Tennessee Williams' 1955 play, Cat on a Hot Tin Roof, explores concepts of truth and illusion through a troubled Mississippi family and the tensions that exist between the characters when faced with family crises. Richard Brooks' 1958 film adaptation simplifies, clarifies, and obscures Williams' ideas and thoughts on modern American society. Williams heavily criticizes the lying and social restrictions of the 1950s, particularly those imposed on women. Brooks' adaptation has clear similarities to Williams' work, however, to appeal to conservative audiences of the 1950s, multiple themes and ideas are discarded or toned down. Brooks simplifies the role of women and in doing so sexualizes Maggie and her relationship with Brick. Furthermore, its Hollywood ending makes it clear that the American dream is achievable, deviating from Williams's open-ended ending to interpretation and critique of the American dream. To comply with the restrictions of the Hay Code, any allusions to Brick's homosexuality are obscured from the film, instead focusing on the martial issues between Brick and Maggie. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The role of women is simplified in Brooks' film adaptation, villianizing Mae and sexualizing Maggie, to appeal to conservative audiences of the 1950s. Representations of femininity and even masculinity have changed significantly from play to film. Williams introduces Maggie through unvarnished dialogue spoken as she "shouts over the roar of the water", displaying masculine characteristics not seen in women of the time. In contrast to Maggie's "mischievous" nature is Brick, who possesses "a cool air of detachment" and is significantly more submissive and indecisive than Maggie. This gender reversal of the text demonstrates how Brick, as the man in the relationship, is unable to live up to his ideal, thus allowing Maggie to fill that role, deviating from society's expectations. However, this is not reciprocated in Brooks' film adaptation. Rather than exercising masculinity, Elizabeth Taylor portrays Maggie as desperate and more submissive. This is demonstrated by Taylor's over-the-top acting, as she desperately clings to Brick. In the film, Maggie relies more on Brick to help repair their marriage, conforming her to the social ideals and expectations of the time. In the film, Maggie is told the news of Big Daddy's terminal cancer by Brick, stripping her of all the power she had in the same scene in the play, where she was the one who broke the news to Brick. Because this information is withheld from her, Maggie is depicted as trying to reach the masculine plateau she had already reached in the play. Additionally, Brick and Maggie's relationship is highly sexualized in the film, causing the audience to focus on their romance rather than Maggie's character, thus diminishing her role. Brick's hatred for Maggie is a surface-level romantic conflict to appease the audience of the time. This sexual tension is strengthened by the jarring input of sensual jazz between scenes of increased tension and interaction which tone down Maggie's mischievous nature which is very powerful throughout the play. This sensual music, combined with the soft lighting placed on Maggie, especially in her intimate scenes with Brick, eliminates any hint of her masculine qualities. Thus, simplifying Maggie as a character, focusing more on her relationship and sexual tension with Brick rather than her complexities as a character. Taylor's casting choiceas Maggie she obscures the headstrong, masculine character she is trying to portray, as the audience is distracted by her beauty, painting her as a more feminine and sexual figure. The costumes highlight this, as they are very typical of 1950s fashion; delicate and feminine. Taylor's costumes are very figure-hugging and the slip is very scandalous for the time. Newman is often seen standing, placed in the foreground which places him in a position of dominance over Taylor who is positioned in the background. This further emphasizes Brick's masculinity and places Maggie in a more submissive position, reflecting the expectations and role of women in the 1950s. Additionally, Maggie is often seen dressed in white, the color of purity, presenting her as a figure of femininity. Furthermore, in Brooks' adaptation, Mae is mistreated and presented as an irritating figure. Brooks highlights Mae's irritation at Gooper's constant but subtle dismissal of her and her unattractive pink dress with a large protruding bow in contrast to Maggie's attractive, subtle clothing. This contrasts with the play, as in the play Gooper does not show much irritation towards his wife and they are seen working closely together to stop Big Daddy from putting the property into "irresponsible hands". Madeleine Sherwood's strong, high-pitched voice in her portrayal of Mae exaggerates her irritation as a character. Thus, Mae is simplified from Brooks' to fit the Hollywood archetype of the villain. Overall, Brooks simplifies his female characters to fit more archetypal roles and presents them as feminine figures to satisfy a conservative audience. Brooks makes clear that the American dream is possible, contradicting Williams' criticisms of the achievability of the American dream. At the conclusion of the work, Brooks presents an overall Hollywood ending, in which the characters are reconciled, with the exception of the "villain", Mae, who is defeated. By adding Hollywood glam and drama, Brooks was able to appeal to the movie audience of the 1950s. The film's ending has an optimistic tone despite the knowledge of Big Daddy's cancer. The characters' reconciliation to mend their broken relationships overshadows this, leading to an overall positive Hollywood ending. In the play, Big Daddy is not present as he is throughout Act 3, and his departure from Act 2 is very unfortunate. He leaves with an unresolved argument with Brick about lying and Skipper, when a child comes in with a firecracker causing Big Daddy to chase the child and slap him, leaving Brick "motionless as the lights dim". At the end of the show a "long cry of agony and rage" is heard from Big Daddy, leaving readers desperately aware of his impending death. However, in the film, Big Daddy is present in the final scenes, completely altering the ending. After Big Daddy and Brick reconcile in the basement, they help each other up the stairs; Brick abandons the crutch. Additionally, Brick does not drink at all after emerging from the basement with Big Daddy symbolizing that he is mending his relationships and is no longer "broken" internally. The storm present in the film's climax recedes, parallel to the union of the family. In the film, relationships are reconciled when previously at odds in the play text. Big Daddy and Brick repair their broken relationship through an added scene in the basement. Big Daddy also reconciles with Big Mama, leaving the living room hand in hand, looking affectionately into each other's eyes. Despite Gooper and Mae's evil actions, Gooper manages to redeem himself and mend his relationship with Brick. A close-up shot from above of Gooper and Maescrambling to pick up documents from the floor highlights Big Daddy's looming presence as Gooper stares at him, signifying their defeat. However, Gooper later mends his relationship with Brick, stating that he knows Brick didn't "tear him apart". Mae however, as the film's titular villain reconciles with no one, is instead seen on the steps of the stairs, defeated. As the film closes, Brooks' manipulation of the mise-en-scène - soft lighting, rosy hues, sensual jazz music and blurry shots create an overall sensual and romantic atmosphere around Brick and Maggie's reconciliation. Williams' comedy forgoes a traditional resolution, mining the essence of lies and isolation until the end as Brick observes that "it wouldn't be funny" if Maggie's love were "true." The bedroom setting elevates the significance of lies in what should be an honest environment, making the characters feel isolated in an intimate setting. Thus eliminating any prospect of the possibility of the American Dream, as the characters are still unhappy. Brooks asserts that the American dream is possible through the overall unity of the family unit and Maggie's willingness to conceive, as well as through the powerful representation of men. Williams, however, offers an open-ended performance in which the characters are successful but unhappy. The play remains unresolved in terms of the relationships between the characters, and Brick still remains a broken alcoholic. Brooks removes Brick's homosexuality from the film, instead focusing on Brick and Maggie's marital problems. Brick and Big Daddy's monologues remain similar in both texts however, due to the political climate of the 1950s and the Hays Code, the film rejects the homosexual subtext of the work. Within the film, the idea of ​​"lie" exclusively surrounds the family's actions and the alleged infidelity between Skipper and Maggie. In the play, Brick's lying monologue is further influenced by his relationship with Skipper and Big Daddy's assumption that Brick is homosexual. In Williams' play, the conversation between Brick and Big Daddy includes more explicit references to Brick's homosexuality, with Big Daddy calling it "not exactly normal". However, in Brooks' adaptation, this section of the conversation is removed, keeping only Brick's comment to Big Daddy about him "dragging" his relationship with Skipper "through the mud". The film eliminates Williams' allusions to Brick's homosexuality, refocusing their conversation on Brick's guilt over Skipper's death rather than his disgust at their relationship when he was alive. Additionally, in Williams' play, Big Daddy and Brick have this intimate conversation alone, focusing on Bricks' alcoholism and homosexuality. However this is drastically changed in Brooks' film adaptation, as when Brick and Big Daddy are reaching the crux of their conversation about Skipper, Maggie gets involved and is asked to reveal the truth. As a result, the conversation centers on Brick and Maggie's accusation of adultery and marital problems, shifting focus away from the friendship between Brick and Skipper which showed "unusual tenderness." Paul Newman's acting choice as Brick presents Brick as the archetype of masculinity, allowing for the emphasis of Brick's heteronormativity through the sexual tension and romance between Brick and Maggie. The sensual jazz music and soft lighting focus on the heterosexual relationship, making the film appealing to 1950s audiences. Thus, the premise of the film is changed, as the allusions to Brick's homosexuality are eliminated. This'.