Highly controversial and condemned by numerous religious organizations when first released, Baby Doll seems hardly worth the uproar when viewed today. While time has dulled its impact somewhat, the film is still an erotic and occasionally powerful, if contrived, study of lust, repression, hypocrisy and desire. Tennessee Williams' screenplay contains some wonderful innuendo-filled dialogue, as well as typical Williams imagery. What's surprising is that the picture is actually a black comedy, rather than the tragedy or melodrama one might expect. Elia Kazan directs with one eye on steamy sleaze and the other on the sheer foolishness of all involved, and gets some impressive performances out of his cast. Carroll Baker is surprisingly good, more than just an actress with looks. She's an off-putting, aggravating, teasing nymphet with something special beyond all of her alluring enticements. Karl Malden does well as her oafish, suffering husband, and Eli Wallach is especially good as the fly in his ointment. The garden swing scene between Wallach and Baker is especially noteworthy. Kenyon Hopkins' jazzy, sultry score adds immeasurably to the film's impact. Dimmed though its steamy luster may be by the passage of time, Baby Doll still makes an impression.