A Streetcar Named Desire Review

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A Streetcar Named Desire: Film Critique
A Streetcar Named Desire, directed by Elia Kazan, is considered one of the most prolific epic cinematography performances. When Tennessee William’s drama opened on Broadway in December 1947, it changed the American theatre forever. While Broadway saw a groundbreaking form of intimate drama, Hollywood film studios saw money, which they liked to see, and it was later adapted for the screen in 1951 (Hagopian, 1). This drama rests on the foundation of American sexual and social excess, especially in an era characterized by earthly truths of the working class and willful refinement anxieties. The film’s success is highly attributable to the sophisticated directing of Elia Kazan and the excellent performance of Blanche, Stanley, and Stella, with tremendous support from the rest of the characters.
Tennessee Williams is an American dramatist born in 1911 and died in 1983, whose plays reveal a world of human frustration in which sex and violence underlie an atmosphere of gentility. In “A Streetcar Named Desire,” the writer explores the mental and moral ruin of Blanche Du Bois, who is a former Southern belle whose refined presentations cannot match the harsh realities that her brutish brother-in-law, Stanley Kowalski, symbolizes. Vivien Leigh plays Blanche, characterized as a fragile leftover of a once-wealthy family in the South. After her parents die and consequently losses the parent’s mansion, she travels to New Orleans to live with her sister Stella. Stella has abandoned her high society pretensions and has decided to marry Stanley Kowalski, passionate but domineering and often drunk (Bayman, 1). Blanche’s arrival brings changes to the tiny apartment, and this irritates Stanley. He suspects that his wife’s sister has worse things in her background that she finally admits, loses Mitch, and ultimately gains admission to a mental facility.
The drama, which Elia Kazan expertly directs, commands attention and respects the characters who produce exceptional performance. Marlon Brando is both magnetic and loathsome (Bayman, 1). One can hardly look away when Brando is on the show as the hyper-macho Stanley. This acting is the film’s most vital point, for it is fundamentally set bound and mostly dialogue full of quotable axioms and favorite lines. One such quote is “Deliberate cruelty is ...