A Streetcar Named Desire (1951)

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.

Director:

Elia Kazan

Writers:

Tennessee Williams (screen play), Oscar Saul (adaptation),

Stars:

Vivien Leigh, Marlon Brando, Kim Hunter

Top 250 #225 | Won 4 Oscars. Another 13 wins & 14 nominations.

Cast

Complete credited cast:
Vivien Leigh	...	Blanche
Marlon Brando	...	Stanley
Kim Hunter	...	Stella
Karl Malden	...	Mitch
Rudy Bond	...	Steve
Nick Dennis	...	Pablo
Peg Hillias	...	Eunice
Wright King	...	A Collector
Richard Garrick	...	A Doctor
Ann Dere	...	The Matron
Edna Thomas	...	The Mexican Woman
Mickey Kuhn	...	A Sailor

Storyline

Blanche is in real need of a protector at this stage in her life when circumstances lead her into paying a visit to her younger sister Stella in New Orleans. She doesn't understand how Stella, who is expecting her first child, could have picked a husband so lacking in refinement. Stanley Kowalski's buddies come over to the house to play cards and one of them, Mitch, finds Blanche attractive until Stanley tells him about what kind of a woman Blanche really is. What will happen when Stella goes to the hospital to have her baby and just Blanche and her brother-in-law are in the house?

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Plot Keywords:

Pregnant Sister | Streetcar | Louisiana | Neurotic | Love | 

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Taglines:

...Blanche, who wanted so much to stay a lady...

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Genres:

Drama

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Motion Picture Rating (MPAA)

Rated PG for thematic elements

Details

Country:

USA

Language:

English Spanish

Release Date:

1 December 1951 (West Germany)

Also Known As:

Un tranvía llamado deseo

Filming Locations:

Los Angeles, California, USA

Box Office

Budget:

$1,800,000 (estimated)

Company Credits

Production Co:

Charles K. Feldman Group, Warner Bros

Technical Specs

Runtime:

122 min 125 min (re-release)

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Due to the highly contentious subject matter, no major studio would dare touch the property. 20th Century Fox head Darryl F. Zanuck expressed an interest but had to relinquish the idea when his boss point blank refused to allow it to happen.

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Goofs

The position of the collar on Stanley's silk pyjamas changes between shots, varying between up and down.

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Quotes

[first lines]
A Sailor: Can I help you, ma'am?
Blanche DuBois: Why, they told me to take a streetcar named Desire and then transfer to one called Cemetery and ride six blocks and get off at Elysian Fields.

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Connections

Spoofed in Les Girls (1957)

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Soundtracks

"It's Only a Paper Moon"
(1933) (uncredited)
Music by Harold Arlen
Lyrics by E.Y. Harburg and Billy Rose
Sung by Vivien Leigh while doing her hair

User Reviews

"Classical" vs. "Method"

Now that this filmization of "Streetcar" is over a half century old, it can be looked at in a more objective manner than that of the early fifties. The "classical/traditional" acting style of Vivien Leigh, which was placed in stark contrast to the rest of the production personnel, continues to hold its own brilliantly.

It's probably hard today for some to imagine the strong opposition Leigh's casting faced back in 1950, when this prim actress from England was chosen (mostly by studio chief Jack Warner) over "method" Broadway actress Jessica Tandy.

A goodly number of cast and production people from the hit play directed by Elia Kazan were engaged by the director for the film version, and they were not at all enthusiastic about risking a "clash" of acting styles in the leading, pivotal role of Blanche. Kazan himself was reportedly very pro-Tandy, and quite disappointed in the studio's decision.

Yet, Warner and his staff felt Tandy wasn't that well known to the general movie going public--especially in contrast to Leigh, whose marquee name was by then almost magical. In recent interviews, Kazan admitted that working with Vivien was "a real challenge."

In looking at the film today, however, it's Leigh who emerges as a genuine "star" of this production. True, her facial expressions, vocal inflections and body gestures may be the result of careful, deliberate planning, but so what? It's also the aspect that commands attention and draws the viewer to her portion of the screen throughout this film.

Her southern accent, so well learned and retained from her work as Scarlett in "GWTW," is convincing and very beautiful to hear. It also fits Blanche perfectly, as does Leigh's stylized "choreography," which was undoubtedly retained from her long-running London stage performance.

Not all the combined, formidable talents of "method" giants as Karl Malden, Kim Hunter, Marlon Brando or Kazan can diminish the hypnotic work of Leigh here. It may not have excited "Gadge" Kazan, but it remains a highlight performance in film history (and impressed the Academy enough to bestow an "Oscar" to Vivien.)

It also didn't hurt to have Alex North's pungent score, which remains this composer's finest hour.