Baby Doll: Excuse me, Mr. Vacarro, but I wouldn’t dream of eatin’ a nut that a man had cracked in his mouth.
Silva Vacarro: You’ve got many refinements.
Baby Doll: Thank you.
Elia Kazan’s hilarious erotic farce about two men (played by Karl Malden and Eli Wallach) squabbling over cotton in Mississippi. Baby Doll (Carroll Baker), Malden’s virginal 19-year-old wife, is at the center of their fight. She hasn’t agreed to consummate the marriage, so she sleeps by herself in her crib. Wallach’s vengeance involves bringing her under his manly spell. The comedy in Tennessee Williams’ screenplay is that Baby Doll is only dubiously innocent. Baby Doll is no good at long division, but she’s great at fighting off the heat with Coca-Cola and sucking her thumb. She giggles for the entire duration of the movie, stuck in a state of perpetual flirtatiousness: the sexually charged pent-up atmosphere feels like Kazan’s version of hell. But this hell, shot in all its sunny glory by Boris Kaufman, is very inviting. The scenes between Baker and Wallach are among the funniest I’ve seen—they play like some perverse deflowering. (Their courting climaxes with a game of hide and seek.) For the two men, Baby Doll is just a test of their virility, but she’s playing a game of her own. They provide her with entertainment. Carroll Baker is amazing in the title role: radiant, wicked and unaware of the camera. This movie has a quintessentially American sense of irony: the very earth seems to be laughing at the characters, down to the extras who mercilessly (and openly) mock Malden from beginning to end. It’s a riot.
Dir. Elia Kazan / 1956 / United States