the audience applauded

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Having seen the "definitive" stage version of this, featuring Colleen Dewhurst and Michael Dunn, I wasn't hopeful for this film holding a candle to it. I came away feeling that this particular piece does not translate to film. Vanessa Redgrave is a wonderful actress and seeing her beautiful, expressive face with no makeup and her hair cut short is quite startling, but effective. I found myself focusing on her big blue eyes most of the time, as they told the mood of her character throughout. I doubt they could've found anyone better for the role. It's simply that the entire production didn't quite gel. It truly works better in the theatre. I'm still not entirely decided on whether I completely disliked it.

The story in this movie was an Edward Albee stage play. For the most part the movie looks like a stage play, with static camera shots and characters with loud exposition and bold movement. It was set in rural Georgia, we can tell by references to going up to Atlanta, but it was actually filmed near Austin, Texas on the ranch owned by singer Willie Nelson.Vanessa Redgrave is Miss Amelia who seems to practically own the town. She runs the local store and makes and sells good moonshine in this depression era. When a family gets behind in rent she goes into their house at night, takes their sewing machine, and leaves. Things begin to change when a hunchback dwarf, Cork Hubbert as Cousin Lymon, shows up claiming to be her cousin, and he recites the family connections to back up his story. Amelia takes him in and treats him almost like a long lost son, doting on him, feeding him, letting him lounge when she is working in the heat of the day, showing him her moonshine operation.Trouble starts when Keith Carradine as Marvin Macy shows up. He is just out of prison and a flashback shows us that he some time earlier had asked Amelia's hand in marriage and she accepted, but them she threw him out for no apparent reason. When she heard he was headed back their way she announced in her crowded café that she didn't want any part of him. The theme of the movie is obscure because much of what we see doesn't make sense, so we must rely on what is explained at one point by Rod Steiger as Rev. Willin. Love takes two people, the one who loves, and the one who is the be-loved. Being the be-loved is difficult, and that is what Amelia experienced. Marvin Macy wanted to love her, but she was not able to be his be-loved, so her rejection turned Marvin into a criminal. When he returned to that town he was out to destroy her, which he did in a sense. Not my favorite type of movie, but it has some interesting elements.

This film demonstrates an excellent use of both dialog and cinematography to evoke a mysterious, yet stark atmosphere. Redgrave is especially excellent in her portrayal of a character that defies easy description or explanation. The score, too, works to create a specific place, but never falls to the easy trap of using simple folk-music styles in order to provide a sonic backdrop.Overall, The Ballad of the Sad Cafe is a haunting and beautiful exploration of human emotions and inhuman behaviors. I would highly recommend this film to everyone interested in an eerie combination of the real and surreal.

Simon Callow is a great director and a visionary and should set his sights on directing again. Edward Albee's story is touching and funny, a true classic and Callow does a solid and witty job of bringing it to life. The acting by Carradine is questionable but Vanessa Redgrave makes up for that. Also Rod Steiger is always a sure thing. Callow should do more directing.