|
gptkbp:instance_of
|
gptkb:play
gptkb:film
|
|
gptkbp:bfsLayer
|
3
|
|
gptkbp:bfsParent
|
gptkb:Sidney_Poitier
|
|
gptkbp:adapted_into
|
gptkb:television_series
gptkb:film
|
|
gptkbp:artist
|
gptkb:John_T._Chambers
|
|
gptkbp:aspect_ratio
|
1.85:1
|
|
gptkbp:audience
|
cult classic status
mixed audience reactions
|
|
gptkbp:awards
|
gptkb:none
|
|
gptkbp:based_on
|
a play by Tennessee Williams
play by James Leo Herlihy
|
|
gptkbp:box_office
|
$1.5 million
$1 million
|
|
gptkbp:character
|
gptkb:Big_Daddy_Pollitt
gptkb:Big_Mama_Pollitt
gptkb:Mae_Pollitt
gptkb:Bobby
gptkb:Evelyn
gptkb:Jack
gptkb:The_Stranger
gptkb:Brick
gptkb:Maggie_Pollitt
gptkb:Brick_Pollitt
gptkb:Harry
gptkb:Maggie
gptkb:Big_Mama
gptkb:Gooper_Pollitt
gptkb:Big_Daddy
Mae
Gooper
|
|
gptkbp:character_appearance
|
gptkb:Marlene_Stewart
|
|
gptkbp:character_arc
|
gptkb:Transformation
gptkb:downfall
redemption
|
|
gptkbp:character_development
|
complex characters
|
|
gptkbp:cinematography
|
gptkb:James_Wong_Howe
|
|
gptkbp:color
|
gptkb:Technicolor
gptkb:color
|
|
gptkbp:country
|
gptkb:United_States
|
|
gptkbp:critical_reception
|
mixed reviews
|
|
gptkbp:cultural_impact
|
cult following
influenced later adaptations
influenced later adaptations of Williams' works
|
|
gptkbp:design
|
gptkb:Richard_Sylbert
|
|
gptkbp:director
|
gptkb:John_Frankenheimer
|
|
gptkbp:distributor
|
gptkb:Columbia_Pictures
|
|
gptkbp:edited_by
|
gptkb:Bennett_Miller
gptkb:David_Bretherton
|
|
gptkbp:editor
|
non-linear
|
|
gptkbp:film_festival
|
gptkb:film_festival
gptkb:New_York_Film_Festival
|
|
gptkbp:film_score
|
gptkb:John_Barry
|
|
gptkbp:filming_location
|
gptkb:Louisiana
gptkb:New_Orleans
|
|
gptkbp:filmography
|
gptkb:Bennett_Miller
realism
non-linear storytelling
psychological drama
non-linear narrative
character study
character-driven narrative
location shooting
intense character interactions
dialogue-heavy scenes
|
|
gptkbp:genre
|
gptkb:High_School
|
|
gptkbp:home_media_release
|
gptkb:2005
gptkb:DJ
gptkb:film
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The Last of the Mobile Hot Shots
|
|
gptkbp:influenced
|
gptkb:theatre
future filmmakers
later films about urban life
|
|
gptkbp:influenced_by
|
gptkb:architect
gptkb:French_New_Wave
The Method acting technique
|
|
gptkbp:influences
|
gptkb:architect
|
|
gptkbp:inspiration
|
gptkb:American_South
Southern culture
family relationships
stage adaptations
Tennessee Williams' life
Tennessee Williams' personal experiences
|
|
gptkbp:is_criticized_for
|
gptkb:Pauline_Kael
gptkb:Gene_Siskel
gptkb:Roger_Ebert
gptkb:Vincent_Canby
gptkb:Variety
|
|
gptkbp:language
|
English
|
|
gptkbp:legacy
|
cult following
influential film in American cinema
|
|
gptkbp:music_by
|
gptkb:John_Barry
gptkb:Lalo_Schifrin
|
|
gptkbp:notable_appearance
|
final showdown
emotional climax
bar confrontation
|
|
gptkbp:notable_feature
|
Marlon Brando's performance
Tennessee Williams' adaptation
exploration of themes of masculinity
use of improvisation in dialogue
|
|
gptkbp:notable_quote
|
" You can't go home again."
“ I’m not a fool, I’m just a man.”
“ The truth is never what it seems.”
“ We’re all just playing our parts.”
“ You can’t be too careful with your heart.”
|
|
gptkbp:plot
|
A couple's relationship is tested by the arrival of a stranger.
|
|
gptkbp:premiered_on
|
gptkb:1970
|
|
gptkbp:production_company
|
gptkb:Columbia_Pictures
|
|
gptkbp:release_date
|
April 1970
December 1970
|
|
gptkbp:release_format
|
theatrical
theatrical release
|
|
gptkbp:release_year
|
gptkb:1970
|
|
gptkbp:remake
|
gptkb:none
|
|
gptkbp:runtime
|
100 minutes
|
|
gptkbp:screenings
|
limited release
|
|
gptkbp:screenplay_by
|
gptkb:Tennessee_Williams
gptkb:James_Leo_Herlihy
|
|
gptkbp:set_in
|
gptkb:New_Orleans
|
|
gptkbp:setting
|
gptkb:New_Orleans
|
|
gptkbp:sound
|
gptkb:Mono
gptkb:none
|
|
gptkbp:soundtrack
|
gptkb:musical
|
|
gptkbp:starring
|
gptkb:Marlon_Brando
gptkb:Robert_Hooks
gptkb:Natalie_Wood
gptkb:Robert_Redford
gptkb:Rita_Moreno
gptkb:Ruth_Gordon
gptkb:James_Farentino
|
|
gptkbp:theme
|
gptkb:TV_series
gptkb:betrayal
gptkb:greed
gptkb:military_operation
love and betrayal
truth
family dynamics
sexual tension
|
|
gptkbp:themes
|
gptkb:TV_series
gptkb:betrayal
gptkb:loyalty
gptkb:survival
gptkb:Community_Center
gptkb:military_conflict
desire
|
|
gptkbp:visual_effects
|
gptkb:none
|
|
gptkbp:written_by
|
gptkb:Tennessee_Williams
|