User Reviews

As the film opens we see right at the offset that the marriage between "shaky-hands"George(Jim Hutton;a problems that resulted from his war experience in Korea)and Isabel(a smoking Jane Fonda at the early part of her career)is rocky. But, the home they are headed for in Florida holds a marriage coming apart at the seams. Ralph(Anthony Franciosa)and Dorothea(Lois Nettleton)are having problems of their own. Ralph has had enough of his boss, and Dorothea's father, and tells him his thoughts about the crusty old man and where he can take this job. Other things underneath the surface, though, lead Dorothea to leaving Ralph such as his quitting his job, the way he wishes for his son be treated like a male than a sissy(I felt this was an intentional Tennesse Williams subtle plot point about parental homophobia)..his son is given girlie toys instead of a football or other more manly presents. We watch as these four characters face personal demons in a night of not only bitter feuding, discussion, and, most importantly, reflection. The main question is can both marriages survive? Like a lot of films based on plays, this shows characters searching their souls and trying to become honest with themselves and the faults that guide them into unusual terrain. We watch as they try and sort out their emotions by talking. We see an age-old ordeal in the Ralph and Dorothea marriage..the in-laws butting in and causing further conflict. That alone casts a foreboding shadow Ralph wishes to escape. Also, the "ugly duckling" aspect regarding how Dorothea feels about herself is also a little ordeal that plays out in the film as she questions whether Ralph wants to remain in a "love-less" marriage.

George is a fragile man who met his wife Isabel in a mental hospital where doctors tried to find the reason for the consistent plague of shakes that take over his hands(it would probably acute to panic attacks that many suffer today). He talks a big talk, even tries to play out his aggressiveness, but he's weak and really does need Isabel even though he pretends to acts all macho. Isabel has such a wonderful personality, but her insistence to be heard and appreciated, at times, weighs a bit on George.

So we see that each person has to come to terms with each other's faults and problems. This film has a tendency to over-exaggerate it's message(..and is a bit syrupy at times)and lays on the melodrama a bit thick. It still has a more adult theme to it and touches on some very important things every marriage faces. It's always interesting seeing Fonda in these early roles before she becomes engulfed in the hippie lifestyle of the on-coming Vietnam war.

The film's title is derived from a quasi pop psychology phrase that one of the main characters keeps uttering which is eventually adopted by another. Featuring the directorial debut of George Roy Hill, with an Isobel Lennart screenplay, this is an atypical Tennessee Williams drama because it's as much a comedy as an exploration of family issues (e.g. with one's parents) and marital problems (which require a "period of adjustment" to resolve).

Like Williams's play(s), it contains the usual unique and over-the- top characters, all of whom speak with a Southern accent, played by Tony Franciosa, Jane Fonda (in her fifth film), Jim Hutton, Lois Nettleton, John McGiver, Mabel Albertson, Jack Albertson, and briefly, uncredited appearances by John Astin, Norman Leavitt and Jesse White (among others). Upon seeing this film, there's no mistaking Timothy Hutton for anyone other than Jim's son. Though it's not a great movie, it did receive an Oscar nomination for its B&W Art Direction-Set Decoration and it is fairly entertaining, even for those who may not normally enjoy the author's more serious works.

While recovering from his post-Korean War shakes at a Baptist hospital in St. Louis, George Haverstick (Hutton) becomes fond of student nurse Isabel (Fonda), who'd given him sponge bath massages, such that he asks her to marry him when he's discharged. She accepts, but is soon disillusioned when she sees that he's bought a retired hearse to drive them to their planned honeymoon on the beaches of Miami, Florida. Isabel becomes even more upset when she learns that George had quit his job. Plus, their wedding night dinner is spent at a Tennessee truck stop where George seems more interested in drinking with the all male clientele and contacting his friend from the war, Ralph Baitz (Franciosa) ... than consummating their marriage! They check into a rundown, roadside motel that night, but it's later revealed that Isabel slept in a chair (and why). The next day, the Haversticks are shown pulling up to Baitz's middle class, suburban home.

Meanwhile, Ralph has had troubles of his own. He'd married his boss's daughter, the homely Dorothea (Nettleton). But after six years, Ralph too had become disillusioned. He'd gotten the financial security he'd thought he'd wanted, but his figurehead position didn't let him utilize his talents or make key decisions. Even though his father-in-law, Stewart P. McGill (McGiver) had personally picked the attractive war hero for his daughter AND had married the boss's daughter Alice (Mabel Albertson) himself, he kept Ralph in a subservient, stifling job. The night before Christmas Eve, Ralph, who'd always refused to kiss his father-in-law's butt anyway, had gotten drunk and finally told Isabel's father off. On Christmas Eve day, Ralph quits in lieu of apologizing to Stewart but, when he gets to the McGill's home, doesn't receive the support he'd expected from his wife. Surprised by Dorothea's attitude, they argue over the incident, and his concern that their son (Scott Robertson, uncredited) enjoys playing with the doll from his mother-in-law. Ralph then leaves his family at his in-laws and returns home just before the Haversticks arrive.

Upon their arrival, George greets his friend Ralph, introduces Isabel, retrieves her suitcases, tossing them in the door, and then drives off! Though both are stunned, and Ralph has problems of his own, he serves as a calming influence for Isabel, saying more than once that marriage requires a "period of adjustment". During this time, (unseen) Dorothea and her mother's maid (uncredited) come by to retrieve her son's Christmas presents, and get the wrong idea about Ralph and Isabel. Without any ready cash, Ralph calls Smoky Anderson (Astin) to sell his house; he plans to leave town. Leavitt and White are among some Christmas carolers who are going door to door; at each house, they're invited in for a drink of holiday cheer, so they're slowly becoming intoxicated! Eventually, it comes to light that George, who had bragged about his many sexual conquests in Korea, is actually a virgin, something that Ralph had known all along. He helps Isabel to better understand her newlywed husband's false bravado. She thinks this must be the cause of George's shakes, especially after he returns and she eavesdrops on a conversation between the war buddies (they'd flown over 70 missions together), which includes discussion of a future cattle business opportunity.

About this time, Dorothea's parents arrive to remove their Christmas gifts, past and present, from the home and stop Ralph from selling it. By now the staggering carolers have attracted the attention of a police officer who is called by Mr. McGill to assist them (e.g. hoping he'll arrest Ralph). This leads to everyone being taken before the incredulous, yet judicious desk Sergeant (Jack Albertson) downtown. Afterwards, Ralph and Dorothea finally have another chance to talk, and then reconcile, setting an example for George and Isabel (eavesdropping again) which leads them to their own moment of truth and reconciliation.

Aren't there enough bad marriages in the world to dispense with a feature film highlighting couples fighting? How is this a Christmas film other than taking place on Christmas Eve? Listening to Jane Fonda's character scream horrible things to Jim Hutton's character for most of the movie isn't fun. Especially with Jane Fonda's shrill, fake-southern-accent voice. Why oh why does Jane Fonda have to play a southern woman? It certainly doesn't make her more lovable, that's for sure. A bride on her wedding night like "Mrs. Haverstick" is about as cuddly as a porcupine. Who can blame Mr. Haverstick for deeply regretting his ill-considered elopement with his hospital nurse (who is fired for playing "doctor" with her patient) on a whim? Anthony Fraciosa as Haverstick's Korean War buddy in a marriage of financial advantage to Lois Nettleton are no better. How Jane Fonda said yes to this atrocious script I can only wonder. I thought by 1960 she had enough clout as Henry Fonda's daughter to be more selective. If this is truly based on a stage play by Tennessee Williams, I really am stumped. Anyway, if you have a couple of hours of downtime with nothing better to do and you think you can endure listening to married couples squabble, be my guest. There are far worse sins.

After directing several television shows during the Golden Age of 1950's television, director George Roy Hill turned to the big screen with Period Of Adjustment, his debut theatrical film. While Hill's direction is not always sure, he manages to present an entertaining of not altogether satisfying adaptation of this rare comedy/melodrama by Tennessee Williams. The story is based on a play by Tennessee Williams and is adapted for the screen by Isobel Lennart. The story concerns two married couples, one newlywed couple and the other married for six years, their problems, and the complications and ironies that ensue. Jim Hutton and a young Jane Fonda play the newlywed couple with Hutton as George trying to maintain a machismo he can no longer afford to because of the shakes. Fonda as Isabel strikes a balance between the nervous bride and the realization her new husband is just another man like any other.

Meanwhile, Tony Franciosa as Ralph becomes the centerpiece of the film as a married man with faults of his own who fails to realize the finer points of communication when interacting with his wife Dorothea played by Lois Nettleton. Nettleton's parents, played by John McGiver and Mabel Albertson, are the epitome of meddling, controlling in-laws loathed by their son-in-law Ralph (Franciosa). Hutton eventually holes up with Franciosa, after Nettleton walks out, while Fonda fumes playing second fiddle to the men. It's Williams' way of tearing down the idolatry that some folks have about the institution of marriage. It's not necessarily what each of us thinks it is. Ultimately, those marriages that survive are those where individuals are willing to see the weaknesses of themselves and their spouses as just impediments to communication and not millstones permanently handicapping marriages.

Williams may also be making a none to subtle point about raising children in an environment of acceptance and love, not as bargaining chips or corollaries supporting personal agendas. The early scene of Ralph and Dorothea's son being given a "sissy" present makes this clear and serves maybe as a reminder of one of the catalysts for Williams' later depression and self-loathing regarding his homosexuality. Period Of Adjustment is certainly not one of Williams' dramatic high points, as the film is more of a comedic melodrama, which does not always succeed. However, good enough Williams is usually better than the best of lesser playwrights. Several character actors crop up throughout the film: Jack Albertson as a desk sergeant, John Astin as Smoky Anderson, William Fawcett as the motel proprietor, and Norman Leavitt and Jesse White as Christmas carolers. *** of 4 stars.