A Streetcar Named Desire (1951)
Ironically, the main fault I’ve always found with A Streetcar Named Desire is the same fault I’ve always found with Gone With the Wind. Both movies won Vivien Leigh an Academy Award, and she played both characters as exactly the same person. To her, Blanche duBois was merely Scarlett O’Hara twelve years older. However, to anyone who has studied the script (or to any moviegoer with an active brain), Blanche duBois is a completely different woman. One would think, given her own mental illness, Miss Leigh would be able to portray a descent into madness very well. One would also think, after extensive rehearsals and performances of Streetcar onstage in London, directed by her husband Sir Laurence Olivier, she’d be able to give a better performance when finally called upon to act in front of the camera.
There were many other women who could have given a far better performance as Blanche; my personal choice would have been Susan Hayward. Jean Simmons gave a Vivien-Leigh-going-mad performance in 1958’s Home Before Dark, but was far more convincing. Miriam Hopkins, who wanted the lead in Gone With the Wind could have had her revenge by showing what a real Southern belle looked like. Gene Tierney had real mental problems she could have brought to the role, as did Jennifer Jones.
There were also many other men who could have given a far better performance than Marlon Brando. Don’t throw anything at me; he may have created the role on Broadway, but he didn’t fully grasp the character’s motivations. Stanley Kowalski was originally slated on Broadway for John Garfield, who would have been more convincing. Stanley has to be mean for a reason, not just because he’s low-class and doesn’t know any better. He puts his wife down because he feels small, which is why Blanche’s presence unnerves him. He doesn’t like her acting better than him; his constant “I have a lawyer acquaintance, etc.” shows he doesn’t want to be looked down on. He digs up dirt on her reputation because he wants to tear her off her pedestal, a pattern of his character. He reminds Stella he brought her down from her pedestal, and her favorable reaction led to their marriage.
He has to have an animalistic appeal, otherwise the well-bred Stella wouldn’t have wanted anything to do with him upon their first meeting. He was also originally written as an Italian, and because of Brando’s fair coloring, was rewritten as a Pole. With that knowledge, it’s far more believable that Stanley’s passionate Italian nature attracted Stella. At that time, Italians were stereotyped as having too much passion, for good and for bad; so it would make sense that Stella would understand his background and forgive him again and again.
Anthony Quinn, who performed the role in his original Italian form during the national tour, or Jack Palance, the understudy on Broadway, would have been better choices. Robert Ryan, who made a career out of playing mean villains with tearful underbellies, Robert Mitchum, who was offered the part but wasn’t loaned out by his studio, or Burt Lancaster, Cameron Mitchell, or Richard Conte would also have been better choices. Of course, had John Garfield made this film his swan song, it would have been wonderful.
There were many other women who could have given a far better performance as Blanche; my personal choice would have been Susan Hayward. Jean Simmons gave a Vivien-Leigh-going-mad performance in 1958’s Home Before Dark, but was far more convincing. Miriam Hopkins, who wanted the lead in Gone With the Wind could have had her revenge by showing what a real Southern belle looked like. Gene Tierney had real mental problems she could have brought to the role, as did Jennifer Jones.
There were also many other men who could have given a far better performance than Marlon Brando. Don’t throw anything at me; he may have created the role on Broadway, but he didn’t fully grasp the character’s motivations. Stanley Kowalski was originally slated on Broadway for John Garfield, who would have been more convincing. Stanley has to be mean for a reason, not just because he’s low-class and doesn’t know any better. He puts his wife down because he feels small, which is why Blanche’s presence unnerves him. He doesn’t like her acting better than him; his constant “I have a lawyer acquaintance, etc.” shows he doesn’t want to be looked down on. He digs up dirt on her reputation because he wants to tear her off her pedestal, a pattern of his character. He reminds Stella he brought her down from her pedestal, and her favorable reaction led to their marriage.
He has to have an animalistic appeal, otherwise the well-bred Stella wouldn’t have wanted anything to do with him upon their first meeting. He was also originally written as an Italian, and because of Brando’s fair coloring, was rewritten as a Pole. With that knowledge, it’s far more believable that Stanley’s passionate Italian nature attracted Stella. At that time, Italians were stereotyped as having too much passion, for good and for bad; so it would make sense that Stella would understand his background and forgive him again and again.
Anthony Quinn, who performed the role in his original Italian form during the national tour, or Jack Palance, the understudy on Broadway, would have been better choices. Robert Ryan, who made a career out of playing mean villains with tearful underbellies, Robert Mitchum, who was offered the part but wasn’t loaned out by his studio, or Burt Lancaster, Cameron Mitchell, or Richard Conte would also have been better choices. Of course, had John Garfield made this film his swan song, it would have been wonderful.
Karl Malden is the only one I won’t criticize in the cast, for his portrayal of Mitch is endearing and enduring. He was brought over from Broadway, along with Marlon Brando and Kim Hunter, and it was a huge snub not to also bring over Jessica Tandy. Kim Hunter, not a well-known name, didn’t bring so much powerful acting to her role to necessitate a reprisal. Any diminutive actress who can kowtow to her husband could have played Stella: Joan Fontaine, Anne Baxter, Jane Wyman, or my personal preferences: Phyllis Thaxter or Shelley Winters.
As you can tell, the film version of A Streetcar Named Desire gets under my skin. I have studied the script, and I have also portrayed Blanche duBois on the stage. For those who love this film version, don’t let me stop you. But if you’ve been silently hating it thinking you were the only one, you’re not alone. I like Jessica Lange’s tv-version better, so check that one out if you find Vivien Leigh lacking.
Want to watch it? Click here to watch it on ok.ru. And thanks "Classic Movies Kristine Rose" for posting!
More Marlon Brando movies here!
More Vivien Leigh movies here!
As you can tell, the film version of A Streetcar Named Desire gets under my skin. I have studied the script, and I have also portrayed Blanche duBois on the stage. For those who love this film version, don’t let me stop you. But if you’ve been silently hating it thinking you were the only one, you’re not alone. I like Jessica Lange’s tv-version better, so check that one out if you find Vivien Leigh lacking.
Want to watch it? Click here to watch it on ok.ru. And thanks "Classic Movies Kristine Rose" for posting!
More Marlon Brando movies here!
More Vivien Leigh movies here!