The Fugitive Kind is a 1960 American drama film starring Marlon Brando, Anna Magnani, and Joanne Woodward, directed by Sidney Lumet.

The screenplay by Meade Roberts and Tennessee Williams was based on the latter's 1957 play Orpheus Descending, itself a revision of his 1940 work Battle of Angels, which closed after its Boston tryout.

[4] At the 1960 San Sebastián International Film Festival, it won the Silver Seashell for Sidney Lumet and the Zulueta Prize for Best Actress for Joanne Woodward.

It was upgraded to Blu-Ray in January 2020 and includes three one-act plays by Williams (among them This Property Is Condemned, also later adapted for the screen) performed on NBC television network also directed by Lumet.

Lady's father died a tragic death after selling wine to local Black citizens (against the law in pre-Civil Rights South).

Sheriff Talbott, a friend of Jabe as well as Vee's husband, threatens to kill Snakeskin if he remains in town, but he chooses to stay when he discovers Lady is pregnant.

They arranged to option the movie rights from Tennessee Williams by obtaining the interest of Anna Magnani and Tony Franciosa as possible stars (both had just made Wild Is the Wind together).

[11] Lumet later said he enjoyed working with Brando and Woodward but struggled with Magnani "who was going through a personal crisis and hated being in America and in a film studio.

In his review in The New York Times, Bosley Crowther described the film as a piercing account of loneliness and disappointment in a crass and tyrannical world...[Sidney Lumet's] plainly perceptive understanding of the deep-running skills of the two stars, his daring with faces in close-up and his out-right audacity in pacing his film at a morbid tempo that lets time drag and passions slowly shape are responsible for much of the insistence and the mesmeric quality that emerge ...Mr. Brando and Miss Magnani...being fine and intelligent performers...play upon deep emotional chords...Miss Woodward is perhaps a bit too florid for full credibility...But Miss Stapleton's housewife is touching and Victor Jory is simply superb as the inhuman, sadistic husband...An excellent musical score by Kenyon Hopkins, laced with crystalline sounds and guitar strains, enhances the mood of sadness in this sensitive film.

[14]In the Chicago Reader, Jonathan Rosenbaum wrote "Unfortunately, director Sidney Lumet, who's often out of his element when he leaves New York, seems positively baffled by the gothic south and doesn't know quite what to do with the overlay of Greek myth either.

"[15] The Time Out London Film Guide wrote "despite its stellar credentials, just about everything is wrong with this adaptation of Tennessee Williams' play Orpheus Descending...Lumet's direction is either ponderous or pretentious, and he failed to crack the problem of the florid stage dialogue and a dangerously weak role for Brando",[16] and Channel 4 describes it as "a less than satisfying experience...disappointing stuff.

[20] Some dialogue from a scene in the film was used by Australian hip hop trio Bliss n Eso in their song "Never Land", off their album Running on Air.