''Cat on a Hot Tin Roof'', 1958 - art by Reynold Brown
by Movie World Posters
Title
''Cat on a Hot Tin Roof'', 1958 - art by Reynold Brown
Artist
Movie World Posters
Medium
Mixed Media - Digital Art
Description
Vintage movie poster reproduction for ''Cat on a Hot Tin Roof'', a 1958 American drama film directed by Richard Brooks, based on the Pulitzer Prize-winning play of the same name by Tennessee Williams. The film stars Elizabeth Taylor and Paul Newman in iconic roles and explores themes of family conflict, deception, and societal expectations.
The story revolves around the wealthy and dysfunctional Pollitt family, who gather at their Mississippi plantation to celebrate the birthday of the family patriarch, Big Daddy Pollitt, portrayed by Burl Ives. However, the celebration is marred by a web of secrets and lies. Big Daddy's son, Brick Pollitt, played by Paul Newman, is a former football star who is drowning his sorrows in alcohol after the suicide of his close friend and teammate. His wife, Maggie "Maggie the Cat" Pollitt, played by Elizabeth Taylor, is desperate for his affection and the inheritance that would come their way if Brick were to inherit his father's fortune.
The film delves into Brick and Maggie's troubled marriage, Brick's strained relationship with his family, and the underlying tensions within the Pollitt family. At the center of it all is the impending revelation of Big Daddy's terminal cancer, a truth that various family members are struggling to conceal.
"Cat on a Hot Tin Roof" is known for its powerful and emotionally charged performances. Elizabeth Taylor's portrayal of Maggie is a standout, and her chemistry with Paul Newman as Brick adds depth to their characters' complex relationship. Paul Newman's portrayal of Brick, a man battling his own inner demons and conflicted feelings, is also highly praised.
The film explores themes of repression, sexual desire, societal expectations, and the pursuit of truth. It examines the facade of happiness that people put on for the sake of appearances and the consequences of denying one's true self. The intense family drama and heated confrontations between characters contribute to the film's gripping narrative.
The film's success was not without controversy, as it had to navigate the censorship standards of the era, which limited the direct exploration of certain themes from the original play. Nevertheless, "Cat on a Hot Tin Roof" was well-received by audiences and critics, earning several Academy Award nominations.
Overall, "Cat on a Hot Tin Roof" is remembered as a classic of American cinema, primarily due to its exceptional performances, particularly by Elizabeth Taylor and Paul Newman. It remains a compelling exploration of family dynamics, personal struggles, and societal pressures, offering a powerful and memorable cinematic experience.
About the artist:
William Reynold Brown (October 18, 1917 – August 24, 1991) was an American realist artist who painted around 250 Hollywood film posters. He was also briefly active as a comics artist and he worked as a technical artist at North American Aviation during World War II.
Following the war, Brown drew paperback book covers along with advertisements and illustrations for numerous magazines including Argosy, Popular Science, Saturday Evening Post, Boys' Life, Outdoor Life, and Popular Aviation.
Brown taught at the Art Center College of Design in Los Angeles before he started creating film posters. Among the dozens he designed was an original painting for The Alamo, which hung for years at the actual Alamo in San Antonio, Texas. Some of his other well-known posters at the time included How the West Was Won, The Incredible Shrinking Man, Dr. Zhivago, Ben Hur, Spartacus, Mutiny on the Bounty, and The Four Horsemen of the Apocalypse. Today, he is best remembered for his posters for The Creature From the Black Lagoon and the cult classic Attack of the 50-Foot Woman.
Brown's posters imparted a sense of cinematic adventure to movie theater lobbies across the country. The posters became popular due to his ability to portray movie scenes using a dramatic collage effect. Unlike earlier poster designers, he based his illustrations and compositions not on traditional graphic design but on the dynamic nature of popular filmmaking.
Although his posters were widely recognized and contributed to the success of many popular films, Brown, like other movie poster artists, was contracted to maintain his anonymity and could not sign his work.
In 1953, Brown cofounded the Society of Illustrators of Los Angeles. He suffered a stroke in 1976, after which he spent the remaining years of his life on a 180-acre plot of land in Nebraska.
In 1994, a documentary about Brown was broadcast on television, titled The Man Who Drew Bug-Eyed Monsters. In addition, a book with many of his artworks was published in 2009, “Reynold Brown: A Life in Pictures.” According to a movie reviewer in Nebraska, as a result of the documentary, Brown and his colleagues are beginning to get the recognition they deserve, not only as talented artists but for their broader impact on popular culture.
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February 12th, 2021
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