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…
Emotional chaos but remarkable control. Acting before the 70s was quite something; perhaps the language really lent to it. And the language is pretty top-notch here; writing has withstood time.
Saw this movie when I wanted to get into the classics, made me fall in love with Brando despite his manipulative, abusive behavior- it was his looks. This story is an unoriginal story because it is inspired off of the film "Never on Sunday" with Melina Mercouri.
"please don't get up. i'm only passing through."
A true classic. Madness and passion in sweltering heat and ..... HOT HOT HOT Marlon Brando. Surreal, sultry, if that can be used for a man and ... just so damn sexy!
This review may contain spoilers. I can handle the truth.
17/25 of Classic movie month
It may seem differently in the beginning, but no character in this film is completely wholesome and to me, that's what makes this film as compelling as it is.
I can't imagine how utterly innovative Marlon Brando's acting here must have been. Radiating with lust and anger, the character of Stanley Kowalski is at all times entertaining to watch. Of course, Vivien Leigh's performance is undeniably powerful as well, fooling us all into thinking Blanche DuBois is nothing but a sweet Southern Belle down on her luck.
Apart from Brando's intense performance, the audaciousness of this screenplay is very admireable. For a movie with elements of pedophilia, homophobia, domestic violence and other controversial topics to…
Melodrama and Marlon Brando. The latter is the only good thing about the film. Well I mean I am oversimplifying obviously because I love Mitch too but the film feels sluggish and slow and less genuine than the original theatrical text. But I don't care for the theatre much either.
Brando is no Ned Flanders.
Allow me to do something I didn't think I'd EVER do, which is throw a tiny bit of shade at John Huston and Humphrey Bogart.
1. Leave it to Elia Kazan to be really the only one to get Tennessee Williams right on the big screen. Joseph Mankiewicz dropped the ball (Suddenly, Last Summer), Richard Brooks did the same more or less (Cat on a Hot Tin Roof), and Huston gave a damn good effort (The Night of the Iguana). Only Kazan could do the story AND the characters full service.
Due to production codes, the studios couldn't ever resist making changes to a Williams screenplay, like removing homosexual themes (seriously every one of his screenplays). In this film's case…
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