Endstation Sehnsucht

... of two powerhouse juggernauts. Absolutely dripping with tension, acrimony and bitterness as Blanche DuBois and Stanley Kowalski lock horns in their own uniquely individual way with the backdrop a dark, drenched and run down part of New Orleans. Coupled with a pair of superb supporting performances that amplify and escalate the whole to a unique plateau, you'll feel as though you've been run down by an out of control steam train, flattened by a steamroller to be reformed in a furnace fuelled by fear, frustration and desire.

A dramatic and disturbing film based on Tennessee Williams's play . It deals with the tarnished Blanche DuBois (Vivien Leigh is unforgettable as a fading southern belle) who moves to live in New Orleans with her sister, Stella (Kim Hunter) , but there things go wrong when she meets her brutish , heavy-drinking brother-in-law, Stanley Kowalski (a sweaty , animalistic Marlon Brando , a role who shot him to superstardom) in his rattrap New Orleand apartment . As Blanche is a sexually disturbed woman who lives in a world of illusion . Her world starts to crumble when she moves in with her sister, as circumstances become unbearable when rumors of Blanche's dark past begin knowing among neighbors and then the happenings go awry ...When she got there she met the brute Stan, and the side of New Orleans she hardly knew existed. The Pulitzer Price Play of New Orleans' Latin Quarter...of a Lonely Girl...of Emotions Gone Savage!... Blanche, who wanted so much to stay a lady... Warner Bros. Bring the screen all the fire of A Streetcar Named Desire.

Well-deserved Academy Awards were garnered by Vivien Leigh as main actress , while Kim Hunter and Karl Malden won as secondary actors, providing all of them terrific and hypnotic qualities on their extraordinary interpretations . The excellent production design is first-rate , being competently set in the French Quarter of New Orleans during the restless years following World War Two . Main and support cast are frankly magnificent delivering excellent interpretation. Vivien Leigh is awesome as a fragile and neurotic woman who has suffered a series of calamities in her thunderous life . Marlon Brando gives a terrific acting as the abusive ,sinewy , brutish brother-in-law who believes to live under Louisiana's Napoleonic code what belongs to the wife belongs to the husband. They're very well accompanied by a great support cast , such as : Kim Hunter , Karl Malden , Rudy Bond and Nick Dennis. However , one reservation , all the roles are just fairly unbelieable and really exaggerated with the exception for Kim Hunter.

The motion picture was stunningly directed by Elia Kazan and considered to be one of the best films of the year , as he said it was one of his favorites of all the movies he made . Although gloomy and sordid throughout A Streetcar Named Desire fascinates rather than alienates the audience , thanks to the unpredictability of the play and riveting art decoration and set decoration that were both also rewarded with Academy Awards. During his long career, Kazan won two Oscars as Best Director and received an Honorary Oscar, won three Tony Awards, and four Golden Globe Awards. Kazan directed four performers to Best Actress Oscars: Celeste Holm, Kim Hunter, Eva Marie Saint and Jo Van Fleet. Greek-Turkish director Elia Kazan who being a child emigrated along with his family to United States made magnificent films . Some of them describe memories , emotions and infancy images , narrating the persecution to Greeks and Armenians by Turkish that finished in genocide as in ¨America , America¨ . Kazan directed a string of successful films as ¨Gentleman's agreement¨, ¨Man on a tightrope¨, ¨panic in the streets¨, ¨Pinky¨ , ¨Splendor in the grass¨, ¨Baby doll¨, ¨the engagement¨, ¨a Street named desire¨, ¨East of Eden¨ and especially his greatest hit : ¨On the waterfront¨ , the latter includes biographic elements ; in fact, Kazan worked in this waterfront area in 1934 during the height of the Great Depression .

There are other versions , but roughly inferior , based on the classic play by Tennessee Williams titled ¨A Streetcar Named Desire¨ , such as : 1984 by John Erman Ann-Margret as Blanche DuBois , Treat Williams as Stanley Kowalski and Beverly D'Angelo as Stella DuBois Kowalski. And 1995 rendition by Glenn Jordan with Jessica Lange , Alec Baldwin , Diane Lane , Randy Quaid and John Goodman.

With a screenplay by Tennessee Williams, direction from Elia Kazan and quite possibly the greatest performance ever in Vivien Leigh's Blanche DuBois- you can't go wrong.

This movie is dark, gritty and, at times, disturbing in its portrayals of domestic abuse and mental illness. It's astonishing how much of a punch this movie still has after all these years. This just goes to show what a true genius Tennessee Williams really was. The characters he wrote, with all their own complexities and contradictions, and the script with its haunting poetry and now iconic lines are all classic.

But what good is a great script without great actors? Well, luckily, the cast couldn't have been better. Here we have a young Marlon Brando as the brutish Stanley Kowalski, who is truly ferocious in the role. We then have Kim Hunter who gives a great performance as the weak-willed Stella. Stella is the most likeable character in the movie for all she wants is for everyone to get along. Karl Malden is equally great as Mitch, who is seemingly weak and simple and serves as a contrast to Stanley's brutality. Then we have Vivien Leigh as Blanche DuBois. As I said above, I believe Leigh's performance here to be the greatest ever to be committed to film and here's why- Blanche DuBois is probably one of the most complicated characters ever written. She's a compulsive liar, who lives in a world of her own, choosing to create her own reality rather than acknowledge her bleak surroundings. She's a snob, a hypocrite and a user but at the same time she's an underdog who's had a tough life and just wants to be loved. Tennessee Williams himself said of Vivien's performance that 'she brought everything I intended to the role and even much more than I had dared dream of' which pretty much sums up her performance here. She truly gives herself to the darkness of Blanche DuBois, she's unpredictable, tormented and haunting while still somehow sympathetic. Through Leigh's mastery of her character we see that Blanche is really just a daffodil in a windstorm rather than a bad person. Every time I watch this film I notice a new nuance in her performance, whether it's a look in her eye that I hadn't noticed before or a change in her voice as Blanche lets her mask slip- never has there been such a true embodiment of a character.

So all this considered, with Kazan's brilliant direction, great cinematography and the unique "jazzy" score, is why I consider 'A Streetcar Named Desire' one of the greatest films ever made. It's not a film for everyone- it's heavy from the start, it's quite talky and most of the film takes place within the Kowalski's apartment but if you want a movie with brilliant acting and a dark, poetic script then there's no better film than this.

There is little to be said about this movie that thousands of critics have not stated already. It is a magnificent piece of cinema, with an intricate script delivered by actors at the peak of their talents. Leigh is unbearably brittle and fragile and she dances precariously on the edge of sanity. Marlon Brando embodies a sense of brooding masculinity that other men can only dream of attaining, while creating an enduring cinema icon and delivering one of the all-time great movie lines. From the raucous jazz score to the sleazy production design bathed in smoldering grey, 'Streetcar' is a class-act from beginning to end; sexy, brutal, and endlessly fascinating.

Blanche Dubois arrives in the French Quarter of New Orleans suffering from a mental tiredness brought on by a series of financial problems that have ended in the family losing their plantation. She has come to stay with her sister, Stella and her husband Stanley Kowalski in their serviceable little apartment. The aggressive and animalistic Stanley immediately marks himself as the opposite of the feminine and refined Blanche and Stella finds herself pulled between the two of them. Stanley suspects all is not as it seems and begins to pry into Blanche's colourful past, even as Blanche spots a way out in the arms of the Mitch, a man captivated by her. However it doesn't take long before the cracks begin to show in the relationships and in Blanche herself.

It almost goes without saying that the writing here is of top-notch quality. The story is a relatively simple character piece that can be summed up in a couple of sentences, however this would do a great injustice to the depth of development and the convincing manner in which the characters are all written and the story told. It is not so much the depth that some of the characters go to, but the complexity that is effortlessly written into them – we can see it writ large on them, but not to the point where it seems obvious or uninteresting. Blanche is of course the focus and she is a mess of neurosis barely hidden behind a front of respectability that clearly doesn't convince her anymore than it does Stanley. Mitch is also really well written – at first it is comic that he tries to be such a gentleman while having the brute just under the surface, but later his frustration is heavy on his face along with his anger. The overall story is surprisingly, well, "seedy" is the best word that comes to mind. It is in the gutter and no matter what Blanche wants to believe, that is where it stays and the film is right there the whole time.

How Kazan managed it in the early fifties is beyond me, because even now the film is pretty graphic in its violence to women, subject matter and rippling sexuality across pictures and characters. It is a compelling story due to the characters and the manner in which they are delivered – Kazan's atmospheric direction really helps; the films feels humid and close, and he has done it all with a basic set and a camera. The lighting throughout is wonderful both in the general atmosphere but also specific touches such as the way Blanche manages to visibly age due to lighting changes when the film has slight chances of tone.

Of course the main reason I keep coming back to this wonderful film is the actors, who take the opportunity and, in many cases, make it so that it is hard to see anyone else playing their roles. Leigh is perfect for the role and gets everything absolutely spot on; she is vulnerable yet self-seeking, confident yet needy, proper yet unstable. Even visually Leigh is convincing in terms of body language but also the fact that she looks the right mix of ages, looking beautiful one moment but worn and defeated the next – totally, totally deserved her Oscar. Brando made his name here and even now his performance is electrifying and memorable. He has his big scenes where he gets to play to the back row but he also has moments where he does nothing other than be a presence on screen; no matter what is going on we are watching him because we are as in awe and yet as afraid of his power as Blanche is herself. Together Leigh and Brando dominate the screen and whenever either of them are on screen it is hard to look away. As a result, Kim Hunter sort of gets lost in the background although her performance is still good. Karl Madden is great but again only holds a supporting role and deserved his Oscar for a convincing performance of a well-written character. Of course it is easier to give good performances with great material than with bad material but there have been enough versions of this play around for us to see how lesser actors can fail where this cast soared.

Overall this is a great film that sees so many critical aspects all coming together as one final product. A superb play has undergone a great adaptation that has been seized upon a great cast who deliver a collection of performances that deserve all the praise heaped on them, all directed with a real sense of atmosphere that really delivers a seedy and erotic film both for its time and today. I cannot think of an excuse for people not having seen this film.