
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 cramp... (Full plot summary below)
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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 hoidy-toidy act as putting on airs, Stanley, a plant worker, believes she may really have sold Belle Reve and is withholding Stella's fair share of the proceeds from them. What further affects the relationship between the three is that Stella is in the early stage of pregnancy with her and Stanley's first child. Soon after her arrival at the Kowalskis, Blanche starts to date Mitch, one of Stanley's friends and coworkers who is a little softer around the edges than most of Stanley's friends. Mitch does not hide the fact that he is looking in general to get married because of a personal issue, he wanting Blanche ultimately to be his wife. Mitch is somewhat unaware that Blanche has somewhat controlled their courtship to put herself in the best possible light, both figuratively and literally. But in Stanley's quest to find out the truth about Belle Reve and Blanche's life in Auriol, the interrelationships between Stanley, Blanche, Stella and Mitch may be irrevocably affected, with any revelation about that life which may further destroy what's left of Blanche's already damaged mental state.
Leave your thoughts about A Streetcar Named Desire.
| Los Angeles TimesKenneth TuranElia Kazan and a simply superlative cast have fashioned a motion picture that throbs with passion and poignancy. |
| Austin ChronicleMarjorie BaumgartenStreetcar is always a wonderful screen drama and now, also, a study in film archeology. [Director's Cut] |
| Boston GlobeJay CarrTennessee Williams' exciting Broadway stage play - winner of the Pulitzer Prize and New York Drama Critics award during the 1947-48 season - has been screenplayed into an even more absorbing drama of frustration and stark tragedy. |
| New YorkerPauline KaelElia Kazan’s direction is often stagy, and the sets and the arrangement of actors are frequently too transparently “worked out,” but who cares when you’re looking at two of the greatest performances ever put on film and listening to some of the finest dialogue ever written by an American? |
| Cinemaphile.orgDavid KeyesSeeing the film reminds us instantly of our perennial desire to be swept up into a compelling story. |
| Seanax.comSean Axmaker... a Hollywood landmark, both for pushing the envelope of subject matter allowed on screen by the censors and for showcasing the more naturalistic "method" approach to performance ... |
| Empire MagazineKim NewmanEpic performances in a movie that seethes with atmosphere. |
| Urban CinefileAndrew L. UrbanHas a permanent place amongst the classics, not only for the performances but for Tennessee Williams' raw writing about people raw with pain, fear, longing and complicated feelings |
| Daily Telegraph (UK)Tim Robeyit's a close-to-definitive example of how to make a great play work on film, for all the very slight air of Hollywood compromise. |
| Film Freak CentralWalter ChawThat melancholy we feel as it closes is a mourning for me that I'll never be able to see this film again for the first time--and that I'll never be able to appreciate any film that came before it without the stain of it in my perception. |