A Streetcar Named Desire

In exact opposition to the 1984 Ann Margret version, this Streetcar ride starts of a bit jittery but manages to find its footing soon enough. This is especially true , imo, ofJessica Lange's take on Blanche. Not a fanof it at first, especially the stereotypical and annoying breathless thing she does with her voice to convey a lady. She also seems to lack some vulnetability, and I echo the belief , as superficial as it may be, that Lange is a bit..er..big and buxomy for the part, not frail enough, which is needed. However as the film progresses so does she and when the s---t starts hitting the fan, Lange finally starts shinning as she should, and in the last scene she is just tremendous...Lange doesnt play her as berserk and crazy like Ann Margret, but just as a completely broken woman...its heartbreaking. As far as Stanley, Baldwin is my absolute favorite Stanley (and Ive seen quite a few, Im sort of obsessed with this play) after Brando.Why? He plays up Stanley's humanity....you see his hurt, not just when he thinks Stella might leave him, but his genuine hurt at being looked at as a brainless ape. He's charming and even warm (ish) to Blanche at times..and unlike Brando, even gets that Stanley is just as intimidated and attracted to Blanche as she is to him. This Stan is a fairly nice , decent, blue collar guy driven to uglyness because this woman just pushes the wrong buttons. He's handsome but not the sexual beast that in the Brando version eclipses, wrongly at times, the meaning of the play. Lane is wonderfull, sweet and well meaning, conflicted and in pain as Stella Goodman as Mitch leaves much to be desired ( as the actor later afmitted himself). The setting is well done and the best part is Williams play is unadultarated in this version, almost word for word the original play as written. Chose this over the 84 version if you can

This made for TV movie of the classic Tennessee Williams play was produced following the Broadway revival starring Jessica Lange and Alex Baldwin, that was not critically well-received. Given the Hollywood marquee names of the stars, the idea that a film would be made with them is not too surprising, though we were deprived of Amy Madigan's Stella. (Ironically Lange's performance on stage had been criticized as being 'for the camera').

Given the gay context of Blanche DuBois as a fading old maid at 30, Lange is too old to play her, and her sturdy physicality works against the standard interpretation of Blanche as an Ophelia-ish lightweight. (Lange's waist makes the idea that Blanche has not gained weight in 10 years unintentionally funny). However Lange provides redemptive brilliant touches, that make her Blanche more accessible than that of Vivien Leigh in the 1951 feature, with Leigh's theatrical Gothic Blanche looking as if she would fit into The Munsters. (Don't get me started on Ann-Margret and the way she threw away Williams' lines in her TVM). Lange has fun with the southern accent, and makes you appreciate the beauty and wit of Williams' language. Witness what she does with Blanche's story of the death of her first husband, which director Glenn Jordan rewards her with a close-up for the climax, where she is touching in her hesitance and sorrow. Lange also looks very beautiful in half-shadow when Blanche confesses her indiscretions, though she is lit so well otherwise that the idea that Mitch has never seen Blanche 'properly' reads as silly. The mature Lange mannerisms - her giggling, whispering, preening and fidgeting - draw attention to the performance, and she does not use her low vocal tones enough, but still, this is a performance we should be glad has been captured.

Baldwin does not repeat the mistake of Treat Williams in the A-M TVM. He does not try to imitate Brando, but rather underplays his Stanley, which also does not detract from the character's cruelty. Baldwin shows his attraction to Lange's Blanche, which Brando never really did with Leigh, and his hairy chest still alludes to the hunk appeal that Stanley has for Stella. John Goodman's casting as Mitch was presumably at the suggestion of Lange, since he has appeared with her in many films, and he supplies delicate line readings. I suppose Diane Lane was cast as Stella for her earthiness, but she doesn't really match up as Lange's sister, and doesn't suggest the breeding Stella is supposed to have had.

Jordan doesn't get in Lange's way for the most part, and he succeeds in translating the piece fluidly from theater into film, though one shot of Blanche and Mitch standing apart on a porch makes us imagine how this would look on stage. The only time we are aware of the camera-work is in the last scene, where he repeats a shot of Blanche as she screams, somewhat gratuitously. That last scene is handled simply, with Blanche's fate and Lange's casting inevitably drawing parallels with Frances Farmer.

Although this version of the play allows for what was censored in the original production eg Blanche's husband's being a 'degenerate, thematically the treatment still has some trouble spots. Here Blanche seems to offer little resistance to Stanley's rape, and Stella does not reject Stanley once her sister is taken away. That rape remains as an in-balance in the power struggle - something you would think to be unforgivable by Stella, and certainly undeserving to Blanche. She may have been a relative overstaying her welcome, but is Blanche believable as a force that could destroy Stanley's marriage?

If you are a major fan of Jessica Lange then I would rent this, otherwise stay away! While Ms. Lange's portrayal is interesting, I'm not sure it is the Blanche, that Tennessee Williams envisioned. At times her slyness distorts the character of Blanche's and gives her the appearance of being nothing more than a manipulative, self-centered woman. Blanche is a woman holding onto her sanity by the skin of her delicate fingernails. Her lies and illusions are her retreat from the cold reality of life and the bad hands of cards she has been dealt. "Streetcar" is a series of encounters between the Kowalski world and the Blanche DuBois world. Each of these encounters will intensify with each subsequent meeting. The conflict is between the oversensitive aristocratic world of Blanche and the brutal, realistic, present-day world represented by Stanley. But as an afternote, it should be added that Stanley is the type of person who likes his "cards on the table." He doesn't go in for subtleties and deception that Blanche has created to survive. As for the rest of the cast, ugh. Diane Lane is adequate at best, she can read lines but she's nothing to telegram home about. John Goodman is all wrong with to start with and he only gets worse as the film goes on. At times I felt like I was watching one of the "dramatic" episodes of Roseanne, which were always self-serving and preachy. I've seen better acting in high schools. This leaves Alec Baldwin who can be summed up with one word - why? His acting is so pedestrian; it's amazing he even works. He is horrible in this production; I now can understand why his performance in this role on Broadway elicited belly laughs. The audience wasn't laughing with him they were laughing at him. He preens and over-emotes, uses an accent (? Strange yet geographically untraceable) then changes it mid-sentnce. One of the most challenging roles in the theater due to its predecessor and the demand of acting with the fullness and variety of a brash jazz band, Baldwin's register is that of a kazoo. He prisses about and poses then delivers lines as though he's reading them for the first time. At times it seemed as though Blanche wasn't physically afraid of him, but more afraid that he was going to go into her trunk and start parading around the apartment in her wardrobe and "tributes from an admirer". If anyone doubts his abilities, this performance will confirm all your suspicions. Save for Ms. Lange's performance this "Streetcar" belongs on Mystery Science Theater 3000. It is almost like a work of science fiction. It is that jaw-droppingly bad. While the 1951 version certainly has superior actors, the Ann-Margaret-Treat William's "Streetcar" is a true ensemble production in which all four principals shine. This production is truer to the theme of the play of the artist (Blanche) ultimately being destroyed by realism and the harsh realities of a world that does not understand her (represented by Stanley).

Wow. Still reeling from this one several hours later. What a true and deep and affecting performance from Jessica Lange plus the usual intelligent and imaginative choices from Alec Baldwin. I've seen a few productions of this, plus the Brando movie. I have never before been left with such depth of feeling for ALL of those characters trying to find their feet again in the conflicts and complexities of that post World War 2 society.

I realize that these commentaries should not try to answer to previously written ones. Those things should be reserved for the message boards. But I simply have to answer to some kind of general consensus, that I have no idea where some of the people writing these reviews get their ideas from. I am appalled that someone was looking for more sex and violence. That was not in the intention or the writing of Tennessee Williams. 'Nuf said.

I think that this production was so very fine. I saw Diane Lane bring a quality to Stella that no one else ever has. You can read her feelings on her face. How torn she is between her love for Stanley and the remembrances of a loving older sister. AND she is beautiful. She is everything that makes us understand that Stanley really couldn't stand to lose her. And Alec Baldwin as Stanley brought a humanity to his portrayal that others, even the famed Brando, did not...it is called REALITY. He was real. Baldwin was not the stereotype that Blanche wanted to convince Stella that he was. It was true that he knew the seamier side of life, so he recognized that part of Blanche that was, indeed, the fallen woman.[And, by the way, his accent was meant to be from New York, not the South.] But I also could see his very real pain of being talked down by Blanche, the fear of losing Stella because of Blanche trying to pull her away from him. Yes, he does turn mean and uncaring, which Stella especially can not understand. But he does so because Blanche is threatening his entire life, and the love of his life. So, he fights back. I have seen the '49 movie many times, and several staged productions, and have memorized and done scenes from the play myself. I have never seen anyone play Stanley with the pain, and the fear that Baldwin brought to the part.

I thought that John Goodman did a remarkable turn in the role of Mitch. If others couldn't get the comedy of his TV role out of their minds, I don't credit that to a fault in Goodman, but a fault in the viewer. Blanche was once beautiful and still was very attractive, but as she says "played out". She wasn't looking for a "beautiful boy" any more, even though her closing in insanity drew her that way. She was looking for a safe cleft in the rock in which she could hide. Goodman played Mitch as gentle, and caring and concerned about his looks not being up to the standards of someone like the Blanche that he perceived.

I felt that Jessica Lange was the one person that had seen the old movie, and Vivian Leigh's performance too much. Her accent was just like Leigh's. But she was good. She also won an Emmy for Best Actress for that performance if memory serves. But the two performances that just made me weep were Baldwin's and Lane's. Lane as Stella says to Stanley, "You didn't see her when she was young, no one was as trusting as Blanche." and I felt every word. But when Diane Lane cries at the end with such depth of anguish, I said to myself, that I would just watch and wait for her to win an Oscar. [I know, I'm still waiting, but she will, one of these days] She is the real thing, boys and girls. That woman is not only beautiful, but she can act circles around the lot of them. Her casting made Stella into a very real person. And I totally believed the love that she and Stanley had for each other. I can not say the same for Kim Hunter who did win an Oscar for her portrayal of the same part.

I have long loved this play. We can not help but love the old movie. But this production tears my heart out.