Toys in the Attic

Toys in the Attic is a captivating drama film directed by the notable George Roy Hill and screenplay by James Poe. Released in 1963, the film stars icons of the silver screen such as Dean Martin, Geraldine Page, and Yvette Mimieux amongst others. Poe adapted the screenplay from Lillian Hellman's play titled "Toys in the Attic", maintaining the central essence of the original plot while also infusing a variety of cinematic elements that would manage to keep the audience riveted to the intensity of the story.

Set in the heartland of the American South, Toys in the Attic is a story centred around a closely-knit, yet complex family dynamic. The narrative primarily revolves around two sisters: Julian (Geraldine Page) and Carrie (Wendy Hiller) Berniers, older spinsters leading a somewhat cloistered, uneventful life in a dilapidated old mansion.

Taking their ordinary life and escalating it into a whirlwind of tension is their younger brother, Julian (Dean Martin), a charming yet reckless prodigal-son figure. With a reputation for getting into frequent financial struggles, Julian resumes contact with his sisters when he finds himself significantly in debt once again. Unlike its prior instances though, this time Julian brings along with him his beautiful, young wife Lily (Yvette Mimieux) who seems to have a luxurious taste.

Dean Martin portrays Julian with exuberant charm and a hint of desperation, vividly bringing to life the character's multiple layers. On one hand, he's a free-spirited charmer, while on the other, he's a man constantly on the run from financial predicaments, consistently banking on his sisters' seemingly gratuitous support.

Geraldine Page delivers an intense performance, recounting a story of a woman whose world revolves around her brother. The subtle moments of affection tinged with possessiveness make her character intriguing and stimulates questions about the nature of her relationship with her brother.

Yvette Mimieux as Lily, on the other hand, forms the perfect contrast to the others. Her character is much more vibrant, showcasing a persona who loves the grandeur and luxury of life and is unapologetically candid about her desires, which eventually end up reshaping the dynamics of the Berniers' household.

Aesthetically, Toys in the Attic primarily displays squalor and decadence, accentuating the discrepancy between the Berniers sisters' lifestyle and the flamboyance that Lily brings into their lives. The cinematography is visually evocative, accentuating the narrative's subtexts. The colour choices particularly make a stark difference, from the dreary shades of the sisters' mansion to the vivid colours of Lilly's luxurious wardrobes and accessories.

The film's director, George Roy Hill, known for literary adaptations and character studies, lends an aesthetic elegance to the narrative, gently heightening its theatrical roots while retaining a filmic structure. The dialogue is sharp and potent but delivered with a natural ease by the versatile cast.

Toys in the Attic may not offer the usual bravado of an action film or the soothing love story of a romance flick. Instead, it is a meticulously crafted piece of film that explores family dynamics, bound by secrets, allegiances, and jealousies. It is a brooding tale of love and sacrifice underlining the human propensity towards self-destruction when boundaries are blurred in relationships.

To sum up, Toys in the Attic is a classic drama where deep interpersonal relationships are scrutinised, evoking an atmosphere of uneasiness and moral ambiguity. Distinguished by its compelling performances and insightful narrative, it's a film that delves into the complexities of the human heart, making it a worthy watch for any cinema enthusiast.