User Reviews

Heavy dramatics and a suffocating atmosphere make this a challenge at times. What it has to balance out all the weighty goings on is acting of the highest order. Dean Martin, Yvette Mimieux and Gene Tierney all contribute excellent work but the real fireworks is between Geraldine Page and Wendy Hiller as Dean's sisters.

While Gerry Page has the showier role it's Wendy Hiller who gives the film's best performance. With subdued delivery and subtle looks she conveys a wealth of background into both who she is and the history of the entire family's dynamic. It's a wise choice, if she had fluttered and extrapolated as Page's Carrie does the viewer would never be able to make it past the first five minutes of the film.

One step removed from a Tennessee Williams chamber piece this will be enjoyed most by fans of his work as well as fans of great acting.

Julian Berniers is a raconteur and habitual schemer who travels home to New Orleans with his wife Lily to visit his elder sisters Carrie and Anna. Carrie and Anna dote on Julian, with Carrie being especially ecstatic over and obsessed with him. He hasn't been back for months, and the two sisters are confident he has squandered all his money, as he has done so many times before. However, this time, Julian arrives mysteriously in the black, flush with cash and bearing many gifts. This doesn't sit well with Carrie, and Lily has her own reasons to be suspicious of her husband. Though all seems to go well for a while, the ultimate ramifications of Julian's arrival prove to be unexpected and devastating, in George Roy Hill's 'Toys In The Attic.'

Based on the play of the same name by Lillian Hellman, 'Toys In The Attic' is a lightweight Tennessee Williams style melodrama that entertains, though doesn't break any particularly new ground. With a screenplay by James Poe, the narrative is sadly predictable and underwhelming, featuring many 'Southern' cliches and derivative scenarios. Some of the characters are very obviously and poorly written, with motivations so thin they make cigarette paper look hefty. Additionally, the dialogue rarely if ever rises above the level of a soap opera, and twists introduced throughout are ham-fisted and foreseeable.

All that said, there is a realistic relationship in the film featuring two interesting characters that impresses greatly; that of Julian and Anna. Their relationship is utterly believable and a fine example of good, understated screenwriting. One doesn't need- or get- extraneous information regarding their feelings for one another or their past experiences, which makes the characters' evident bond so natural and impressive. Contrasted with the character of Carrie- for whom Poe consistently over-writes- or that of Lily- for whom Poe underwrites- Julian and Anna stand out as impressively rounded cinematic creations who interact with one another in a credible fashion.

On the technical side of things, 'Toys In The Attic' has a few elements worth mentioning. Joseph F. Biroc's cinematography is subdued and mutedly artistic. There are some shots that will stick with you, such as Biroc's framing of a fight in a warehouse from the latter half of the picture, which brims with tension and compositional intrigue. Additionally, Victor A. Gangelin's evocative set decoration lends to locations an aura of authenticity, while Bill Thomas's costume design is striking and impressive work. George Duning's sweeping, melodic score is also of note, which brings additional drama to the proceedings.

'Toys In The Attic' boasts an all-star cast, headed up by Dean Martin as Julian, a role originated by Jason Robards on stage. Martin plays the character as a good natured, unlucky fellow who honestly tries to do the right thing. One of the warmest, most genuine figures ever in entertainment history, Martin's magnetic screen presence threatens at times to run away with the film; and is easily the strongest selling point 'Toys In The Attic' boasts. He delivers a towering performance of depth and emotional volubility, proving once again that he could handle dramatic roles with ease.

Co-starring as Carrie and Anna are Geraldine Page and Wendy Hiller, respectively. While Hiller masterfully underplays the role of Anna, Page goes rather over-the-top, over-doing the Southern accent and emotional volatility inherent to her character. Hiller, like Martin, steals the film with her natural approach, range and poise. Page minces around like Elizabeth Taylor from 'Hammersmith Is Out,' playing the role at such a heightened level that one wonders whether or not she thought the material was intended as parody. Yvette Mimieux also stars, as Lily; though leaves such a minute impression she may not have been there at all.

'Toys In The Attic' is a bit of a mixed bag at the end of the day, an obvious melodrama featuring elements both over-the-top and understated. Though Dean Martin and Wendy Hiller turn in powerful performances worth remembering, Geraldine Page and Yvette Mimieux unfortunately counterbalance their brilliance with their less than stellar efforts. Additionally, the dialogue is often ridiculously cliched and the narrative is essentially predictable and derivative. In short, 'Toys In The Attic' is a muddled drama featuring inconsistent playthings; some of which will provide you immense entertainment value, and some of which you wish never came out of the toybox.

Lillian Hellman's play "Toys in the Attic" was adapted for the screen in 1963. The story is reminiscent of Williams, as it concerns a southern family with lots of hidden secrets. Dean Martin stars as Julian, a man who's made a career out of losing jobs and money. He returns to the family home in New Orleans with his young bride (Yvette Mimieux) with a plan to make a quick fortune. Martin is ok in this role, and Mimieux plays her part as the naive bride very well. But the reason to see this is the powerful acting of the two ladies who play Julian's sisters. Oscar winners Wendy Hiller (Anna) and Geraldine Page (Carrie) are amazing in this picture. Anna is the more mature, careful sister, while Carrie is emotional and dramatic. Carrie's obsession with Julian is unhealthy, and Anna realizes this. And there is also some conflict with Julian's mother-in-law, and the people he's scheming to make money with. Honestly, unless Ms Hiller or Ms Page is onscreen, then this film bores me. As Carrie, Geraldine Page gave another of her incredible screen performances. From "little girl flirty" to "self righteously indignant", Ms Page doesn't strike a false note once in this picture. Carrie's obsession with her brother causes trouble for everyone else, and in some ways resembles the character Alma that Page played in "Summer and Smoke". As Anna, Wendy Hiller perfectly plays the older sister who's spent years worrying and caring for her siblings, yet all the time knowing what the deep secret is in her family's attic. Gene Tierney is impressive in a small role as Dean Martin's mother-in-law, as is Larry Gates as the vengeful businessman Martin deals with. But despite Dean Martin's top billing, this is a show for the talents of two gifted actresses, with Geraldine Page and Wendy Hiller making the most of this Southern gothic melodrama.

What genetic combination would produce Geraldine Page, Wendy Hiller and Dino? It's a credit to these two phenomenal actresses that, despite their wildly different features and Ms. Hiller's occasional drop into pure Dame-speak (listen to the way she says "Europe") you never question that they are sisters. Mr. Martin is just a different kind of talent, but acquits himself nicely. (His character's going out and buying sexy negligees for his spinster sisters creeps out the modern viewer somewhat, but perhaps that is intentional.) Yvette Mimieux is very appealing (her role is saned-up a bit from the character in the play, who was even further off the rails) and the camera loves her thick, shiny, butter-blonde hair. If you're a fan of the "Hush, Hush...Sweet Charlotte"/"Kings Row" school of drama, or a Hellmann aficionado, or, like me, someone who'd watch Wendy Hiller in anything from Shakespeare to infomercials, this fast-paced, soundly-made picture is well worth the rental fee. Heck, if it were out on DVD, I'd buy it.

Lillian Hellman wrote some amazingly raw films about screwed up Southern families. She was, in many ways, like a female version of Tennessee Williams--with stories having many of the same themes and even some of the stories set in the same locales--such as Louisiana. Several of her plays went on to become movie classics--the most famous of which was Bette Davis' splendid "Little Foxes". Others, such as "Toys in the Attic" didn't exactly become classics--but they are worth seeing. My advice with this movie, however, is that you force yourself to keep watching. The first portion isn't particularly distinguished and the craziness all begins later in the movie.

The story begins with Julian (Dean Martin) working on some business deal. When he and his wife, Lily (Yvette Mimieux) arrive back to see their families in Louisiana, things sound great. Julian has announced that one of his deals went through and he is now rich. He lavishes gifts on his two spinster sisters (Geraldine Page and Wendy Hiller). During this phase of the film, Page's character is REALLY, REALLY annoying. She talks non-stop and the tone of her voice could incite murder!! My advice is to grit your teeth and stick with it--all sorts of nasty craziness is to follow! What? Well, see the film for yourself.

The film is NOT perfect--and it's obvious when you see an Italian-American (Martin) playing the brother. The casting just didn't make much sense, though his acting was just fine in the film. As I mentioned above, Page's acting also seemed to be a bit too much at times. But, the story is golden if you keep watching. Don't believe me--see it for yourself! It gets pretty icky!

Despite its silly sounding title (which is never explained, by the way), Toys in the Attic is extremely heavy. It'll stick with you for years afterwards, and you probably won't ever want to watch it again. When the main character is so evil, and the actor or actress is so convincing, it makes your skin crawl. And when the performance is that good, chances are he or she will be honored at the Hot Toasty Rag awards. Geraldine Page had to wait until 1985 to receive an Academy Award, but she won a Rag award in 1963.

Geraldine plays a spinster living with her sister, Wendy Hiller. Geraldine takes up all the energy in the room, so much so that no one else can even breathe. Wendy just sits on the sidelines, observes, and tries to quietly prevent any damage from getting done. They both share a love of their baby brother, Dean Martin. Whenever he comes to visit, they're buoyed up for a brief time before his good intentions fall flat and leave them exactly as they were before. Expensive presents often turn out to be borrowed on bad credit. Promises are empty. He comes this time with a new wife in tow, Yvette Mimieux, and lots of money in his pocket. He buys them a refrigerator, fancy clothes, and tickets to a European cruise. Then why aren't they happy?

Lots of reasons, as you'll see if you rent this movie. As the older sister, Wendy has some great expressions as she observes and hopes for the best. Geraldine steals all the spotlight, though, with her frenetic energy and manic emotions. Jealous, cruel, possessive, demanding, and unhinged - it's Geraldine Page at her finest.

At the time of its release, Dean Martin was criticized for his performance; critics went so far as to say he had no business being in such a heavy drama. That was both unkind and not true. He was surprisingly good in this movie, and gallantly, both of his leading ladies came to his defense. Geraldine and Wendy said he was a pleasure to work with, and they were both proud of his performance.

As is pointed out in the acclaimed biography of Dean Martin by Nick Tosches, Toys In The Attic was the last serious role that Dino attempted on the big screen. His less than stellar reviews in comparison to Jason Robards, Jr. who did it on the stage probably convinced Martin to stick with what he knew best.

I don't think Dean was all that bad in the part, the problem was he did not have that much to work with. When you think about it the roles he played in Some Came Running and Ada could have been dress rehearsals for Julian Berniers in Toys In The Attic. I just don't think the play itself is up to the standards Lillian Hellman set for herself in The Little Foxes.

In fact the subject matter seems to be more Tennessee Williams than Lillian Hellman. Martin is the younger ne'er do well brother of spinsters Geraldine Page and Wendy Hiller. Page is kind of Blanche Dubois flighty type on the surface, but she really rules the Berniers roost. And she's got a nice incestuous thing for her brother.

Who is now married to Yvette Mimieux, a young, but even mentally younger child like bride. Dino's got a deal cooking with the wife of a big tycoon played by Larry Gates. Years ago he had a fling with his wife Nan Martin, but now they're just seeking to take the big guy for a big score.

On stage the Gates and Martin parts are not played, but talked about. When Lillian Hellman's play was on stage the sisters were played by Maureen Stapleton and Anne Revere. Revere in the part Hiller does won a Tony Award for Best Supporting Actress. The play ran 463 performances in the 1960-1961 season.

I think if the part Dino had was played by Paul Newman or Montgomery Clift, the film might have been marginally better. But even more so Lillian Hellman was poaching on Tennessee Williams subject matter and she should have kept off the grass.

Every performance in this haunting film is stellar, including Dean Martin's. Much has been said about him being miscast but I disagree. Despite his being a perennial loser, the character of Julian must be so attractive, charming and fun as a person that he can capture the hearts of fresh young things like Lily and older, more experienced women like his connected and moneyed benefactor alike. Part of Julian's problem is that his personal attractiveness has allowed him to skate through one catastrophic life choice after another while women, most often his older sisters, who also get all giggly at the very thought that he might come swinging through the door any minute, have always been there to bail him out and nurse him back to health.

His child-like and overly animated conversation with Lily's mother is a key indicator here. He is still very much a little boy at this point in the story, yet you can see his irresistible personal charm and attractiveness is also working on his own mother-in-law.

These are qualities that were intrinsic to Dean Martin's real life and his professional persona. And the film camera being as unforgiving as it is in revealing a certain "biology is destiny" truth about a person's look, manner and aura, I don't believe Jason Robards Jr., who created the role on stage and was a fine actor on both stage and screen, would have been able to pull it off in the movie. Yes, Paul Newman could have pulled it off. But so could Dean Martin. His performance is one of the things I enjoy most about watching this as I do every few years on my old TCM DVD-R copy of it (we really need an official DVD/Blu-ray release of this soon). His final scenes with Page and Hiller are standouts. It is thrilling to see Julian's growth into manhood for the first time in his life under these brutal circumstances as Dean Martin portrays him.

This is a dramatic performance that, IMO, surpasses his previous impressive dramatic performances in The Young Lions, Career, Some Came Running and Rio Bravo.

And on the issue of questions about the family resemblance (or lack there of) among the three siblings, I'm not sure that is such a critical oversight of the filmmakers considering the musical chairs heritage elements found elsewhere in the story. Questionable lineage/parentage is an openly discussed factor for at least two other characters. It wouldn't be a stretch to consider the possibility that the three siblings in this old New Orleans family might have been the product of two or more fathers. The two "old maid" sisters are overly conservative and averse to outsiders to an almost neurotic level. Was this the result of a mother who instilled this fear in her daughters in order to atone for her own wild youth? Possible. I just think the question of whether Dean Martin, Wendy Hiller and Geraldine Page look enough alike to be taken for siblings is not much of a distraction and, in its own way under the circumstances of this story, might even add something of value to consider.

This is not your comedy you would expect from Dean Martin. It is very intriguing. If you start this movie you may think to end shortly after the beginning. All I can say is don't. Watch this all the way to the end. You will be glad you did. This gets a thumbs up from me. Enjoy.

When Lillian Hellman wrote this play, I doubt she had Dean Martin in mind for the male lead when it hit the screen. In truth, he isn't bad. He may have been cast to provide some box office. If he did, that's good. He contributes nothing else, however.

Similarly, the beautiful Yvette Mimieux is wildly miscast as his insecure wife.

Thankfully, much of the other actors are at home in this film and this sort of film. They give good performances.

Geraldine Page is in fine form as one of Martin's two spinster sisters. It isn't a subtle performance but it works very well. Wendy Hiller, as the other sister, does give a subtle performance. She is not authentically Southern; but for a good actor that makes no difference. (Think, for starters, Vivian Leigh in "GWTW.") Gene Tierney is also on-hand. Though she'd had a troubled life, she'd matured well. She was never a great actress but she had screen presence and she is right for her part here.

I was familiar with the play and wondered if the movie would include its most controversial aspect. (Can't give it away.) To my surprise, it does; and it's very effective.

Please note: I have nothing against Dean Martin. He is fun in "Kiss Me Stupid." But he was essentially a singer and comic performer. This movie contains no songs and is anything but comic. Had his and Mimieux's parts been cast more according to the script, the movie could indeed have been extremely, rather than occasionally, powerful.

There never is an excuse, especially when the cost is virtually the same, to subject the eyes to black and white. I've heard all the reasonings and excuses, but none of them hold up. It is analagous to saying we should film many films without sound because that is how they used to do it before 1927.

The world has always been in color. People see in color, in general. A director who has to cut this most wonderful and basic of human senses out of his picture is not one to be taken seriously.

This is a good film and I agree with most of the comments made on this board. Wendy Hiller may not get enough credit for the great subdued rendering she gave as the rational sister.

There is no excuse for making a film in black and white in the 1960s. This would have been so much more vivid and tantalizing had it been the way we see things -- then the director can play the scenes from there.

It's still a great film.

Lillian Hellman may be the most overrated playwright of her era. For every interesting or provocative thought, there's a ton of symbolic cabbage and sticky milieu to wade through. This too-handsome filming of her play stars Geraldine Page and Wendy Hiller as unmarried sisters living in New Orleans welcoming home their ne'er-do-well brother, who arrives bearing gifts and ill-gotten cash. It's an overheated piece of would be-Gothic melodrama, given a luxurious sheen and a swooning, romantic score (both incongruous to the material at hand). Well-cast Hiller and Page are excellent, trading niceties which quickly turn to hurtful revelations and stinging truths, but Dean Martin seems out of place as their beloved sibling. Working very hard in a part which might have been perfect for George Hamilton, Martin brings with him too much charismatic star-baggage to the already-phony surroundings. George Roy Hill directs poorly, indifferently, and the opening scenes are so confusing that patience and interest are both enormously tried even before Hill gets to the second act. ** from ****

George Roy Hill, Lillian Hellman, Geraldine Page, Wendy Hiller, Dean Martin, Yvette Mimieux, Bill Thomas (costumes) and lastly but always outstanding Gene Tierney. What a great grouping of actors, writers, director and costumes as well all else fits together in this film. Over 40 years have passed as has most of the cast, but this film still holds together very well. Geraldine Page is always good and captures the somewhat crazed Carrie charactor beautifully. Dean Martin has always been over looked as an actor and really proves his worth in this role. George Roy Hill keeps things moving and all and everyone else keep plenty of grease and batter on this fine batch of southern fried chicken. Treat yourself to a really fine movie, it is worth it all just for a look at the talented Madame Tierney.

Specially Geraldine Page's performance but all the others are just excellent: Dean Martin, probably in his best finest role, Yvette Mimieux, very beautiful and very sensitive, Wendy Hiller, magnificent, Gene Tierney, amazing. To some it will seem boring, because it's the screening of a play, it's only dialogue, less action, but what lines, what subject, what direction, what realization, super wonderful film.

I can't stand Geraldine Page. Im assuming Page was trained for theatre acting Her mannerisms are exaggerated her irritating tone and dictation. Page would have been terrified during the silent era. Acting was exaggerated. Her silence is exaggerated Everything Page does is exaggerated. Performing in front of a movie camera and performing on stage in front of an audience is two entirely different undertakings. That's not a top notch performance if the viewers know you're acting. James Cagney said, "Walk in, plant your feet, look the other fellow in the eye and...tell the truth." Page tried too hard in every scene to make a point. Page should have learned the proper etiquette before being cast to perform in front of a movie camera. Not all stage actresses have that star quality, charisma. Page is annoying and boring. Wendy Hiller, love her a great actress. Dean, miscast he tried tho. Beautiful Gene I didn't catch her acting, not once.

Great Picture! Dean gives a great performance, along with the other actors. Also I think that the story was told very well and that the way the movie was put together was superb. This is definitely a favorite of mine. This movie gets a 10 from me!

After an impressive opening credit sequence, irresponsible Chicago businessman Dean Martin (as Julian Berniers) returns to his devalued New Orleans home with pretty young bride Yvette Mimieux (as Lily Prine). With funds acquired from a dubious land deal, Mr. Martin showers his two spinster sisters with gifts. Apparently, Martin's ship has come in, financially. The elder ladies are happy, but you should be suspicious. Hidden passions surface and a dark family secret is exposed...

Walter Mirisch's lackluster film production of Lillian Hellman's steamy southern play suffers through a miscast leading man and decidedly un-southern pace. With possible good intentions, Ms. Mimieux wanders around vacuously. In a small, but showcased role, motherly Gene Tierney (as Albertine Prine) seems startled by Martin. However, it is good to watch scheming Geraldine Page (as Carrie) and subdued Wendy Hiller (as Anna) milk their roles so skillfully, and the setting is alluring.

***** Toys in the Attic (1963-07-31) George Roy Hill ~ Dean Martin, Geraldine Page, Wendy Hiller, Yvette Mimieux

So many reviews here critical of the casting, harshly evaluating not only those chosen as starring cast members but their acting talent as well. Dean Martin, in particular, receiving a thumbs down in his presentation of the ne'er-do-well brother whose business ventures have inevitably failed. On the contrary, Martin gives quite an acceptable characterization and has the physical attributes to add credence to his image as a womanizer. As for Geraldine Page, her hysterical style well fits the devious, emotional woman she presents. Wendy Hiller, as her sister, gives a nuanced performance as the only one of the group connected to reality and attuned to the consequences brought about by the tragically misguided thinking and actions of those around her. Then there's the pathetic child-woman as played by Yvette Mimieux. Yvette's presentation of this naive, intellectually challenged, easily manipulated girl is effectively shown.

The movie was a box office failure. Understandable, as an incestuous desire of a sister for her brother would be unappetizing subject matter for a movie audience in 1963.

Dean Martin, (Julian Berniers) gave an outstanding performance in this role with a very dramatic role as a brother who had two sisters who both loved him very much. However, Julian was a shady character who was always a constant failure in whatever he did and got himself involved with all kinds of women who could provide him with money. Every time he got in trouble Julian ran home to his two sisters who always managed to lend him money. Finally, Julian comes home and manages to have plenty of money, like $150,000 dollars and buys everyone lots of clothes and even trips to Europe and a new refrigerator for their home. Dean Martin and Geralldin Page, (Carrie Berniers) both gave an outstanding performance which made this a great film to watch and enjoy.