A Streetcar Named Desire (1951)
Starring Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden
Directed by Elia Kazan
"I don't tell the truth. I tell what ought to be true."
Those are lines uttered by Blanche Dubois in Elia Kazan's telling of Tennessee Williams' "classic" A Streetcar Named Desire. Personally, I think critics have been following Blanche's dictum for decades telling you that this film and the play from which it is derived are American hallmarks of drama. We're supposed to believe that because of the pedigree of the director, screenwriter, and actors that come along with this presentation. Well, let me be the one to counter this belief by saying that A Streetcar Named Desire is an overly melodramatic and overacted disappointment furthering this critic's notion that Tennessee Williams is one of the most overrated playwrights of the twentieth century.
The film stars Vivien Leigh as Blanche Dubois who visits her sister Stella (Kim Hunter) and brother-in-law Stanley (Marlon Brando) in New Orleans after she loses everything. As the trio talk, bicker, and flat-out fight, Stella and Stanley begin to realize that Blanche may not be all right in the head and that everything she says to them may be some figment of her imagination.
First, I'm not sold on this being a fantastic piece of writing from Tennessee Williams. To me, Williams is the melodramatic master of American theater. Sure, many say his stuff is full of depth and deep meaning, but I always feel like I'm just watching overly exasperated people throw their hands about and raise their voices without ever speaking in a believable manner. Sometimes these elevated emotional machinations work (here and here) and sometimes they don't (here). To me, this filmed version falls into the latter category.
A huge reason for my disappointment stems from the performance of Vivien Leigh as Blanche. Director Elia Kazan (who also directed the original Broadway incarnation of this work) fails to have Leigh tone anything down for the screen. Everything -- from her line readings to her facial expressions to her body movements -- feels as if she's ACTING to the nth degree for the very last row of the balcony in a theater. There's no ebb and flow to her character...no soft and loud...everything is simply blasted to the limit. It certainly doesn't help that I simply don't get the character of Blanche. I'm unsure if it's Leigh's portrayal that's throwing me off or the role itself, but I never felt the character had her past depicted well enough to explain why she was the way she was in the present. And let's not even get started on how in the heck a well-rounded guy like Karl Malden's Mitch ever fell in love with the crazy Blanche.
Brando's solid for sure, but I just don't get this one at all. Maybe I'd better understand it in a good theatrical production...or maybe it just needs a modern retelling minus the melodramatic moments. Fortunately, as my loyal readers will soon discover, Woody Allen must've heard my plea. Check back tomorrow for a review of a much better film with essentially the same premise.
The RyMickey Rating: C-
I love this play of Williams', which I only sought out after catching the film version on TCM--I think one night when I was in early high school or something. I also think I have told you, or at least commented, before that I really like the film/play, so no surprise that I disagree with your review. Granted, I still don't love Vivien Leigh as Blanche, but I have gotten used to her after more and more viewings. I also can't say no to watching Marlon Brando in this, and I think the stage-like set design of the film was smart for a script that has such in-your-face, loud, and needy characters.
ReplyDeleteBut my whole motivation to comment was to share my initial thoughts after starting to read your comments about the melodrama and the 'unbelievable-ness' of it--which were that maybe the thoughts/motivations of a character like Blanche just weren't resonating for you--perhaps because her experience is I think traditionally a very "female" one? That is, she is supposed to get married, live her life for others, etc., and she has had difficulty with this. Of course, you made mention of not getting her character further down in your review, so I am not really adding anything, just commenting that my thoughts leaned towards that as well. I in fact find her weird mix of vulnerability and hardness and fantasticality believable, and, in at least a societal, from-a-distance way, can identify (though not wholly sympathize) with her character.
Not sure if you have read the play, but I think I recall that Blanche retells her husband's suicide/death as being caused by her confronting him about his homosexuality. I am fairly certain that this bit was altered or glossed-over for the film (much like the Brick/Skipper subject matter of Cat on a Hot Tin Roof, originally)--so I don't know if that was part of your consideration for the depiction of her past. The play also has Stella staying with Stanley in the end, despite his raping Blanche, and I think she leaves in the film version.
I wonder if the homosexual/"perversion" story line was common knowledge at the time the film was released. The film came not that long after the play, so maybe not.
Okay so my whole take on Blanche is that, though perhaps pretty when young, she never had any serious offers or prospects (probably because they had enough foresight and sense to predict her actual temperament). But she was able to attach herself to/force herself on this young boy who was dealing with tough identity issues. It was easy for the boy to go along with it (much like Mitch, who is getting up in age and clearly has some sensitivities of his own is able to believe what he wants about Blanche, for a time). I'm still not sure what Blanche's motivation was for marrying the young boy, but maybe Blanche thought she was in love and that everything would be easy street--maybe his not calling her on her shit was enough. Anyway, they get married, etc., Blanche tells him "she knows," she's disgusted with him. He kills himself. Blanche blames herself. Never gets over it. Would rather live in fantasy that reality--to me, an incredibly understandable preference. Stella does the same when she chooses to believe STanley and send Blanche off to an institution.
I was going to make a comparison to a Jane Austen character here and the whole 'sensibility' craze however many centuries ago, but, for your sake, have refrained. And anyway, I've gone on for far longer than what is acceptable for the internet.
Food for thought there for sure.
ReplyDeleteFirst, I've never read the play nor seen it performed and I'd never turn down an offer to see. I was coming at this completely blind with the exception of knowing the infamous line of "Stella!"
Second, the homosexual aspect was glossed over completely. Honestly (and perhaps this is wrong of me), I was kind of waiting for something of that nature to be brought up simply because of my minimal knowledge of Williams. Also, although not blatantly stated, I got the feeling that Stella left Stanley based on what was presented. You also make a very good point about Mitch and his reason for falling for/simply accepting Blanche out of "necessity." I probably should've had that conveyed to me...but it just didn't sink in.
Third, I strongly suggest checking out Blue Jasmine which is essentially a somewhat modernized take on Streetcar. In Blue Jasmine, I completely understood the character of Jasmine (AKA Blanche). In Blue Jasmine we get flashbacks to the character's past that completely set up her emotional present situation. Maybe I just need everything spelled out for me.
Fourth, I love old movies. You know that Hitchcock is my favorite and I'm not at all averse to watching old flicks. But there was just something about Vivien Leigh in this movie that rubbed me the wrong way right from the start. Her voice, her constantly odd hand/arm movements...I really just hated her in this.
That said, this is one of my few experiences with Marlon Brando and I thought he was great. I really should check out more of his stuff.