A Streetcar Named Desire (1951)

Director:

Elia Kazan

Writers:

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

Release Date:

1 December 1951 (West Germany)

Genre:

Drama

Tagline:

...When she got there she met the brute Stan, and the side of New Orleans she hardly knew existed.

Plot:

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.

Plot Keywords:

Pregnant Sister | Streetcar | Louisiana | Neurotic | Love

Awards:

Won 4 Oscars. Another 13 wins & 14 nominations

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
rest of cast listed alphabetically:
Mel Archer	...	Foreman (uncredited)
Dahn Ben Amotz	...	Bit Part (uncredited)
Marietta Canty	...	Giggling Woman with Eunice (uncredited)
John George	...	(uncredited)
John Gonetos	...	Vendor (uncredited)
Chester Jones	...	Street Vendor (uncredited)
Lyle Latell	...	Policeman (uncredited)
Maxie Thrower	...	Passerby (uncredited)
Charles Wagenheim	...	Passerby (uncredited)
John B. Williams	...	Vendor (uncredited)
Buck Woods	...	Vendor (uncredited)

Directed by
Elia Kazan

Writing credits
Tennessee Williams		(screen play)
Oscar Saul		(adaptation)
Tennessee Williams		(original play "A Streetcar Named Desire")

Produced by
Charles K. Feldman	....	producer

Original Music by
Alex North

Cinematography by
Harry Stradling Sr.		(director of photography) (as Harry Stradling)

Film Editing by
David Weisbart		(film editor)

Art Direction by
Richard Day
Bertram Tuttle		(supervising art director) (uncredited)

Set Decoration by
George James Hopkins

Makeup Department
Gordon Bau	....	makeup artist
Ray Forman	....	hair stylist (uncredited)
Otis Malcolm	....	makeup artist (uncredited)
Pat O'Grady	....	body makeup artist (uncredited)
Hazel Rogers	....	hair stylist (uncredited)

Second Unit Director or Assistant Director
Don Alvarado	....	first assistant director (uncredited)
John Prettyman	....	second assistant director (uncredited)

Art Department
John More	....	props (uncredited)
George Sweeney	....	assistant props (uncredited)

Sound Department
C.A. Riggs	....	sound
Nathan Levinson	....	sound (uncredited)
Francis E. Stahl	....	boom operator (uncredited)
Frank Weixel	....	cableman (uncredited)

Camera and Electrical Department
Jack Albin	....	still photographer (uncredited)
Paul Butner	....	best boy (uncredited)
Robert Campbell	....	gaffer (uncredited)
Stuart Higgs	....	assistant camera (uncredited)
E. Truman Joiner	....	grip (uncredited)
Fred Mandl	....	second camera (uncredited)
Wally Meinardus	....	assistant camera (uncredited)
Harry Whittingham	....	best boy (uncredited)

Costume and Wardrobe Department
Lucinda Ballard	....	wardrobe
Lillian House	....	wardrobe (uncredited)
Joan Joseff	....	costume jeweller (uncredited)
Robert O'Dell	....	wardrobe (uncredited)
Marguerite Royce	....	wardrobe (uncredited)

Music Department
Ray Heindorf	....	musical director
Maurice De Packh	....	orchestrator (uncredited)

Other crew
Irene Mayer Selznick	....	presenter: on the stage
Polly Craus	....	script clerk (uncredited)

Production Companies

• Charles K. Feldman Group (as A Charles K. Feldman Group Production) (An Elia Kazan Production)
• Warner Bros

Distributors

• Warner Bros (1951) (USA) (theatrical) (presents)
• Motion Picture Export Association (MPEA) (1952) (Austria) (theatrical)
• Warner Bros. (1952) (Netherlands) (theatrical)
• Twentieth Century Fox Film Corporation (1958) (USA) (theatrical) (re-release)
• United Artists (1970) (USA) (theatrical) (re-release)
• Columbia Broadcasting System (CBS) (1972) (USA) (TV) (network premiere)
• Warner Home Video (1995) (USA) (video) (laserdisc)
• Warner Home Video (1997) (USA) (DVD)
• Warner Home Vídeo (2000) (Brazil) (DVD)
• Warner Home Video (2006) (USA) (DVD) (special edition)
• 20th Century Fox Television (19??) (USA) (TV) (cable)
• Argentina Video Home (2000) (Argentina) (DVD)
• Argentina Video Home (2002) (Argentina) (VHS)
• Argentina Video Home (2006) (Argentina) (DVD) (2-disc edition)
• Argentina Video Home (2010) (Argentina) (DVD) (as part of the pack 'Triple Clasicos del Cine')
• CBS/Fox Home Video (19??) (USA) (VHS)
• International DVD Group (2008) (Argentina) (DVD) (Colección Joyas del Cine)
• Warner Home Video (2006) (Germany) (DVD)
• Warner Home Video (2012) (Germany) (DVD) (Blu-Ray)
• Warner Home Vídeo (Brazil) (VHS)

Also Known As:

MPAA:

Rated PG for thematic elements (1993 director's cut)

Runtime:

122 min | USA:125 min (re-release)

Country:

USA

Language:

English | Spanish

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

Argentina:13 | Australia:M | Finland:K-16 | Norway:16 | Portugal:M/12 | Sweden:15 | UK:15 (video rating) (1986) | UK:X (original rating) | USA:PG (1993 director's cut) | Canada:13+ (Quebec) | Canada:14 (Nova Scotia) | Canada:AA (Ontario) | Canada:PG (Manitoba) | USA:GP (1970 re-release) | USA:Approved (certificate #14871) (original rating) | Australia:PG (TV rating) | France:Unrated | South Korea:12 | UK:12A (re-rating) | New Zealand:PG | West Germany:12 (video) | West Germany:18 | Brazil:12 | Netherlands:18 (original rating) (1952)

Filming Locations:

Los Angeles, California, USA

Company:

Charles K. Feldman Group

Trivia:

Shot on a 36-day schedule.

Goofs:

Errors in geography: 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.

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.

Movie Connections:

Spoofed in "Saturday Night Live: Live from Mardi Gras (#2.14)" (1977)

Soundtrack:

Goodnight, Ladies

Superb writing that is matched by superb acting and incredibly atmospheric and charged direction

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.