Running just over two hours, and being minimalist in its being so intimate and dialogue-driven, the film manages to sustain a fair bit of momentum and intrigue through plenty of smart scripting and engaging performances found on and off of the screen, but it is still too long, losing a lot of momentum and getting to be repetitious with its great deal of chatter, much of which may as well be about a whole lot of nothing, if it's not going to bring much to the expository depths. There's not much in the way of immediate development in this intimate drama which drops you right into the story of characters who you get used to amidst all of the dialogue, and get invested in through good acting, but who still have something missing in their exposition, feeling like types whose circumstances feel rather unconvincing, at least in the wake of histrionics. As a southern gothic, this drama has the potential to be both fresh and realist, and it betrays both of the those aspects by conforming, to melodramatics, exacerbating a sense of somewhat unconvincing thinness to the characterization with improbable happenings and turns, made all the worse by sentimental dramatic atmospherics and some theatrical aspects. Marlon Brando and a few other performers are right on the money, and Kim Hunter is solid for the most part, but Vivien Leigh, often bombing in a way only a 1950s film starlet could, joins Elia Kazan's overdramatic directorial touches and Tennessee Williams' and Oscar Saul's aforementioned lapses in written genuineness in reflecting the dating and staginess that really does a number of the full effectiveness of this film. To make matters worse, although the subject matter and certain other elements of this melodrama are very weighty, there's not much one can do with a basic story concept that is so reliant on dialogue and an almost claustrophobic scope, which could be better embraced as intimate if it wasn't for the shortcomings that extend beyond the natural. There are a number of rewardingly engrossing attributes in this melodrama, and the final product at least manages to come to the brink of rewarding, yet momentum gradually sinks under the overwhelming weight of natural shortcomings that you grow more aware of the more dragging, histrionics and dated staginess set in. I find the final product rather underwhelming, but it would have been more so if there weren't a couple of elements that hit fairly hard, including aesthetic elements. Keywords: PCA, Hollywood, censorship, stardom, Tennessee Williams, Elia Kazan, Glenn Jordan, Woody Allen, Pedro Almodóvar

Today, visitors to New Orleans have a few options for “Streetcar” tourism since much of the movie was filmed on set in California. Each year in late March the city plays host to the Tennesse Williams Festival, featuring lectures, performances, and a "Stella" screaming contest to honor the Pulitzer Prize-winning playwright. Visitors can also visit Stella! or Stanley, two restaurants in the French Quarter named after the characters from the story. A Tribute From Tennessee Williams To 'Heroic Tallulah Bankhead' ". archive.nytimes.com . Retrieved December 23, 2022. Blue Jasmine: Woody Allen's excellent homage to A Streetcar Named Desire". Tri-city Herald. Archived from the original on April 29, 2014 . Retrieved September 12, 2013.In this context, Elia Kazan’s Streetcar was the first adaptation of Tennessee Williams’s play after its enormous success on the Broadway. Considering the fact that Streetcar was made in the early 1950s when the studio system was in its golden years, the role of the auteur was crucially important since the auteur was “the central figure in filmmaking,” standing “as an emblem for her/his films” (Cristian 2008, 68), which meant that in Hollywood then all wellknown directors had strikingly recognizable stylistic features and directing techniques. Kazan made his name recognizable in Hollywood, too, after the release of Streetcar which was considered to be the first adult film in the USA. The Variety magazine wrote about this adaptation by praising its truly creative mise-en-scéne and by saying that “the camera has done greater justice to the Williams play, catching the nuances and reflected tragedy with an intimacy that is so vital in a story of this type” ( The Variety). In spite of the censorship regulations, Tennessee Williams and Elia Kazan kept their new Streetcar as an almost fidelity to the letter adaptation of the original play. Manvell, Roger. Theatre and Film: A Comparative Study of the Two Forms of Dramatic Art, and of the Problems of Adaptation of Stage Plays into Films. Cranbury, New Jersey: Associated University Presses Inc, 1979. 133 Stella. In Almodóvar’s scene, Blanche nervously rushes into the room asking “Where is my heart?” (Pedro Almodóvar, 1999, 48:19-48:21) and her sister Stella, when seeing the confusion on the face of Eunice (who is with them in the room), explains what Blanche meant by her heart, saying “She means her jewel-box, it’s heart-shaped” (Pedro Almodóvar, 1999, 48:2248:24). The next cut shows Manuela as she watches the actors on the stage and then closes her eyes in pain. The alteration, therefore, suggests that Manuela refers to her dead son, Esteban, whose heart was transplanted into someone else’s body after he died. Besides, Kazan’s clever solution of covering Allan’s homosexuality for the censoring agency, the film has yet another important alteration: the ending. In Williams’s drama, Stella Kowalski remains in the same household with Stanley despite his brutish behaviour. However, the movie ends with Stella grabbing her newborn baby and running up the stairs to Eunice’s flat, leaving her husband screaming for her behind. Besides the moral message of the ending, it also suggests that Stella does not let Stanley get away with what he did (that is, the rape of Blanche). In other words, Stella leaving Stanley is a proof that the rape indeed happened in the movie adaptation as well. Wood, Alex (February 28, 2023). "Olivier Awards 2023 nominations announced – see the full list". WhatsOnStage.com . Retrieved February 28, 2023.

New Orleans Public Service, Inc. 832". Archived from the original on May 19, 2011 . Retrieved November 13, 2011.Pedro Almodóvar's 1999 Academy Award-winning film All About My Mother features a Spanish-language version of the play being performed by some of the supporting characters and the play plays an important role in the film. However, some of the film's dialogue is taken from the 1951 film version, not the original stage version.

This text examines various filmic adaptations of Tennessee Williams’ play A Streetcar Named Desire (1947), namely A Streetcar Named Desire directed by Elia Kazan in 1951 , its 1995 version directed by Glenn Jordan , Pedro Almodóvar’s 1999 film, All About My Mother [with original title of Todo sobre mi madre] and Woody Allen’s Blue Jasmine, which came out in 2013. The paper seeks to primarily survey how censorship and stardom changed not only the world of Williams’s drama but also how its film adaptations modified issues of censorship and stardom through the world of Williams’s play in the past sixty-six years. Second, I will also explore how in turn these changes shaped the plot line of A Streetcar Named Desire in various adaptations.Jazz on Film: the brilliance of 'A Streetcar Named Desire' ". Jazzwise . Retrieved January 2, 2022. The film adaptation was released on September 19, 1951. Although Tandy won a Tony Award for her portrayal as Blanche, she was the only one of the four main cast not to reprise her role for the film version. Vivian Leigh portrayed Blanche and won an Academy Award for Best Actress for the role. Hunter and Malden were also awarded Oscars for their respective roles, but Brando lost to Humphrey Bogart. Despite this loss, Brando’s portrayal of Stanley and his desperate plea of “Hey, Stella!” remains part of popular culture to this day. Alex North. Conductor’s score for A Streetcar Named Desire ballet, undated. Box-Folder 17/1, Alex North Music for Documentary Film, Theater, Dance, and Concert, Music Division. A Streetcar Named Desire – A Streetcar Named Desire". October 12, 2013. Archived from the original on October 12, 2013 . Retrieved January 28, 2019.

Glenn Jordan directed a new A Streetcar Named Desire film for the CBS network in 1995, attempting to revive the original play. For this reason, Jordan followed the narrative structure of Streetcar word by word, creating a fidelity to the letter adaptation, which was a thorough borrowing process. Jordan did not alter any lines from the play in his 1995 adaptation; on the contrary, the plot is the exactly same as in the 1947 version. What is more, the performance of Jessica Lange, however, strongly resembles that of Vivien Leigh from Elia Kazan’s Streetcar adaptation. Nevertheless, Lange could not provide an entirely new figure of the lost ‘Southern Belle’ and Jordan’s directing turned out to be a less creative in its use of intertextual allusions. All in all, the director’s intention, that of producing a remake of Tennessee Williams’s successful drama was a success in terms of adapting the play but without the aim of create something new in its spirit. In the mid-2000s, another production was staged by Winthrop Corey, then artistic director of Mobile Ballet. [37]Jessica Tandy starred as Blanche in the original Broadway production, with Kim Hunter as Stella and Marlon Brando as Stanley Kowalski. Karl Malden played Mitch, a poker buddy of Stanley’s and a potential love interest for Blanche. Mitch’s ultimate rejection of Blanche immediately precedes her final crushing showdown with Stanley. According to the Internet Broadway Database, Streetcar was Hunter’s first Broadway credit. Coincidentally, the play marked Brando’s final appearance on the Broadway stage. The youngest of the four main cast members, Brando was a rising stage star. His performance in the film adaptation of A Streetcar Named Desire brought him national acclaim.