Tennessee Williams’ words rarely come without a price. Millionairess Violet Venable remains fixated on her deceased son, Sebastian. Sebastian died unexpectedly while vacationing with his cousin Catharine, an event that has pushed Catharine perilously close to madness. Concerned about Catharine and the painful things she says, Violet asks brain surgeon Dr. Cukrowicz to consider a lobotomy for the young woman. But as Cukrowicz investigates further, intentions and truths collide, exposing something deeply troubling. As is typical of a Tennessee Williams adaptation, this film features an abundance of dialogue; it might even be considered excessively so. However, those who are willing to dedicate their time to it will find the experience rewarding. Suddenly Last Summer combines elements of theatrical melodrama with Gothic horror, though I don’t think this combination entirely succeeds. It could have been something else entirely, because if Gore Vidal and Joseph Mankiewicz had not been constrained by production limitations, the film likely would have approached masterpiece status. This adaptation only provides glimpses; we become aware of Sebastian's homosexuality and other suggestions involving incest, sadism, and questionable class distinctions, but ultimately such powerful material remains incomplete. Elizabeth Taylor dominates the film as Catharine, displaying a sultry presence with considerable curves, delivering a convincing portrayal of someone teetering on the edge of sanity—a constant display of self-pity and suffering that justifies the viewer’s investment. Katharine Hepburn portrays Violet, embracing the role with gusto, though the performance feels somewhat restrained; I wanted more from it! Montgomery Clift plays the doctor, but this isn't one of his stronger roles because he is not given room to develop the character—he simply has to deliver his lines accurately, occasionally look troubled, and react to Taylor’s performance. The task was completed adequately. I would suggest watching this film, as it creates a nearly stifling atmosphere, but whether you'll want to watch it again depends on your tolerance for films driven by conversations. 7/10

Source on TMDB