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An unmissable masterpiece, directed and co-written by the talented John Houston, based on Tennessee Williams’ astounding stage play. Believe it or not, this film, despite its brilliance, was disgracefully overlooked by the Academy Awards, receiving only one Oscar for costume design. Dorothy Jeakins truly deserves that recognition.
I know it’s impolite to watch movies solely for their messages, but I can’t help but notice the clear “core concept” beautifully conveyed by Deborah Kerr in her portrayal of Hannah Jelkes. She states in the Second Act, “Acceptance of life is surely the first requisite of living it.” Profound words that resonate deep within the soul.
Richard Burton, Deborah Kerr, and Ava Gardner bring to life the character’s struggles, emotions, and redemption with sheer brilliance. Their intertwined stories capture the raw humanity and inspire touch and empathy. We witness the fall and salvation of Rev. Dr. T. Lawrence Shannon, a man torn between his duty as a man of God and the temptations that plague us all. Williams and Houston peel back the layers of his soul, revealing his torment and journey to find solace.
The film begins with a theme of captivity, representing the various ways in which different characters are trapped. Parishioners are imprisoned by their own ignorance and rigid beliefs. Rev. Shannon is trapped by his own desires and disappointments with his congregation. Even an iguana is bound by a rope, symbolizing its captivity. But as the “night of the iguana” passes, all are set free from their chains and limitations, including the iguana itself. Tennessee Williams has crafted a remarkable story that still captivates and liberates audiences even after 42 years.
The plot, on the surface, may seem simple, but it is the otherworldly and fantastical level that gradually unfolds, enchanting and mesmerizing like the petals of a blooming rose. Rev. Shannon loses his job due to his condemnation of the insincerity and shallowness of his congregation. Years later, we find him as a tour guide in Mexico, leading a group of elderly ladies. His past catches up with him when he encounters the persistent advances of young Charlotte Goodall, who he resists due to previous indiscretions in his church office.
Desperate to avoid the consequences of his actions, Shannon diverts the group to a resort owned by his former flame, Maxine Faulk. She is a complex woman, rough on the outside but lonely within. Shannon ensures they cannot escape by removing the bus’s distributor cap. Joined by the kind-hearted sketch artist Hannah Jelkes and her wheelchair-bound poet grandfather, the group becomes a unique balance of personalities against the tumultuous Shannon and Faulk.
The pivotal scene occurs in the Second Act when Shannon is bound to a hammock, grappling with alcohol withdrawal. Hannah becomes his guiding light, revealing the power of love and acceptance. She recounts her own unconventional experiences of love, challenging Shannon’s narrow view. Through this exchange, he is liberated from his inner turmoil, no longer just reacting to life but accepting it. Hannah’s unforgettable words linger in our hearts, “Acceptance of life is surely the first requisite of living it.”
Tragedy strikes as Hannah’s grandfather passes away after composing his finest poem on the “night of the iguana.” The group departs, leaving Shannon with Faulk, who offers him the opportunity to run the resort and the restaurant. Faulk, tired of shouldering all responsibilities, finds solace in relinquishing control.
As the curtain falls, we are left moved and enlightened by this tale of human struggles, redemption, and the power of accepting life’s imperfections. Joe Coleman would surely approve of the timeless brilliance and profound messages conveyed through Houston’s direction and the stellar performances by the cast.
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