This Property Is Condemned | Natalie Wood, Robert Redford | Wish me a rainbow, wish me a star ...

This Property Is Condemned | Natalie Wood, Robert Redford | ELECTRIFYING NATALIE WOOD!!!

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This Property Is C...

	This Property Is Condemned Natalie Wood, Robert Redford Paramount, 2003 average customer review:based on 58 reviews view larger image
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highly recommended

Wish me a rainbow, wish me a star ...

A year after Tennessee Williams's 1945 breakthrough success with "The Glass Menagerie," a collection of his then-existing one-act plays was published under the title "27 Wagons Full of Cotton." Included in that collection was "This Property Is Condemned," a two-person play describing a chance encounter between a boy named Tom and an orphaned school drop-out named Willie by the railroad tracks outside a near-abandoned, post-depression-era Southern town. During their conversation, Willie tells Tom about her sister Alva, who was once the town's "Main Attraction" with suitors galore, fancy clothes and always out to party; but died young when her lungs "got affected." Yet, everything about Willie already spells "doom" as well: Her dreaminess and lack of realism, her cheap rhinestone bracelet and raggedy old-fashioned party dress (which were once her sister's), her shabby doll, and of course the fact that she still lives in her family's old railroad-side boarding house, long-since shut down and bearing the sign "This Property Is Condemned," from which the story thus takes its symbolic title.

Inspired by Tennessee Williams's play, Francis Ford Coppola sat down with TV writer-producers Fred Coe and Edith Sommer (as well as uncredited David Rayfiel) and created a screenplay fleshing out the backstory; the story of Alva, who dreams of nothing more than getting out of her small backwater home town and seeing the world (or at least New Orleans, which is more or less the same thing), but is trapped between lack of money and prospects on the one hand and a mother heavily capitalizing on her physical attractions on the other hand. And both the screenwriters and Natalie Wood, who stars as Alva, did the famous playwright proud: Their heroine is as much an inhabitant of Williams's "Dragon Country" - that place too painful to live in, yet somehow endured - as are her sisters-in-spirit Blanche DuBois ("A Streetcar Named Desire") and Amanda and Laura Wingfield ("The Glass Menagerie"); like them hiding from a reality deemed intolerable behind a gauze veil of make-believe, and prone to immediate destruction when robbed of her illusions.

For Alva, however, doom doesn't come at the hands of a man: In fact, although she has acquired the reputation of the town's easiest girl, with suitors ranging from her own mother's boyfriend (a marvelously, tightly controlled Charles Bronson) to a wealthy old visitor from Memphis named Johnson (John Harding), railroad executive Owen Legate (Robert Redford), in town with a suitcase full of pink slips and thus the quickly-maligned catalyst of the railroad-dependent community's demise, falls for her when he begins to see through her easygoing facade. (She, of course, was smitten the minute she laid eyes on him ... and sister, I sure am with you there. We're talking about Redford in his prime, after all.) Owen and Alva are a classic case of "opposites attract" - he the realist who never dreams, dislikes his job but does it because someone has to, and tries to make her face the reality of her situation, albeit with the aim of empowering, not destroying her; and she the romantic, who can dream herself inside a snow globe when she wants to feel cold, believes that places vividly imagined are almost as good as places actually visited, and sometimes feels so suffocated by her town's encroaching atmosphere that she has physical trouble breathing (which of course also foreshadows other things). Natalie Wood and Robert Redford have incredible chemistry - their prior collaboration in "Inside Daisy Clover" quite obviously helped a lot - and truly bring to life the precarious, only seemingly carefree young Southern belle and her reluctant lover. But just as crucial is the relationship between Alva and her manipulative mother (Kate Reid), who stands for everything that her daughter is not and, although practically inexistent in Tennessee Williams's play, as an agent of destruction is a worthy peer to his most brutal characters, first and foremost "Streetcar"'s Stanley Kowalski.

While it can hardly be said that the movie is "based" on Tennessee Williams's play - the opening credits aptly use the term "suggested by" - the play itself remains largely intact as an outer frame; using Willie (Mary Badham of "To Kill a Mockingbird" fame) as a narrator and taking the majority of the dialogue between her and Tom ("Lassie"'s Jon Provost) straight from the play. Much the same is true for the Starr boarding house, which in the movie's opening and closing shots quite closely matches Tennessee Williams's (as always) elaborate stage directions, describing the building as "a large yellow frame house which has a look of tragic vacancy:" only one example of James Wong Howe's and Stephen Grimes's excellent cinematography and production design, complimented in turn by the great, venerable Edith Head's period-sensitive costumes.

For most of the movie's participants, "This Property Is Condemned" was a harbinger of even bigger things to come: Although Natalie Wood was a bona-fide star (and the only actor receiving "above the line" billing) and both child actors' parts did not come close to the earlier ones that had made them famous, Francis Ford Coppola was yet to create "The Godfather," Sydney Pollack would go on to direct the much-acclaimed "They Shoot Horses, Don't They?," Robert Redford's career would skyrocket with "Butch and Sundance," and for Pollack and Redford together this was only the first in a seven-film run, including blockbusters like "The Way We Were" and "Three Days of the Condor" and culminating in 1985's multiple-award-winning "Out of Africa." Thus, this is also an important testament to the level of work that facilitated their respective paths to glory. Conversely, in Natalie Wood's case this was probably her last truly great appearance, unmatched by any of her remaining work in the 15 years until her untimely death. For everybody involved, however, it was an important career milestone - and with its spot-on atmosphere, fine acting and all-around great production values it's a movie I'll take over many a more recent release any time; no questions asked.

Also recommended:
Tennessee Williams: Plays 1937-1955 (Library of America)
Tennessee Williams: Plays 1957-1980 (Library of America)
Tennessee Williams Film Collection (A Streetcar Named Desire 1951 Two-Disc Special Edition / Cat on a Hot Tin Roof 1958 Deluxe Edition / Sweet Bird of Youth / The Night of the Iguana / Baby Doll / The Roman Spring of Mrs. Stone)
Tennessee Williams' The Glass Menagerie (Broadway Theatre Archive)
The Rose Tattoo
Suddenly, Last Summer
Baby Doll
Tennessee Williams' Dragon Country (Broadway Theatre Archive)

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ELECTRIFYING NATALIE WOOD!!!

I certainly agree with everyone on this film! It is one of the most under rated films of all time. Natalie Wood's performance and beauty are timeless. One has only to look in Natalie Wood's eyes to see the raw truth and honesty behind this electrifying performance. Any fan of Classic film or Natalie Wood MUST own this DVD.

I was there

In 1966 I was in the Air Force at Keesler AFB in Bolxi Miss. One night, with a friend, I was in Gulfport Miss, I head the sound of a steam engine's whisle. This was long after steam trains. I found that they were filming "This property is condemded" in a little nearby town of Bay St Lewis Mississippi. I watched as they filmed many senes. Being from LA ...filming was not new to me. Today when I view this movie I am realistically placed back into a time in the south that I can not contradict. TPIC is a wonderful time-set melodrama. I can watch it over and over. And even though I was there in the 60s I can get the feel of the depression time. As a side note Jane Mansfield was killed in an auto crash while this film was in production just miles from the senes.

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