I never thought I would have the chance to see Katharine Hepburn acting in a play without having to go to Broadway! A treasure. All the rest of the cast is exceptional too. Thank You!
Stunning tour/ de- force! Superb acting. Powerful play about life! Is everything a balancing act? Does marriage mean anything? The night brings uncertainty and terror, Daybreak brings light. New possibilities! Albee probed the recesses of our souls! Unquestionably he was one of great writers of our time!
@@abbatrouble I do not care for Hepburn opposite Scofield either. However, Hepburn can’t help her voice as she has an essential tremor. I have it too, but it is mild, and so far not affecting my voice. There is no cure and it will get worse as I age.
Thanks for this The scene in the early morning between Schofield and Hepburn is performed in one take **fifteen minutes long** I've always loved Schofield and Hepburn has always been my favourite actress all my life and I'm 65 She never disappoints ♥️
A wonderful play! A star studded cast. I had never seen it and I enjoyed it immensely. I'm very familiar with "Who's Afraid of Virginia Woolf?", and I think both are sensational for what they are. Both are different, and I appreciate both.
Great movie. Read the play returning from a class trip in high school, bought the film on Ebay, loaned it to a friend who forgot to give it back when she moved out of town and then died. Great to be able to see it again!
I love Albee's "Who's Afraid of Virginia Woolf?" Yet I must admit that "A Delicate Balance" is a better written play. Not a hint of cleverness anywhere. A much more deeply felt work (in my opinion)
It’s head-and-shoulders above WAoVW, and frankly above the rest of his output (in my opinion). It’s almost like Virginia Woolf 20 years later in a slightly different reality. You really need actors of this caliber, though, to untangle the linguistic and emotional density. Thank god we have this film.
Astounding. Can only imagine what would have transpired had Ingmar been able to direct, as Edward wanted, or if Kim Stanley hadn't butted up against Katharine Hepburn, yet then we wouldn't have Kate Reid, and the two Kates, Paul Scofield, Lee Remick, Joseph Cotten and Betsy Blair under Tony Richardson's direction are not exactly less than. One For The Ages.
I see bits of myself in both Agnes and Edna. Perhaps that is why I live alone. I recognize that no one likes the proverbial morality-policing wet blanket. I recognize that no one wants a judge to come and pass judgement in their private inner sanctum. I also recognize that living as such a one as that, within a world gone mad...could be the thing that sends one over the edge in terms of their own sanity. I hear that recognition is the first step to the solution. Perhaps there is still hope for me to change. "...knowing is half the battle.", so said the GI Joe cartoons my younger siblings watched as children.
@@brankastupar7101 There's a saying actors have "if it looks like hard work you're not working hard enough" Katharine Hepburn makes it look easy So you're paying her a massive compliment
This movie directly speaks to my recollections from my youth, as I watched my parents live according to the "code of decency" they learned from their parents, while the younger sister and daughter in this movie break away from those rules to hopefully live a fuller and less empty older life. Did Albee look forward and see the future of younger generations, each one rejecting rules put upon them in order to also seek happiness in their later lives?
But it hardly seems that the sister and daughter have or are living fuller, less empty lives. They, in fact, appear less happy and have achieved very little in terms of independence, self-actualization, and deep relationships. Their lives are a pattern of self-defeating sabotage.
Possibly a few of us here saw the shift. When womens lib opened our minds n world but we had been raised by the code. Some friends n I raced toward a new way , others chose the code of early marriage and kids. Having a child, a daughter I have seen the messy world and push n pull of choice and society pressure be a big negative at time. I often feel Ive lived to long and like Agnes I have no granchildren to live longer for. The actors phenomenal. Kate Reid superb in everything she did. Ill probably need to watch it again after I recover.
It's really lovely you're bringing this to us in the proper aspect ratio and watchable quality. I do miss Lee's opening "@#!&" In the first few seconds, but I understand. A quietly noisy movie/play that makes us dread the quiet.
Though I disagree the 'tedious' themes of alcoholism and repressed homosexuality are the bones of this piece (and are subjects, not themes), rather the skeleton and musculature is existential terror - not the nauseating nothingness of the French socialist, but the hollowness of American bourgeois life, of the very class (and its attendant moralities and philosophies) which is the superstructure of American being (which alcoholism and historically suppressed homosexuality offered counterpoint).
so I tried to watch this twice. Never made it farther than 5 minutes each. There are some people who appreciate this, I know this, and I do not understand. If the point is to reach into a realm of despise for the human being there are other ways
The comment below about Albee's characters talking too much is apt - but I don't think Ed would ever have claimed to dramatic naturalism, indeed would have embraced a descriptor such as 'hysterical intellectualism' (his characters are rabidly intelligent and possess a preternatural knack fro self-reflection and a kind of self-conscious staging of their narratives) - for a long time I really liked Albee, and 'Balance' which I read about thirty+ years ago, remained a favourite, now, watching this, there is - and I HATE saying such things - a 'datedness' to the piece, not so much in the material but in the very aura set by the language and situation - it is a work, historically lodged in the mid twentieth century, and by that, fascinating, but I doubt a contemporary remounting would be taken as reflective of present sensibility...the pity is there doesn't seem to be a major playwright in english who IS writing in the sensibility of our present.
Do you think the interiors are intentionally ugly? Did you notice how Julia's pants nearly matched the hideous wallpaper? All the dreary browns? Like tobacco stains. Drapes like iron bars.
Joseph cotten and Betty Blair, , lovely unmannered acting. Once you learned of the repeated mannerisms of Hepburn and Scholfield it could come a little expected. One of the most difficulties of theatre,is the craft of movement across the set, only much schooling and rehearsing can make it seem natural. We will never know first hand of the greatness of the likes of Irving, or Bernhart, yet future actors will have a catalogue of great actors to learn from, or reference to , .
Katharine Hepburn is a strong personality so she makes an indelible impression but in no way is she just repeating mannerisms She understands the material probably better than Edward Albee When you've watched a lot of her films you start to realise she's actually totally different in every one But framed like you say within the Hepburn style She's at her best in the small intense scenes you really get to see her soul - and her genius ♥️
I think an honest conversation about this Albee work and the bulk of Tennessee Williams output would reveal that this stuff just doesn't/didn't age well. So much of the angst is unrelatable these days. Sorry but its past its sell by date.
@@sd67b Do you realize that you try to explain literature, that is art, by an average middle class way of life? Separate these two or stick to other forms of entertainment
@@sd67b do yourself a favour and watch the scene in the morning between Schofield and Hepburn *performed in one take* You see why Hepburn was considered the greatest actress of her time
It's not the angst, all periods suffer angst in some form, it's the heavy literary contrivance, inaccurate psychology and ultimately pedestrian impact. Of course, these plays are put on because the acting roles are delicious, but when you see a truly great work from the past, comparative relief is remarkable.
I am watching because of Paul Schofield but have discovered this is poor Albee trying to knock your socks off with his intellect, but not true to life, all the actors overacting to try and showcase their inteect too, as well as some of the commentators here. Oh dear, all of them so pretentious, and the arts world outdoing each other with fulsome praise. Sorry Albee, you really don't have any idea of how to add to the world's treasures.
He didn’t. Williams was one of the few playwrights Albee admired, but I don’t see how he ever even tried to emulate him. Albee’s career was much more successful than TW’s, taken as a whole.
I love the actors, and I generally love Edward Albee’s stories. But I find this dialogue too heavy with attempts at profundity and witticisms. People really don’t talk this way; either then or now. It begins to sound stiff and stilted when each and every sentence is masterly crafted of careful irony, wit, or regret. It bogs itself down and drowns out the truly impactful statements. Hepburn’s movements became repetitious, and do she and her sister really have nothing other than caftans or silk, flowing garments to wear?
Sure it's trying and disappointing but we're stuck with it, existence, and so muddle through. Point of play but not very revolutionary. Still, well-done.
I find "Who's Afraid of Virginia Woolf? " a much better play. Emotions were more realistic in it. Besides, this is too long and only gets interesting in the last 45 minutes.
![ตีสิบเดย์ [FULL] | นางเอกหมอลำเงินล้าน "อุ๋งอิ๋ง เพชรบ้านแพง" & ไฮโซสาวสุดฮอต "ลิลลี่ เหงียน"](http://i.ytimg.com/vi/jPxQS_EgrJ4/mqdefault.jpg)
With these actors, every footstep, every stir of the spoon in the teacup, seems heavy with meaning, is a creative act.
From the start, I am feeling it's Much Ado About Nothing. Who talks like this? On and on about one single tiny thought.
I feel privileged to have been alive to witness great actors ply their craft..on occasion with my very eyes..
I should also point out that the Plays the thing..excellent writing..
I never thought I would have the chance to see Katharine Hepburn acting in a play without having to go to Broadway! A treasure. All the rest of the cast is exceptional too. Thank You!
Check her out in Sidney Lumet's production of Long Day's Journey into Night.
Thanks a LOT!
Such an amazing production. The performances are top notch. I thought Paul Scofield was brilliant.
Stunning tour/ de- force!
Superb acting.
Powerful play about life!
Is everything a balancing act?
Does marriage mean anything?
The night brings uncertainty and terror,
Daybreak brings light.
New possibilities!
Albee probed the recesses of our souls!
Unquestionably he was one of great writers of our time!
Holy Toledo ... another master class in ensemble acting ... bra-vo !
Paul Scofield. What a find! That great voice.
I love his voice but it is paired with the most irritating voice in the theater. I can't to two minutes of Katherine's nauseating noises!
@@abbatrouble I do not care for Hepburn opposite Scofield either. However, Hepburn can’t help her voice as she has an essential tremor. I have it too, but it is mild, and so far not affecting my voice. There is no cure and it will get worse as I age.
His voice is so similar to Cottons.
@@tomkent4656 er… underrated by who?
@@tomkent4656 You mean one of Britain's most under-hyped actors.
I like the whirling talkiness. It creates an ambiance of mania. The whole thing is domestic suffocation ASMR.
Thanks for this
The scene in the early morning between Schofield and Hepburn is performed in one take **fifteen minutes long**
I've always loved Schofield and Hepburn has always been my favourite actress all my life and I'm 65
She never disappoints ♥️
A wonderful play! A star studded cast. I had never seen it and I enjoyed it immensely. I'm very familiar with "Who's Afraid of Virginia Woolf?", and I think both are sensational for what they are. Both are different, and I appreciate both.
Precious play, to be kept, watched, admired, treasured. Thank you!
Great movie. Read the play returning from a class trip in high school, bought the film on Ebay, loaned it to a friend who forgot to give it back when she moved out of town and then died. Great to be able to see it again!
I love Albee's "Who's Afraid of Virginia Woolf?" Yet I must admit that "A Delicate Balance" is a better written play. Not a hint of cleverness anywhere. A much more deeply felt work (in my opinion)
It’s head-and-shoulders above WAoVW, and frankly above the rest of his output (in my opinion). It’s almost like Virginia Woolf 20 years later in a slightly different reality. You really need actors of this caliber, though, to untangle the linguistic and emotional density. Thank god we have this film.
Astounding. Can only imagine what would have transpired had Ingmar been able to direct, as Edward wanted, or if Kim Stanley hadn't butted up against Katharine Hepburn, yet then we wouldn't have Kate Reid, and the two Kates, Paul Scofield, Lee Remick, Joseph Cotten and Betsy Blair under Tony Richardson's direction are not exactly less than. One For The Ages.
Thank you for this upload.
Ive watched Claires monologue ( 11:30 ) about her alcoholism maybe a dozen times, always riveting.
I see bits of myself in both Agnes and Edna. Perhaps that is why I live alone. I recognize that no one likes the proverbial morality-policing wet blanket. I recognize that no one wants a judge to come and pass judgement in their private inner sanctum. I also recognize that living as such a one as that, within a world gone mad...could be the thing that sends one over the edge in terms of their own sanity.
I hear that recognition is the first step to the solution. Perhaps there is still hope for me to change.
"...knowing is half the battle.", so said the GI Joe cartoons my younger siblings watched as children.
Katherine captures the narcissistic mother very believably.
She played herself!
@@brankastupar7101 Did you really know her? Amazing really
@@brankastupar7101
There's a saying actors have "if it looks like hard work you're not working hard enough"
Katharine Hepburn makes it look easy
So you're paying her a massive compliment
Awesome !👍
Lee Remick! Damn!
This movie directly speaks to my recollections from my youth, as I watched my parents live according to the "code of decency" they learned from their parents, while the younger sister and daughter in this movie break away from those rules to hopefully live a fuller and less empty older life. Did Albee look forward and see the future of younger generations, each one rejecting rules put upon them in order to also seek happiness in their later lives?
But it hardly seems that the sister and daughter have or are living fuller, less empty lives. They, in fact, appear less happy and have achieved very little in terms of independence, self-actualization, and deep relationships. Their lives are a pattern of self-defeating sabotage.
Possibly a few of us here saw the shift. When womens lib opened our minds n world but we had been raised by the code. Some friends n I raced toward a new way , others chose the code of early marriage and kids. Having a child, a daughter I have seen the messy world and push n pull of choice and society pressure be a big negative at time. I often feel Ive lived to long and like Agnes I have no granchildren to live longer for. The actors phenomenal. Kate Reid superb in everything she did. Ill probably need to watch it again after I recover.
It's like being home with Mom and Dad
It's really lovely you're bringing this to us in the proper aspect ratio and watchable quality. I do miss Lee's opening "@#!&" In the first few seconds, but I understand. A quietly noisy movie/play that makes us dread the quiet.
Do the characters talk a lot, to fill up their empty lives?
Ritualistic absurdist facing the existential void of the American bourgeoisie
Thank you x
Though I disagree the 'tedious' themes of alcoholism and repressed homosexuality are the bones of this piece (and are subjects, not themes), rather the skeleton and musculature is existential terror - not the nauseating nothingness of the French socialist, but the hollowness of American bourgeois life, of the very class (and its attendant moralities and philosophies) which is the superstructure of American being (which alcoholism and historically suppressed homosexuality offered counterpoint).
What are talking about? Really!
,Thank you so much
And they're all wearing their own clothes.
Love it!
OK what were they spooning into their coffee? more coffee, really brown sugar anyone?
Chocolate
I just know this will be excellent.
Po
Bring back the kaftan!
Each time I watch this I dream up a new line of caftans for the modern--but not too--woman, man, and all
They never left
Bring back KH! To be more precise
I have faithfully brought back the kaftan! Hurrah! And the pinafore Apron!🎉
And I thought my family had issues…
But inspiring literature is life itself
WOW-it was long, but profound
I'm so confused! These people have terrors and they show up at their door?
so I tried to watch this twice. Never made it farther than 5 minutes each. There are some people who appreciate this, I know this, and I do not understand. If the point is to reach into a realm of despise for the human being there are other ways
@@sd67b thank you. So I will try this again then.
I'm with you... I don't really understand this movie.
I think at the end he's telling you YOU'RE the bad one.
The comment below about Albee's characters talking too much is apt - but I don't think Ed would ever have claimed to dramatic naturalism, indeed would have embraced a descriptor such as 'hysterical intellectualism' (his characters are rabidly intelligent and possess a preternatural knack fro self-reflection and a kind of self-conscious staging of their narratives) - for a long time I really liked Albee, and 'Balance' which I read about thirty+ years ago, remained a favourite, now, watching this, there is - and I HATE saying such things - a 'datedness' to the piece, not so much in the material but in the very aura set by the language and situation - it is a work, historically lodged in the mid twentieth century, and by that, fascinating, but I doubt a contemporary remounting would be taken as reflective of present sensibility...the pity is there doesn't seem to be a major playwright in english who IS writing in the sensibility of our present.
The off key bell is such a bother too. :-)))))
Rare and beautiful ❤️😍 thanks a lot* utube smile by john bavas
Watching @ 1.44 pm
Its slowwwwwww
Do you think the interiors are intentionally ugly?
Did you notice how Julia's pants nearly matched the hideous wallpaper?
All the dreary browns?
Like tobacco stains.
Drapes like iron bars.
I am thoroughly confused
Lol!
Fascinating how ugly and threatening they manage to make the plants look. Almost a vision of hell.
Oh, hell the Sister in law knows where all the bodies are buried. She knows about her Brother in laws affairs.
Joseph cotten and Betty Blair, , lovely unmannered acting. Once you learned of the repeated mannerisms of Hepburn and Scholfield it could come a little expected. One of the most difficulties of theatre,is the craft of movement across the set, only much schooling and rehearsing can make it seem natural. We will never know first hand of the greatness of the likes of Irving, or Bernhart, yet future actors will have a catalogue of great actors to learn from, or reference to , .
?? What are Scofield's mannerisms?
Please!!!
Katharine Hepburn is a strong personality so she makes an indelible impression but in no way is she just repeating mannerisms
She understands the material probably better than Edward Albee
When you've watched a lot of her films you start to realise she's actually totally different in every one
But framed like you say within the Hepburn style
She's at her best in the small intense scenes you really get to see her soul - and her genius ♥️
I think an honest conversation about this Albee work and the bulk of Tennessee Williams output would reveal that this stuff just doesn't/didn't age well. So much of the angst is unrelatable these days. Sorry but its past its sell by date.
I'm sorry for you.
@@sd67b Do you realize that you try to explain literature, that is art, by an average middle class way of life? Separate these two or stick to other forms of entertainment
@@sd67b do yourself a favour and watch the scene in the morning between Schofield and Hepburn *performed in one take*
You see why Hepburn was considered the greatest actress of her time
🤨🧐🙄 Take 2 aspirin and call us in 40 years.
It's not the angst, all periods suffer angst in some form, it's the heavy literary contrivance, inaccurate psychology and ultimately pedestrian impact. Of course, these plays are put on because the acting roles are delicious, but when you see a truly great work from the past, comparative relief is remarkable.
Instant coffee?
Adding chocolate to coffee
Try a soap opera
I love Paul scofield and Hepburn, but this play does nothing for me.
I am watching because of Paul Schofield but have discovered this is poor Albee trying to knock your socks off with his intellect, but not true to life, all the actors overacting to try and showcase their inteect too, as well as some of the commentators here. Oh dear, all of them so pretentious, and the arts world outdoing each other with fulsome praise. Sorry Albee, you really don't have any idea of how to add to the world's treasures.
1:22:29 She yodels! 😂
The problem was that Albee wanted to be Tennessee Williams.
Tennessee wrote a play once. Then he spent the rest of his life writing it over and over.
He didn’t. Williams was one of the few playwrights Albee admired, but I don’t see how he ever even tried to emulate him. Albee’s career was much more successful than TW’s, taken as a whole.
@@67Parsifal Sorry, It was meant as a light-hearted comment.
That is not a problem.
Why all the untalented always criticising the talented?
lol 😁
I love the actors, and I generally love Edward Albee’s stories. But I find this dialogue too heavy with attempts at profundity and witticisms. People really don’t talk this way; either then or now. It begins to sound stiff and stilted when each and every sentence is masterly crafted of careful irony, wit, or regret. It bogs itself down and drowns out the truly impactful statements.
Hepburn’s movements became repetitious, and do she and her sister really have nothing other than caftans or silk, flowing garments to wear?
High quality clothing of the idle rich. Nothing to do except shopping at Newman Marcus.
Heavens dear!
I find Katherine Hepburn's voice a bit annoying!
If only she has made a film with Bette Davis.
???
@@user-py1pm3dq6r her voice was very masculine, sometimes extremely masculine and too harsh for my ears.🤗
I have to use subtitles to understand what she’s saying.
@@JMichaelHaithcock oh, I'm so sorry but I too, use subtitles as I need to turn her down a bit. 🤣
Sure it's trying and disappointing but we're stuck with it, existence, and so muddle through. Point of play but not very revolutionary. Still, well-done.
Muddling through is their CHOICE. Albee's point.
I find "Who's Afraid of Virginia Woolf? " a much better play. Emotions were more realistic in it. Besides, this is too long and only gets interesting in the last 45 minutes.
It’s a better play than VW, which is excessively long and required a ridiculous amount of rehearsal time.
Pretentious twaddle, like most of Albee's work.
Lennon and RJ here to let you know that merely the use of the word "twaddle" could be interpreted to be pretentious.
You forgot Interminable Twaddle. People actually sat through 2 hours of this?
This sentence is extremely pretentious actually