As she puts it: “What does Eddie Carbone want?” – he no longer desires his homely wife (Stapleton at her most irritating) whom he is only supposed to have sex with for evermore. Kael also had words on that kiss - the first time men kissed (it seems) on screen, and neither were meant to enjoy it! Meanwhile the young couple fall for each other. Eddie loses his good name and is a lone man at the end, armed with his meathook as he and Pellegrin, armed with his, confront each other. It is powerful stuff typical of its era, but rather over the top. Vallone however in his prime is never less than compulsive, Stapleton excels as ever, and Sorel was that popular young actor of the time who had a long career – more on him at Sorel label.
I saw Arthur Miller at a book signing for his novella "Plain Girl" in his later years, when he signed copies but nobody could talk to or speak to the great man. But just to see him and get a signed copy was enough.
PS: I mentioned above that A VIEW FROM THE BRIDGE was not performed much now - I was wrong, a new production is opening at London's Old Vic from April to June, with the intriguing casting of Mark Strong - the discerning director's hard man or villain of choice - as Eddie Carbone. Strong, from THE LONG FIRM to THE EAGLE, THE GUARD, ROCKNROLLA and ROBIN HOOD and more, should be ideal here.