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Orpheus Unending, or Beyond and Behind The Fugitive Kind

Fugitive Kind

Val (Marlon Brando) in his snakeskin jacket confronts Woman (Anna Magnani).

For quite a lot of causes, then, despite its high-gloss finish, the movie didn’t achieve any real business success. This is not to say it was an inventive letdown, as in some ways the tensions inherent in both the movie’s making and its overly revised script gave it a palpable nervous power. Nonetheless, the most important performances do not solely manage to convey the indirect message of Williams’ text and the classical, to not say archetypal, view of human nature undergirding it. And so, to move from the drama backstage to that which was on-screen, it is sensible to turn to a dialogue of the Orphic parts which might be designedly central to The Fugitive Sort.

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The sense of a story that isn’t quite completed pervades The Fugitive Variety, the movie version of Tennessee Williams’ Orpheus Descending. There are a selection of causes for this, chief amongst them being that by the point the movie was launched in 1959, the writer had been transforming the plot for at the least 20 years. The story of four struggling souls in a small bigoted town of the Mississippi Delta had originally appeared as a play referred to as Battle of Angels, which closed in Boston after only 17 performances. Williams did not surrender on the drama, nevertheless, and a revised model ran a decade afterward Broadway, although to solely modest success. “Why have I stuck so stubbornly to this play?” Williams requested, in an op-ed piece for the New York Occasions about it entitled “The Previous, the Current, and the Perhaps.” As he answers,

Nicely, nothing is extra valuable to anybody than the emotional report of his youth, and you will see that the path of my sleeve-worn heart on this accomplished play that I now name Orpheus Descending. On its floor it was and still is the tale of a wild-spirited boy who wanders into a standard group of the South and creates the commotion of a fox in a hen coop.

But beneath that now acquainted surface it is a play about unanswered questions that hang-out the hearts of individuals and the distinction between persevering with to ask them, a difference represented by the four major antagonists of the play, and the acceptance of prescribed solutions that are not answers at all, however expedient variations or give up to a state of quandary.

The aim of the present essay is to not look at why the playwright felt compelled – like Orpheus – to look back at this story many times, however as an alternative to discover what influence this apprehensive revision and different exterior inventive issues have upon the experience of the drama itself. Maybe it’s pretentious to speak of metacinematic analysis, however there’s much behind and past The Fugitive Type that we’d properly contemplate Orphic. While it might not finally be a hit, the failure of the movie, just like the classical determine on which it’s patterned, bears repeated viewing nonetheless.

Somewhat fuller discussion of the plot is so as, nevertheless, before we give attention to the uses to which the Greek mythological material is put. Marlon Brando performs the movie’s protagonist, Val Xavier, a drifter with a snakeskin jacket and a guitar, whose character owes an excellent deal to Elvis. Leaving New Orleans beneath personal duress, he has driven so far as his automotive will take him to arrive in the pouring rain at the unnamed town that’s the film’s setting. Here the sheriff’s spouse, Vee Talbott, played by Maureen Stapleton, takes pity on him, and brings him to the dry-goods retailer in town operated by Woman Torrance and her husband, Jabe, a hateful character who spends a lot of the movie on his deathbed. Woman – played by Williams’ shut good friend Anna Magnani (the winner 4 years earlier of the Oscar for Greatest Actress within the film version of Williams’ Rose Tattoo) – is the daughter of an Italian immigrant who, years earlier than, had been burned to dying in the nightclub he owned, retaliation by the local Klan for serving alcohol to blacks. In her youth, Woman was, as she says, “bought” to her husband, Jabe, himself a member of the get together that killed her father, as we’ll uncover later in the film. Whereas Val is in Woman’s retailer on the lookout for work, the fourth of the struggling souls appears, Carol Cutree (Joanne Woodward) maybe the film’s most misplaced character. A daughter of the town’s main family, she has suffered ridicule and abuse for her civil rights exercise; she has consequently given in to profligacy and been banned from the city.

Because the story proceeds, Val’s presence leavens Woman’s despair, and she or he undertakes to open a nightclub of her own, like her father’s, in the “confectionary” hooked up to the five-and-dime. Indeed, as her husband draws closer to dying, she needs it to open that very day, so as to rejoice her launch from his grip and a newfound sense of life. In the long run, nevertheless, the villainous Jabe rises from his bed and takes all hope from her, and just like the Grim Reaper determine he represents, shoots her lifeless. In the meantime, the sheriff’s men use a blowtorch to burn Val up, a grotesque and pointedly diabolical picture of the type Williams steadily employed. The play Orpheus Descending, from which The Fugitive Variety is reworked, “seems like all of Tennessee Williams,” in theatre historian Donald Costello’s estimation. “That’s in all probability its hassle. It is the most obvious assertion of his main theme, and it’s jam-packed together with his favourite units,” among which Costello numbers “vivid theatricality of violence and horror,” “light-dark imagery,” “sacramental purification of fireside and water,” “inventive visions of sex,” and “as a logo of hope some pure natural object which has risen above earthly taint.” If the play’s baroque symbolism was an excessive amount of for theater-goers in Boston and Broadway, there was confidence in Hollywood that a star-studded forged underneath the in a position course of Sidney Lumet may have the ability to rein in its excess for a movie viewers.

A sluggish dissolve from the bed-ridden Grim Reaper determine of Jabe Torrance (Victor Jory) hovering over Woman and Val, each of whom he will murder

Tensions on the set came to mar the ultimate product, nevertheless, and Brando particularly never committed himself absolutely to the a part of Val. In reality, his curiosity within the position had primarily to do with the paycheck he was capable of negotiate, the not insubstantial sum of $1 million, the most important contract any actor had to date ever gotten. “I was divorcing my first spouse and needed money,” he writes in his autobiography, Songs My Mom Taught Me. Nonetheless extra problematic was the connection between Brando and his leading woman. When he went to satisfy with Magnani in a Beverly Hills lodge before capturing began, Brando writes that the following encounter ensued:

Without any encouragement from me, she began kissing me with nice passion. I tried to be responsive because I knew she was apprehensive about growing older and dropping her beauty, and as a matter of kindness I felt I needed to return her kisses; to refuse her would have been a terrible insult. However once she received her arms around me, she wouldn’t let go. If I started to tug away, she held on tight and bit my lip, which actually harm. Together with her tooth gnawing at my decrease lip, the 2 of us locked in an embrace, I was reminded of a type of deadly mating rituals of insects that end when the female administers the coup de grâce. We rocked forwards and backwards as she tried to steer me to the bed. My eyes have been large open, and as I looked at her eyeball-to-eyeball I noticed that she was in a frenzy, Attila the Hun in full assault. Lastly the ache acquired so intense that I grabbed her nose and squeezed it as exhausting as I might, as if I have been squeezing a lemon, to push her away. It startled her, and I made my escape.

Magnani, little question, had her own model of those occasions, but suffice it to say that after such an experience, even performers of this excessive caliber have been going to have hassle evoking the latent chemistry between these Southern Gothic variations of Orpheus and Eurydice.

For quite a lot of causes, then, regardless of its high-gloss end, the film did not obtain any actual business success. This isn’t to say it was an inventive letdown, as in many ways the tensions inherent in both the film’s making and its overly revised script gave it a palpable nervous power. Nonetheless, the key performances do not totally manage to convey the oblique message of Williams’ text and the classical, to not say archetypal, view of human nature undergirding it. And so, to maneuver from the drama backstage to that which was on-screen, it is sensible to show to a discussion of the Orphic parts which are designedly central to The Fugitive Sort. Here it’s value considering the remarks by Jean Kontaxopoulos, who writes by means of background, that

the Orphic fable has repeatedly impressed not only literature but in addition portray and music, a reality which is clearly explained by the poetical nature of Orpheus and the everlasting symbolic message which approaches all the good philosophical dilemmas: life and demise, love and hatred, tolerance and intolerance, conformism and maladjustment, poetry and philistinism, violence and tenderness, freedom and slavery…

Kontaxopoulos goes on to notice, nevertheless, “Typically the modernization of the myth is so distant from the classical one that we might speak about a metamyth or even an absence of fable. Myths, in any case, make truths visible we might not ordinarily see.”

While this sentiment could also be somewhat overstated, it is nonetheless true that the kind of one-for-one allegorical correspondence that we’d anticipate between a piece referred to as Orpheus Descending and the Virgilian or Ovidian prototypes is essentially to not be discovered. There are a selection of allusions in Orpheus Descending/The Fugitive Type to the classical fable, however nothing so simple that you would call it an adaptation. The myth as an alternative provides a kind of thematic setting for the film, with parts from time to time brought forth into the foreground, but indirectly and by no means in any real programmatic trend. As Rory B. Egan has aptly noted,

In evolving his personal dramatic model of Orpheus he executes a type of sparagmos on the Orpheus of literary tradition after which reconstitutes him, using all the unique bits and pieces but in a special configuration.…

It appears fairest to say with Egan, then, that the allusions to the classical Orpheus in The Fugitive Sort aren’t so much worked into the film as scattered via it, as the limbs of the poet have been tossed hither and yon by the maddened maenads in Ovid’s Metamorphoses. Thought-about in this means, we might readily determine numerous motifs. Jabe Torrance can simply be seen as a Hades figure, married to a recalcitrant and resentful lady who, like Persephone, was stolen away from her Italian house. In hopeful anticipation of her personal return from the underworld, Woman advertises the opening of the confectionary (timed to coincide together with her husband’s demise) by hiring a truck with a calliope to play by way of town: Williams, in fact, knew that Calliope was the mother of Orpheus, and indeed, Brando’s Val is a singer like Orpheus, whose lyre turned a constellation, whereas Val’s guitar is roofed with the signatures of blues players whose, as he says, “names are written on the celebs.” Viewers of the movie will be capable of select different such motifs with out much hassle.

Different allusions to the parable in The Fugitive Variety are extra oblique, nevertheless. So, for example, Val wears a snakeskin jacket, and even goes by, or used to go by, the nickname “Snake-skin”; thus do the decide and Carol name him within the opening scenes of the film, although Val every time indicates his uneasiness with it. This specific identify points vaguely to a bigger Orphic motif: from Ovid’s Metamorphoses in addition to historic mosaics, we recall that Orpheus was a master of animals, who drew close to to him in great numbers to hear the dulcet sounds of his voice. The numerous animal references in Williams’ work usually and in Fugitive Type specifically – foxes in hen coops, birds, snakes, and the frequent descriptions within the stage directions of characters being like “wild animals at bay” – tells us something of the playwright’s personal Orphic preoccupations. While this is not the place to enter an prolonged dialogue of his employment of animal imagery, it is enough to observe their significance in the titles of works like Sweet Fowl of Youth, Cat on a Scorching Tin Roof, Night time of the Iguana, and of course, The Glass Menagerie.

Concerning snakes, Williams also knew that it was a snakebite in the Orpheus fable that was the reason for Eurydice’s dying, and but it is exhausting to see what exact significance this imagery serves within the film. One famous misperception of its which means proves the point. In David Lynch’s 1990 movie Wild at Heart encompasses a character named Sailor, performed by Nicolas Cage, who has just been launched from prison, like Val in The Fugitive Sort. Sailor is picked up by his girlfriend, Lula (Laura Dern), who brings him his beloved snakeskin jacket. As he tells her, “Did I ever inform you that this here jacket represents a logo of my individuality, and my perception in personal freedom?” to which she responds rapturously, “About fifty thousand occasions.”

Fugitive Kind

Lula (Laura Dern) and Sailor (Nicholas Cage) in his extremely symbolic snakeskin jacket in the finale of Lynch’s Wild at Coronary heart

There’s much to appreciate in what Lynch has achieved here; Sailor’s jacket is a discovered reference to The Fugitive Variety, made all the more discovered by the fact that – as David Foster Wallace pointed out in an excellent assessment of Wild at Coronary heart – Diane Ladd, who plays Laura Dern’s mother within the film and who, in real life, is Laura Dern’s mother, met and married Laura Dern’s father, Bruce Dern, whereas the 2 of them have been starring in an off-Broadway revival of (you guessed it) Orpheus Descending, the play written by Diane Ladd’s second cousin, Tennessee Williams. However despite this virtually Hellenistic community of Mississippi cross-references, Lynch has the snake (or relatively the snake’s pores and skin) all mistaken, for Williams had employed it to not assert his protagonist’s “individuality” and “private freedom” but for a special function altogether.

At a important level in The Fugitive Type, Val displays on humanity’s inherent loneliness, observing bitterly, “We’re all, all of us, sentenced to solitary confinement inside our own skins, for as long as we reside on this earth.” Indeed, this picture is powerfully rendered in cinematic terms as the film opens: the first shot is of a chain-link holding cell by which we see Brando as Val together with his again turned to the digital camera; off one among his shoulders hangs the jacket. The snakeskin only half encompasses Val, nevertheless, and while the remainder of his determine is dark and indistinct, it does not convey any suggestion of malice. Indeed, the malice as an alternative is visited upon Val. On the film’s end, after his ugly homicide at the hands of the sadistic small-town devils, all that’s left of the protagonist is his snakeskin jacket, which Carol dons as she makes her own escape from the hellish little town. It is a horrific ending, in fact, however in another sense it’s hopeful. In a strong act of symbolic regeneration, Val lastly rids of himself of his previous id; because the movie’s opening, he has been trapped in his previous snakeskin, the symbol of his slavery to an previous lifestyle, and been making an attempt to shed it by some means.

We are sentenced to solitary confinement for as long as we stay on this earth, he says; with demise, nevertheless, it is attainable to seek out launch. The query is raised, then, of the afterlife, beyond the reach of fireside, devils, and serpents. If, in placing it this manner, sure biblical themes come to thoughts – of sin, redemption, and launch – they are evidently intentional on the a part of the playwright, who is tapping right into a deep custom of Christianizing the classical figure, along the strains of the medieval Ovide Moralisé: Val must be understood in this sense, then, as “Orpheus Christus Mississippiensis,” as Egan has entitled his research of this drama. Seen in this context, the theme of descent and return, dying and resurrection find a “pure pure object” (to make use of Costello’s time period) within the figure of the snake, as imagined in each the biblical and pagan traditions. The Christian context of the drama is more submerged within the movie than within the play from which it’s drawn; it is laid out in Orpheus Descending, as an example, that the occasions takes place over the Easter weekend, and quite a few other Christian motifs may be detected.

Fugitive Kind

“They usually only mild on this earth however one time, that’s once they die.”

Nonetheless additional within the background, there are the roots of Val’s musical nature to be thought-about. As John Uecker, certainly one of Williams’ personal assistants, wrote me a few believable backstory for Val, “Also the church songs are essential to this character. Did he sooner or later receive music training at a church?” The suggestion isn’t without foundation. Whereas Brando doesn’t sing in the film – for good cause I think, although I like his Sky Masterson in Guys and Dolls, personally – he does strum, in response to the stage directions in Orpheus Descending, some chords from a hymn Williams wrote referred to as “Heavenly Grass”:

Then my ft come right down to stroll on earth,
And my mom cried when she give me start.
Now my ft walk far and my ft stroll quick,
But they still obtained an itch for heavenly grass.

The sense of descent on this hymn is some extent on which Egan feedback aptly:

Val Xavier, the singer of Heavenly Grass, shouldn’t be only Orpheus however Christ as nicely, and the identical track conveys photographs of the redemptive descent of Christ, not solely from earth to hell, however from heaven to earth.…

Within the film, we never do hear these words from Val, so this sense of Orpheus’ descent stays unarticulated. Yet the insight right here makes a connection to nonetheless another essential animal image in Fugitive Sort, that of the legless hen, although it is just a passing connection. A few third of the best way by way of the movie, Val is telling Woman his belief that “there’s simply two sorts of individuals, those which might be bought and the consumers.” He then imagines that there’s one other category, “the type that’s never been branded,” and in response to Woman’s dismissal, delivers the movie’s key speech:

There’s a sort of chook that don’t have any legs so it will possibly’t mild on nothing so it has to spend its entire life on its wings within the air. I seen one once. It died and fell to earth. And its body was light-blue colored and it was simply as tiny as your little finger, and it was so mild within the palm of your hand that it didn’t weigh more than a feather, and its wings unfold out that broad and you possibly can see proper by means of them. That’s why the hawks don’t catch them, ’cuz they don’t see them. They don’t see them approach up in that prime blue sky near the sun.

Woman: What about in gray climate?

Val: Properly, they fly so excessive in grey weather that the hawks would get dizzy. See, these little birds don’t haven’t any legs at all they usually reside their entire lives on the wing, they usually sleep on the wind. That’s what they do, they only spread their wings out and go to sleep on the wind. They usually solely mild on this earth however one time, that’s once they die.

It is a lovely picture, however an arcane one. The fowl Val is describing right here appears finally to be the legendary cypselus apus, a kind of swallow described by Aristotle in the Historia Animalium (9.30). In its more instant dramatic context, Nancy M. Tischler has written that William’s “imagery of the legless chook is a fitting symbol of the artist who rejects the strong grounding in reality. The flight ends solely with dying.” Yet these points do not get us very far in understanding the hen’s significance to the drama.

Fugitive Kind

Marlon Brando and director Sidney Lumet on the set of The Fugitive Type. Public domain image courtesy of Wikimedia Commons

However it might be that the which means of the legless chook is greatest revealed in its filming. The intricate cinematography that director Lumet’s cameraman Boris Kaufman employs in this scene serves to emphasize the play’s light-dark imagery, with the shop in the background fading slowly to black simultaneously as the spotlight on Val’s face increases in depth. It was a troublesome shot, made much more so by Brando’s hassle with the strains. Lumet writes concerning the filming of this scene in his memoir, Making Films:

Marlon had advised me about some private troubles he was having at the time. I out of the blue realized that there was a direct connection between his troubles and the line he couldn’t keep in mind. We tried again. He stopped. I went up to him and stated that if he needed, we might break until tomorrow, however I didn’t need this block to construct up overnight. I assumed we should always bull by way of it regardless of how long it took. Marlon agreed. Take 12. Take 18. It was getting embarrassing. Magnani, the crew, all of us have been in agony for him.…

Finally, on Take 34, two and a half hours after we started, he did all of it. And superbly. I virtually wept with aid.…

What Brando’s troubles have been on the time will not be exhausting to imagine, if we recall the broken marriage, the next custody battle, the financial difficulties, and naturally the uncomfortable working relationship with Anna Magnani. But, for all those distractions, Brando’s soliloquy about “a fowl that don’t have any legs” is surely the movie’s best second, perhaps as a result of in it one senses the close proximity of the movie’s failures to its successes.

There are bits and items throughout The Fugitive Sort that work, and others that don’t, and sometimes for the very same causes. There’s Brando’s colossal faltering right here together with his strains, his close to paralysis within the face of private anxieties, out of which someway he manages to supply the movie’s better part. There are the Academy Award-winning actresses who, neither of them, really capture their characters, although their futility conveys exactly the blightedness of their respective conditions. There’s Lumet’s dealing with of the screenplay, which, for all its explosiveness, fails to interact, and so perfectly renders the desperate small-town setting. And, in fact, there’s the playwright’s personal evidently tireless transforming of the story, the strained relationship to the mythological source materials to which it consciously alludes, and his elaboration of unusually lovely and yet not quite comprehensible imagery. The snakeskin jacket is nearly too meaningful, pointing in any variety of instructions – towards Genesis, Ovid, and David Lynch – while the legless hen, despite its central place within the film’s tangle of symbols, is nearly too obscure to make out. Val has seen it, once, however it is exhausting to know who else may be capable of do likewise.

Fugitive Kind

In the nightclub Woman has made out of the shop’s confectionery, Val and Woman’s last moments collectively

Regardless of the protestations of how much his guitar means to him, in the long run, the hero by no means actually performs his instrument. The hen might land only as soon as, however it’s never heard to sing. The play might be the emotional document of Tennessee Williams’ youth, out of which he customary a few of midcentury America’s most enduring drama, but right here the artist, in maybe his most Orphic moment, spectacularly fails to realize his end. Like Brando within the movie’s opening, his symbolic snakeskin is just partially in proof. There is a story, advised by a not-so-reliable source, that Williams attended a sneak preview of The Fugitive Sort at New York’s RKO Theater. The screening did not fare nicely. Quite a number of members of the audience walked out, while others remained behind only to boo. Somebody spotted Tennessee fleeing the theater afterwards and commenced to hiss at him. Different patrons soon joined in. How else might Tennessee have responded to this rejection, but in variety? As he’s later reported to have stated, “I just hissed again.”

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Until in any other case noted, all photographs are screenshots from the DVD of the movie.

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