The Loss of a Teardrop Diamond Reviews

  • Perhaps playwright Tennessee Williams' unproduced 1980 screenplay was unproduced -- until now -- for a reason.

    Lisa Schwarzbaum — Entertainment Weekly

  • (The Loss of a Teardrop Diamond movie review at Washington Post)

    Ann Hornaday — Washington Post

  • If Tennessee Williams's script for Joseph Losey's 1968 turkey Boom! saw the light of day, just how bad must a Williams screenplay unproduced for decades be?

    Melissa Anderson — Village Voice

  • While this recently rediscovered screenplay won't rank with the best of Williams, the script does possess a poignancy that remains frustratingly out of reach onscreen.

    Elizabeth Weitzman — New York Daily News

  • It has been filmed in a respectful manner that evokes a touring production of an only moderately successful Broadway play. Understand that, accept it, and the film has its rewards and one performance of great passion.

    Roger Ebert — Chicago Sun-Times

  • The script is half-a-fortune at best, and visually the picture is staid. But you stick with it, because it's Williams and because certainly no one since Williams has written this sort of embroidered dialogue.

    Michael Phillips — Chicago Tribune

  • The characters and themes are redolent of earlier and better Williams works, and the story unexpectedly putters out at the end-but seeing it now, you can't help but treasure the simple, lyrical dialogue and sure-handed narrative thrust

    J. R. Jones — Chicago Reader

  • This is minor Tennessee Williams, but times are hard. I guess minor Tennessee Williams is better than no Tennessee Williams at all.

    Rex Reed — New York Observer

  • Even if it were not filmed in the dreariest TV-movie style by the debuting Jodie Markell, this romantic melodrama set in 1920s Mississippi seems almost like a self-parody of Williams' earlier work.

    Lou Lumenick — New York Post

  • Though it's dated, the larger issue has to do with those timeless problems of plot and character.

    Jake Coyle — Associated Press

  • Like Fisher, the film is lovely, if flawed.

    Betsy Sharkey — Los Angeles Times

  • The words drip with affectation (as do the actors) and Jodie Mankell's direction is dipped in southern gothic honey and glazed over with period sprinkles.

    Sean Axmaker —

  • A deservedly overlooked Tennessee Williams script set in the 1920s South, its plot makes little sense for contemporary audiences.

    Annlee Ellingson — Moving Pictures Magazine

  • This is not the galvanizing, deep fried melodrama of Tennessee Williams at his height but rather, the low fat version.

    Richard Knight — Windy City Times

  • As beautifully played by Howard, Fisher Willow appropriately resembles a china doll, with a pale face highlighted by bright red lips -- she is hard yet fragile, projecting something of an artificial quality that hides her pain.

    John Beifuss — Commercial Appeal (Memphis, TN)

  • Markell has valiantly created a mild bit of Williams ephemera that could have been more than a curiosity piece with a more dynamic actress at its center.

    Dan Callahan — Slant Magazine

  • While it captures the Southern Gothic atmosphere, it's sketchy and studied, best geared to Tennessee Williams aficionados.

    Susan Granger — SSG Syndicate

  • a terrible and terribly dated work that will strike Williams scholars as the cinematic equivalent of a bottle cap and everyone else as arguably the worst version of one of his works to ever hit the big screen and bear in mind, I have seen "Boom."

    Peter Sobczynski —

  • If you are not already familiar with Williams's best plays and film adaptations, this musty magnolia of a movie won't encourage you to seek them out.

    Peter Rainer — Christian Science Monitor

  • It's unfortunate that an entire generation who've never seen a Williams play or film will think that this current work represents the artist. Now that this screenplay has been 'found' ... can we lose it again?

    Kimberly Gadette — Indie Movies Online

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