Cat on a Hot Tin Roof is a film released in 1958 and was directed by Richard Brooks. The film is based on a play of the same title written by Tennessee Williams, the famous playwright. The film centers on the tumultuous relationship between Brick (Paul Newman) and Maggie “the Cat” (Elizabeth Taylor) as they return to the family estate to throw a birthday party for the ailing Big Daddy (Burl Ives). In the lying scene, Big Daddy is walking home from the hospital in the company of Big Mama (Judith Anderson). When they get off their private plane, they are greeted by Cooper (Jack Carson) flanked by his entire family. Maggie is also present, although she appears abandoned and indifferent. Cooper's wife, Mae (Madeleine Sherwood), along with her children, strive to get Big Daddy's attention. However, Big Daddy is only attracted to Maggie. The scene ends with the news that Big Daddy will not die of cancer. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay. This scene seems to encapsulate most of the themes addressed in the film in one piece. It touches on perhaps the most important theme of the film which is deception. Deception is the overall message of the film and it is well captured in this scene. It's fair to say that the entire plot of the film is based on the lie conveyed in this scene. When Big Daddy is diagnosed with terminal colon cancer, the rest of his family is eager to grab a big chunk of his fortune. This struggle for inheritance brings out Mae's servility and the conflict between Brick and his brother Cooper. This scene depicts a happy Big Daddy who is glad that his cancer is finally gone. However, this diagnosis turns out to be a big deception. The truth is that Big Daddy's doctor worked with his family to lie to the old man about the severity of his condition. This deception is inherent in most of the characters in the film who lie to themselves or others or both. Throughout the film, characters complain about “lying,” about not telling the truth or facing reality (Bradshaw, 2017). In this scene, Mae's servility is an obvious deception that she uses to endear herself to Big Daddy. Furthermore, the film keeps the audience guessing about the true nature of most relationships (Bastien, 2016). This is cinematic deception that ensures the viewer discovers the reality of the situation from heavy glances and fleeting hints. This technique can prove frustrating especially when it comes to Skipper, Brick's closest friend who committed suicide. The viewer never gets to see Skipper, but Brick's marriage is still haunted by his presence. The bond between Brick and Skipper was vividly depicted in William's play, but the film glosses over it. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay Williams is said to have disliked the film adaptation as a result of its inability to address issues of sexism and homophobia (Bastien, 2016). The film was bound by the Hays Code which included a set of moral principles that governed the film industry until the 1960s. However, this confusing approach amplifies the characters' inability to face their truths and flaws. This process results in a Southern-style story in which the truth is usually out of reach, no matter how much the audience wants it. As such, the entire film seems to flow from one deception to another. This scene happens to capture the film's greatest deception. References Bastien, A. J. (2016, November 16). The..