A Streetcar Named Desire (1950)
Country: US
Technical: bw 122m
Director: Elia Kazan
Cast: Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden
Synopsis:
A schoolteacher past her prime arrives in New Orleans to take refuge with her younger sister, but does not reckon on the hostility shown her by her boorish brother-in-law.
Review:
Tennessee Williams's first great success gets transferred from Broadway and London, with a star pairing that draws on both productions, and results that represented sexual dynamite in 1950. The idea of Scarlett O'Hara (for that is who Vivien was to American audiences) being ravished by this brutish scion of a wholly new school of acting gave an added frisson to their scenes together, and Kazan's direction is both indebted to the theatre and yet features instinctively cinematic staging for the screen. Harry Stradling's cinematography and Alex North's music are also contributions worthy of note.
Country: US
Technical: bw 122m
Director: Elia Kazan
Cast: Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden
Synopsis:
A schoolteacher past her prime arrives in New Orleans to take refuge with her younger sister, but does not reckon on the hostility shown her by her boorish brother-in-law.
Review:
Tennessee Williams's first great success gets transferred from Broadway and London, with a star pairing that draws on both productions, and results that represented sexual dynamite in 1950. The idea of Scarlett O'Hara (for that is who Vivien was to American audiences) being ravished by this brutish scion of a wholly new school of acting gave an added frisson to their scenes together, and Kazan's direction is both indebted to the theatre and yet features instinctively cinematic staging for the screen. Harry Stradling's cinematography and Alex North's music are also contributions worthy of note.
Country: US
Technical: bw 122m
Director: Elia Kazan
Cast: Vivien Leigh, Marlon Brando, Kim Hunter, Karl Malden
Synopsis:
A schoolteacher past her prime arrives in New Orleans to take refuge with her younger sister, but does not reckon on the hostility shown her by her boorish brother-in-law.
Review:
Tennessee Williams's first great success gets transferred from Broadway and London, with a star pairing that draws on both productions, and results that represented sexual dynamite in 1950. The idea of Scarlett O'Hara (for that is who Vivien was to American audiences) being ravished by this brutish scion of a wholly new school of acting gave an added frisson to their scenes together, and Kazan's direction is both indebted to the theatre and yet features instinctively cinematic staging for the screen. Harry Stradling's cinematography and Alex North's music are also contributions worthy of note.