Blanche DuBois, a high school English teacher with an aristocratic background from Auriol, Mississippi, decides to move to live with her sister and brother-in-law, Stella and Stanley Kowalski, in New Orleans after creditors take over the family property, Belle Reve. Blanche has also decided to take a break from teaching as she states the situation has frayed her nerves. Knowing nothing about Stanley or the Kowalskis' lives, Blanche is shocked to find that they live in a cramped and run down ground floor apartment - which she proceeds to beautify by putting shades over the open light bulbs to soften the lighting - and that Stanley is not the gentleman that she is used to in men. As such, Blanche and Stanley have an antagonistic relationship from the start. Blanche finds that Stanley's hyper-masculinity, which often displays itself in physical outbursts, is common, coarse and vulgar, being common which in turn is what attracted Stella to him. Beyond finding Blanche's delicate ...Written by
The Catholic Legion of Decency threatened to sink the box office prospects for the film with a Condemned rating. Elia Kazan made a last ditch effort to get his un-cut version seen by the public. He asked Warner Bros. to try releasing the film in both his director's version and the edited version, with each clearly marked so audience members could choose for themselves. Warners said no, and Kazan then campaigned for his director's cut to be screened at the Venice Film Festival. Again, Warners refused, since the Legion mandated that only their approved version could be released, and the studio didn't want to risk earning a Condemned rating which would hurt the film at the box office. As a result, Kazan's version would not be seen until Warners restored the film in 1993. See more »
Stanley says that Louisiana utilizes the Napoleonic Code (which was promulgated a year after the Louisiana Purchase). Actually, Louisiana uses as its private law the Louisiana Civil Code. Although it is similar to the Napoleonic Code, it has always been the controlling legal authority in the state. See more »
Can I help you, ma'am?
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.
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The scene in which Blanche and Stanley first meet was edited a bit to take out some of the sexual tension that both had towards each other when the film was first released in 1951. In 1993, this footage was restored in the "Original Director's Version" of the film. The three minutes of newly-added footage sticks out from the rest of the film because Warner Brothers did not bother to restore these extra film elements along with the rest of the movie, leaving them very scratchy due to deterioration. See more »
Somebody Loves Me
Music George Gershwin
Played by the band and used as background music See more »
I often asked myself this question with mixed responses. Did Brando make Streetcar great? Or was he just great in it?
Vivien Leigh is simply haunting and never not shocking. There is more going on there than just a performance. She appears out of herself and hovering ever so softly above. As for the rumored mental illnesses, I can only speculate. I do know for sure that her visualization of Blanche DuBois is the single best performance by an actress I've seen. Well that might not mean much, but I've seen a lot of movies.
Brando made On the Waterfront a classic, but Leigh made Streetcar unforgettable. I always felt like it was a continuation from her most timeless role as Scarlett O'Hara in Gone with the Wind. Like what would have happened to Scarlett, if she was allowed to grow old. Maybe I'm just crazy. But I think the billing says it all; Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden. I don't think you could dream up a finer cast. Brando might have been the sexiest thing alive, but it's obvious that Leigh made this film great with some memorable help from some movie icons.
Brando may have sent an Indian to receive his second Oscar, but Leigh used her second as a doorstop to her bathroom.
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