All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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.
**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…
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…
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…
After recently watching Elia Kazan's classic, On the Waterfront, I made it a point to get to his critically acclaimed multi Oscar winner A Streetcar Named Desire. It's a film that holds the distinction of garnering Academy Award wins in three of the four acting categories. Vivien Leigh won for Best Actress, Karl Malden for Best Supporting Actor, and Kim Hunter won for Best Supporting Actress. Suprisingly the films biggest star Marlon Brando was nominated but did not win. I'd like to see what he was up against because he was fantastic. The acting overall is some of the best I've seen from the era. Normally I have issues with the acting in films from the forties and fifties because…
Film #3 of For Asif Activity by Robert Beksinski
"A Streetcar Named Desire" - 1951
Director: Elia Kazan
This 1951 film was directed by Elia Kazan, based on the Pulitzer Prize-winning 1947 play of the same name by Tennessee Williams who co-wrote the film with Oscar Saul. All the main cast members of the film were in the original Broadway production as well which was again, directed by Elia Kazan while Vivien Leigh (who appeared in the London theatre production) was brought in instead of Jessica Tandy. A Streetcar Named Desire is one of the most famous films of that era due to the performances, the play and the characters. It has achieved a classic status and frankly is…
Gripping film adaptation of Tennessee Williams's Pulitzer Prize-winning play about the ensuing havoc when strange, unstable Blanche DuBois (Vivien Leigh) comes to stay with her docile sister Stella (Kim Hunter) and Stella's rough, animalistic, abusive husband Stanley (Marlon Brando).
I was genuinely taken aback by how gritty and hopeless this film is, full of characters that are confused, ignorant, hypocritical, abusive, and/or manipulative. You can practically smell the sweaty desperation and anxiety through the screen. Even though I was familiar with some of Williams's other work, I was actually expecting something romantic. Boy, was I ever wrong!
One of the greatest and most revolutionary performances in cinema by Marlon Brando. My one major issue with the film is Vivien Leigh, whose acting I just found too theatrical and felt it clashed too much with the other actors (apparently this was intentional).
Never stops amazing me every time I watch it.
We watched this instead of actually reading the play in AP Lit, and it was well worth it. These are some of the best performances in screen history.
Brando is a force
of nature and Kazan films
Elia Kazan's searing adaptation of Tennessee Williams' celebrated stageplay is one of the seminal benchmarks in the evolution of American screen acting, with electric performances from Vivien Leigh, Kim Hunter and method man Marlon Brando, whose firebrand work as the brutish Stanley Kowalski remains among the most influential singular turns in all cinema. Resentful of visiting sister-in-law Blanche (Leigh), who takes up residence with him and pregnant wife Stella (Hunter) in their cramped New Orleans abode following her flight from her appropriated Mississippi home amidst rumours concerning her husband's suicide, ruinous debts and sexual impropriety, the intimacy of their shared living quarters and Blanche's capacity to ignite the volatile Stanley's worse tendencies provide a powderkeg that erupts in a series…
This review reportedly contains spoilers. I can handle the truth.
Even people who haven’t seen this wonderful film know of Marlon Brando’s (arguably) most famous line and the mystique that surrounds it. The alluring gaze, those few cut moments… they’re legendary. And they redefined film classification. But… that isn’t the reason A Streetcar Named Desire remains one of those classic films: loved by English teachers and film buffs, yet loathed by a multitude of students (I myself never understood my A-Level English Literature class’ hatred of Blanche.).
Like with my last review: I am biased. Horrendously and unforgivably so. I adore this film. I adore Blanche. I just love everything about it. From Leigh and Brando’s performances to the exquisite lucidity of the script. The raw chemistry… I have…
Where old meets new in maelstrom of hot gumbo.
Leigh vs Brando.
Brando wins on points, but it's mighty close.
MOVIE A DAY FOR A YEAR - DAY 349
A Streetcar Named Desire is four star film because of its performances alone.
I find it extremely hard to review a film such as Streetcar, because it really speaks for itself. It's a classic for a reason people! Marlon Brando, Vivien Leigh, Kim Hunter, and Karl Malden are that reason. Streetcar takes an extraordinary cast of characters, and places them in a relatively normal scenario, and this is what makes it a classic. The lives and loves of these four main characters delve into a place where cinema at this time really, just didn't go.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!