His rejection doesn't matter because she doesn't accept it. However, unlike Big Daddy in his earlier scene with Big Mama, Brick is weaker than Maggie at this point. He sees it as just one more lie people tell each other. Maggie, in her power, similarly tells Brick her truth-that she loves him-and he, echoing Big Daddy earlier in the play, doesn’t believe her. Big Daddy wants to live, but Big Mama, now that she has control over him, is going to ensure merely that he survives, all motivated by love. In essence, Mama is putting Big Daddy on a drug much more powerful than alcohol, and all because of her sincere love for him. Mama, meanwhile, goes to 'ease' Big Daddy's pain-but his pain is emotional and existential. Even Big Mama’s interruption doesn’t faze Margaret, who calmly hands Big Mama the medicine before returning her attention to Brick. Further, Maggie realizes that with this power she can be the first character in the play to turn her lie into truth. Love continues to be a function of power-suggesting that the women's love for their men is almost entirely a function of their dependence on them. The film stars Elizabeth Taylor, Paul Newman, Burl Ives, Jack Carson, and Judith Anderson. She can, basically, extort his love for her, at least physically. Cat on a Hot Tin Roof is a 1958 American drama film directed by Richard Brooks, 3 4 who co-wrote the screenplay with James Poe, based on the 1955 Pulitzer Prize -winning play of the same name by Tennessee Williams.

Earlier Maggie couldn't penetrate Brick's alcohol-based distance but now she (like Big Daddy earlier) realizes that Brick's dependence on alcohol makes him weak, symbolized by Maggie throwing away his crutch and defense. Margaret finally takes charge at the end of the play.

Cat oa hot tin roof