Un tramway nommé désir

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.

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.

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.

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.

... 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.