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A Streetcar Named Desire (1951)

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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.

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(screen play), (adaptation) | 1 more credit »
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2,057 ( 358)
Won 4 Oscars. Another 13 wins & 15 nominations. See more awards »

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Cast

Complete credited cast:
...
...
...
...
Rudy Bond ...
Nick Dennis ...
Peg Hillias ...
Wright King ...
A Collector
Richard Garrick ...
A Doctor
Ann Dere ...
Edna Thomas ...
The Mexican Woman
Mickey Kuhn ...
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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? Written by Dale O'Connor <daleoc@interaccess.com>

Plot Summary | Plot Synopsis

Taglines:

THE PULITZER PRIZE PLAY of New Orleans' Latin Quarter...of a Lonely Girl...of Emotions Gone Savage! See more »

Genres:

Drama

Motion Picture Rating (MPAA)

Rated PG for thematic elements | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

1 December 1951 (West Germany)  »

Also Known As:

Un tranvía llamado deseo  »

Filming Locations:

 »

Box Office

Budget:

$1,800,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (re-release)

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

By the time the film was made, the Desire streetcar line had been converted to buses, but streetcars were still used in other parts of the city. The authorities were able to lend the production a car with the Desire destination sign for the opening sequences of Blanche's arrival in the city. See more »

Goofs

Stanley says he served in the 241st Engineers and fought in the Battle of Salerno. However the 241st Engineer Combat Battalion fought in the Asiatic-Pacific Area, not in Europe. See more »

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.
See more »

Connections

Referenced in Orange Is the New Black: Piece of Sh*t (2016) See more »

Soundtracks

The Japanese Sandman
(uncredited)
Music by Richard A. Whiting
Lyrics by Ray Egan
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

"Classical" vs. "Method"
27 March 2003 | by (Cleveland, Ohio) – See all my reviews

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.


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