This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
A Streetcar Named Desire
...Blanche, who wanted so much to stay a lady...
A Streetcar Named Desire is the film adaptation from the play by Tennessee Williams and directed by Elia Kazan. The film tells the drama story of the conflict between run down southern states and the exemplary industrial states in the north. Disturbed Blanche DuBois moves in with her sister in New Orleans and is tormented by her brutish brother-in-law while her reality crumbles around her.
I had forgotten how complex this film was. I saw it some 30 years ago and did not remember much from it. When watching it now I felt like I was left with more questions than answers.
What I did get from the film is that it is about (among many things) the crashes of desires. Stella wants to please her husband and sister. Stanley wants to have respect and enjoy his life with his wife. Blanche wants to live in her fantasy world, free from her past and under the protection of her sister. These desires crash with such furiosity that no one is going to get unharmed from it. Such is life. We may believe we have full…
**Part of the Best Picture Project**
While A Streetcar Named Desire is notably Tenessee William's play, it is most definitely Elia Kazan's film. William's play is about Blanche's inability to face the truth of her situation, and Kazan takes this basic premise and turns it into a film about the decline of melodrama and the birth of realism.
It's almost too appropriate that Vivien Leigh is the one to play Blanche DuBois, an aged Southern belle (Belle Reve could easily be another name for Terra) comes to the home of her sister, Stella, and meets her rough hunk of a husband, Stanley. While it's Leigh who represents the dying state of melodrama, Brando is the figure of realism that towers…
Film #25 of 25 in the Exploring My Birth Year challenge
Three of the four stars here earned Academy Awards for their performances: Vivien Leigh for Beast Leading Actress as Blanche Dubois, who is gradually succumbing to madness; Kim Hunter for Best Supporting Actress as her pregnant sister Stella; and Karl Malden for Best Supporting Actor as Blanche's erstwhile boyfriend Mitch, torn between his desires and sensibilities.
Only Marlon Brando, who was nominated for Best Leading Actor, failed to come up with an Oscar, but it certainly wasn't for lack of character. He plays Stella's crude but honest husband Stanley Kowalski. In fact, Brando nails the role and shows a wonderfully volatile nature in his second feature appearance,…
marlon brando... soaking wet in a ripped t-shirt............. fuck
Sadly I have never had the pleasure of reading Tennessee Williams play let alone ever seeing it performed. After learning of the differences between play and film, I've kind of staggered a bit due to this extreme form of censorship. When I think of it, I can only envision it making the film all the better if these differences were included. But when it comes down to it, with having no previous knowledge of these drastic changes until now. I can still safely say A Streetcar Named Desire is a perfect film on its own and separate from its theater counterpart.
Rewatching this has cemented in my mind, that this film above all others is indeed Kazan's best film and…
"I thought you were straight."
"Straight? What's 'straight'? A line can be straight, or a street. But the heart of a human being?"
Tell me about it, sweetie.
I tried writing a review for a solid thirty minutes and nothing came to mind, so I'm leaving you with that gay joke up there, and a bullet list of random, disorganized thoughts because for some reason I cannot currently coherently string them together:
- Holy shit this movie is dark. Especially considering it's a 1950s Hollywood movie. Damn.
- This thing has got a remarkable atmosphere. Really. I've never been to New Orleans, let alone New Orleans in the 1950s, so I cannot comment on how accurate the feel of the…
July Scavenger Hunt | Film #29, Task #2 - A movie set in a place you want to travel (New Orleans).
Truly one of the greatest movies with the most fascinating characters ever written.
This one is a rewatch, but it almost feels like I'm seeing it for the very first time. I don't think I quite understood its complexity before.
That house. That house with it's teared-apart curtains and broken windows. With it's covered up lamps and protected lanterns. You can smell the animalness of it, you can feel that heat. The film starts with that house and ends with it. What's between is two or so hours full of intensity, of sexual desires and hatred of classes.
That house is unforgettable.
Movie Club Night #4
Room consensus; You would have thought this was a comedy through the first act. Everyone seemed to think Stanley's abuse and Blanche's delusions were comedic in nature, which I have to admit could be the intention, yet that feeling never dawned on me. Sure, Brando is extremely charming, in a way that makes you want to be on his side. Even so, he's pretty violent and intense from the start in a way that never made me side with him in his fight against Blanche's intrusion. And Leigh's performance as Blanche is over the top. But to me that's obviously the intent, to juxtapose her condition with Stanley's. Once the turn happens though, most viewers seemed…
[struggling stand up comedian voice] I don't have any DESIRE to see this movie again
Some of the dialogue was a bit too poetic to feel real and believable. I lost interest a bit at times. Blanche's descent into insanity felt too quick. I really wanted to like this, but I guess it just isn't my type of movie.
First non-"Godfather" Brando introduction definitely not a disapointment. The guy is awesome here, how he slurs his accent just short of being inaudible, how he blows up and how he immediately goes on the defensive when he sees Ms. Dubois' uppity gimmick and how it might threaten his relationship with Stella. I love how Dubois' over-the-top Hollywood-glamour act is manipulated, too, revealed at the end to be a sort of coping mechanism against the pull of aging. A great way to take advantage of that older acting style.
I especially love, though, how at the story's end the movie never really "tells" you who the "bad" one was, who to root for. Dubois and Brando both have faults but also reasons to empathize. Gives you something nice and gray and complicated to think about.
The delightfully mad, dramatic tale of a woman driven to insanity over not having a man in her life.
It's difficult to ascertain whether or not we're expected to feel sympathy for Blanche, especially given the 60 years from when this film was made, but I assume that's the case. Her story offers a truly fascinating examination of gender norms via a tried and true hysteria.
Stanley is quite an interesting character as well. He's constantly throwing fits of rage, yet he's undoubtedly the "rational" one. And he also doesn't get thrown into a mental institution at the film's end.
Streetcar is also as well made as it is compelling. The acting here is dynamite, as well as the entire aesthetic look of the film. Everyone and everything looks dark, damp and uncomfortable, which clearly fits well with the narrative.
A great adaptation of my favorite play of all times. It's clammy and oppressive, sensual and wild as desires lead to madness. A perfect melodrama. It's also the first collaboration between Elia Kazan and Marlon Brando who is outstanding in the role of a rude Polish sexist man.
Based on the play by Tenessee Williams.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…