation of life is what makes this film a winner. The 50's are suddenly less rose-colored and far more complex when you see this powerful film.