Cat on a Hot Tin Roof is a film released in 1958 and directed by Richard Brooks. The film is derived from a play of the same title written by Tennessee Williams, the famous playwright. The film centers on the tumultuous relationship between Brick (Paul Newman) and Maggie "the Cat" (Elizabeth Taylor) as they return to the family estate to throw a birthday party for the ailing Big Daddy (Burl Ives). In the lying scene, Big Daddy comes home from the hospital with Big Mama (Judith Anderson). When they get off their private plane, they are greeted by Cooper (Jack Carson) who is surrounded by his entire family. Maggie is also present, although she seems desperate and uncaring. Cooper's wife Mae (Madeleine Sherwood) and his children strive to get Big Daddy's attention. However, Big Daddy is only attracted to Maggie. The scene ends with the news that Big Daddy is not going to die of cancer. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay This scene seems to consolidate most of the themes covered in the film into a single fold. This touches on perhaps the most important theme of the film, which is deception. Deception, the overarching message of the film, is captured well in this scene. It's fair to say that the entire plot of this film is based on the lie conveyed in this scene. When Big Daddy is diagnosed with terminal colon cancer, the rest of his family is eager to grab a big chunk of his fortune. This fight for inheritance highlights Mae's sycophancy and the conflict between Brick and his brother Cooper. This scene depicts a happy Big Daddy, happy that his cancer is finally gone. However, this diagnosis turns out to be a big deception. The truth is that Big Daddy's doctor contacted his family to lie to the old man about the severity of his condition. This deception is inherent in most characters in the film who lie to themselves, others, or both. Throughout the film, the characters denounce “lying”, not telling the truth or not facing reality (Bradshaw, 2017). In this scene, Mae's sycophancy is an obvious deception that she uses to endear herself to Big Daddy. Additionally, the film leaves the audience uncertain about the true nature of most relationships (Bastien, 2016). It’s a cinematic deception that ensures the viewer discovers the reality of the situation from heavy glances and fleeting clues. This technique can be frustrating, especially with Skipper, Brick's closest friend who committed suicide. The viewer never sees Skipper but Brick's marriage is still haunted by his presence. The bond between Brick and Skipper was vividly depicted in William's play, but the film glosses over it. Keep in mind: this is just a sample. Get a personalized article now from our expert writers. Get a personalized essay. Williams reportedly hated the film adaptation because of its failure to address issues of sexism and homophobia (Bastien, 2016). The film was constrained by the Hays Code, which included a set of moral principles that governed the film industry until the 1960s. However, this vague approach increases the characters' inability to face their truths and flaws. This process results in a Southern-style story in which the truth is generally out of reach, regardless of the audience's desire. As such, the entire film seems to flow from one deception to another. This scene just happens to capture the greatest deception of the..