2021 Blind Spot Series: A Streetcar Named Desire

 

Based on the play by Tennessee Williams, A Streetcar Named Desire is the story of a woman who leaves her aristocratic world to live in New Orleans with her sister and brutish brother-in-law in a dilapidated apartment as her life starts to crumble. Directed by Elia Kazan and screenplay by Williams and Oscar Saul, the film is an exploration of a woman who wants to be something special but has a hard time dealing with the new world she’s in as well as the man who treats her terribly. Starring Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden. A Streetcar Named Desire is a rich yet intense film from Elia Kazan.

Set in New Orleans, the film revolves around a woman who arrives to the city to live with her sister and brother-in-law in the hopes to regain her aristocratic lifestyle after some major losses in her life though her brother-in-law becomes troubled by her presence as he treats her cruelly. It is a film that explores a woman trying to maintain this illusion of being a Southern Belle as she left her hometown to find riches and such in New Orleans but she has to contend with this force of nature that is her brother-in-law. The film’s screenplay by Tennessee Williams that is based on his own play with contributions from Oscar Saul play into the plight that Blanche DuBois (Vivien Leigh) is enduring as she hopes to retain this identity even though she lost a lot as she had quit her job as an English middle school teacher. Blanche’s arrival at the apartment home of her sister Stella (Kim Hunter) would have Blanche deal with the fact that Stella lives in this dilapidated apartment with her husband Stanley Kowalski (Marlon Brando).

The script also includes Kowalski’s friend Mitch (Karl Malden) who takes a liking to Blanche where he even considers marrying her so that neither of them would be lonely yet Kowalski thinks the relationship is a bad idea as he has suspicions about Blanche though his brutish behavior towards her doesn’t help matters. Even as Blanche is critical towards both him and Stella as it adds discord to their relationship where some of Williams’ dialogue do play into these emotions but also into Blanche’s own disconnection with reality as if she is imagining about the world she wants to be in. Notably as it adds to this contrast to the world that Kowalski and Stella live in that is lively but also simple where not everyone has everything.

Elia Kazan’s direction definitely has this theatrical presentation as it is set largely in this apartment complex in the middle of the French Quarter in New Orleans with part of that area and other nearby places are shot. While there’s a few wide shots in the film to get a scope of the location as well as the apartment in its cramped and claustrophobic feel as it does serve as a character in the film. Kazan’s direction is focused more on intimacy with the usage of close-ups and medium shots as the latter is used to play into the tension between Blanche and Kowalski. It’s not just this claustrophobic atmosphere that adds to the drama but also in how it plays into Blanche’s own mental state as the walls would close in around her as it play into her refusal to accept the reality of her situation. Even as she wears these stylish and glamourous clothing that is a total contrast to the simpler yet ragged look of Kowalski as the latter is this symbol of sexual ferocity. Kazan also uses the location as well as heat as this intense atmosphere that adds to the drama including some of the tension between Blanche and Kowalski.

One key scene outside of the apartment is a party scene where it’s focused on this conversation between Blanche and Mitch where the latter gets to hear her story as it play into the former’s old life but also her past as Mitch would fall for her unaware that of her troubled mental state. Kazan’s compositions and usage of long shots play into the drama as well as scenes of Blanche trying to play up this façade of a world where everything is lit a certain way and everything has to be glamourous yet she still has to contend with this more cynical reality that is Kowalski. Even as the tension would boil into the third act as even Stella becomes tired of both of them as she is caught in the middle yet she loves both her husband and sister. The climax that relates to this boiling tension of Blanche’s fantasy and the harsh reality of Kowalski would finally collide as it lead to some harsh revelations as well as a real sense of loss for everyone. Overall, Kazan crafts a riveting and exhilarating film about a fallen Southern Belle trying to start a new life only to collide with the dark reality that is her brutish brother-in-law.

Cinematographer Harry Stradling does brilliant work with the film’s black-and-white photography with its stylish usage of shadows and lights for many of the interior scenes to help set the mood as well as play into Blanche’s refusal to see the reality of the world and who she really is. Editor David Weisbart does excellent work with the editing as it is straightforward with some rhythmic cuts to play into the dramatic suspense. Art directors Richard Day and Bertram Tuttle, with set decorator George Hopkins, do amazing work with the look of the apartment as well as some of its exteriors as it help play into the atmosphere of the film as well as the claustrophobic tone whenever Blanche deals with reality. Costume designer Lucinda Ballard does fantastic work with the ragged look of Kowalski including his ripped t-shirts as well as some of the more glamourous look of Blanche that would become more ragged as the film progresses.

Makeup artist Gordon Bau does nice work with the look of Blanche from this attempt at a clean and refined hairstyle as well as the makeup to make herself look younger as it only play into this idea of a fantasy that she wants to hold on to. The sound work of Nathan Levinson and C.A. Riggs is superb for the atmosphere that it creates as it help play into the dramatic tension that occurs in the film that also includes sparse sounds of what is happening outside of the apartment. The film’s music by Alex North is incredible for its rich and eerie orchestral score that includes this theme for Blanche that is only heard by her as it’s chilling and offbeat while the rest of the music is soaring with its string arrangements that is mixed in with bits of New Orleans jazz.

The film’s wonderful ensemble cast feature some notable small roles from August Kuhn as a sailor Blanche meets upon her arrival to New Orleans, Richard Garrick as a doctor who appears late in the film, Ann Dere as a mysterious matron that only Blanche sees, Wright King as a young collector that Blanche meets in the middle of the film, Rudy Bond and Nick Dennis in their respective roles as Kowalski and Mitch’s poker buddies Steve and Pablo, and Peg Hillas in an excellent performance as the apartment complex landlady Eunice who often takes Stella in whenever Kowalski gets intense as well as someone who doesn’t like him much at all. Karl Malden is brilliant as Mitch as a friend of Kowalski who served in the war with him as he becomes fascinated by Blanche as he hopes to be with her as it’s a role that has Malden display some vulnerability and sensitivity but also someone who doesn’t take shit from anyone although he’s unaware of the trouble he’s in when it comes to Blanche.

Kim Hunter is amazing as Stella Kowalski as Blanche’s sister who finds herself in the middle of this conflict as she deeply loves both her sister and her husband while also dealing with her impending pregnancy and the chaos at her home. Vivien Leigh is phenomenal as Blanche DuBois as this former English middle-school teacher who was once this revered Southern Belle as she is trying to retain whatever glory she had as she has trouble dealing with her new reality where Leigh displays this air of charm but also anguish in a complex and dangerous performance. Finally, there’s Marlon Brando in an outstanding performance as Stanley Kowalski as this force of nature who doesn’t just exude raw sexuality in his appearance but also a rage of a man who feels threatened by Blanche as he would treat her with cruelty and disdain. It is this performance that is intense where Brando and Leigh do display a great sense of rapport in this performance as well as bringing in two different ideas into their performances that makes them a highlight to watch.

A Streetcar Named Desire is a sensational film from Elia Kazan that features tremendous performances from Vivien Leigh, Kim Hunter, and Karl Malden as well as a breakthrough performance from Marlon Brando. Along with its claustrophobic setting, themes of fantasy vs. reality, its intense yet dark approach to melodrama, and Alex North’s exhilarating music score. It is a film that explore two different people having to live together as it explore some of the darkest aspects of human nature but also loss at its most extreme. In the end, A Streetcar Named Desire is an incredible film from Elia Kazan.

Elia Kazan Films: (A Tree Grows in Brooklyn) – (The Sea of Grass) – (Boomerang!) – (Gentleman’s Agreement) – (Pinky) – (Panic in the Streets) – (Viva Zapata!) – (Man on a Tightrope) – On the Waterfront - East of Eden – (Baby Doll) – (A Face in the Crowd) – (Wild River) – Splendor in the Grass – (America America) – (The Arrangement) – (The Visitors (1972 film)) – (The Last Tycoon)

© thevoid99 2021

A Matter of Life and Death

Written and directed by Michael Powell and Emeric Pressburger, A Matter of Life and Death is the story of an airman who survives death as he falls for an American radio operator while angels are trying to get him to the other side. Set during World War II, the film is an exploration into a man facing and cheating death while trying to continue his life without compromise. Starring David Niven, Kim Hunter, Roger Livesay, Marius Goring, and Raymond Massey. A Matter of Life and Death is an extraordinarily rich film from Michael Powell and Emeric Pressburger.

The film is about a man who had just survived a near-death experience as his bomber plane crashed where he jumped off his plane without a parachute. While he was on his plane, he communicates with an American radio operator where the two fall for each other as they eventually meet and become a couple. For the people in Heaven, they realize the man was supposed to die as they send an angel (Marius Goring) to meet with the man to tell him he’s supposed to be in Heaven. The angel gives the man time while Dr. Frank Reeves (Roger Livesay) examines the man as he would defend him in a trial to see if this man should stay alive or be sent to Heaven. It’s a film about life and death as well as the power of love where the people from above are to see if this man in Peter Carter (David Niven) should stay alive to fall in love with the American woman June (Kim Hunter).

The film’s screenplay explores the world of life and the afterlife where Peter Carter has accidentally cheated death where angels and those in the afterlife question should Peter Carter fulfill what has been expected him in life or should he continue to go on living? Yet, the people in Heaven didn’t expect for Peter and June to fall for each other in a moment like this as they send this French aristocratic angel to talk with Peter about what he should do. Dr. Frank Reeves listens to Peter talking about his meeting with the angels as he believes there is more to something that is beyond anything. Yet, he would play a crucial role into defending Peter in front of the people of the afterlife as he has to face a jury that despise the British led by its American prosecutor Abraham Farlan (Raymond Massey). What would happen in the third act is a trial for the life of a man as Peter would also face a judge and jury to see if he deserves to stay alive.

The direction of Michael Powell and Emeric Pressburger is definitely out of this world in terms of what they presented. Notably as they go for two very different approaches to life on Earth and the afterlife where the former is presented in gorgeous Technicolor and the latter is presented in black-and-white. The direction is often filled with a sense of style from the sense of danger that is presented in the opening moments of the film where Peter is flying his bomber plane as he talks to June. A lot of the scenes set on Earth do have some degree of style in some of its location shots as well as a scene of Dr. Reeves looking out at the town through a magnifying table. Other stylish shots in the film are the conversations between Peter and the angel where everything around them stops while the people who aren’t Peter or the angel stay still.

The scenes set in Heaven are very stylized in the set pieces that is created where there are things the dead have to do once they arrive in Heaven. There is a sense of control that occurs while the trial scene itself is filled with some wide shots to establish the scope of the case in hand. There is also the staircase scenes that is presented in black-and-white but also in color to establish the link between the two worlds. The third act is about the two worlds colliding to set the fate for Peter Carter as where some big decisions occur as well as the idea of life itself. Overall, Powell and Pressburger create a magnificent story about life and the power of love.

Cinematographer Jack Cardiff does exquisite work with the film‘s beautiful photography from the wonderful look of the scenes in Heaven shot in black-and-white with some amazing lighting schemes to the lush Technicolor look of the scenes on Earth from the look of the British countryside to some of the interiors in the film as Cardiff‘s work is a major highlight of the film. Editor Reginald Mills does excellent work with the film‘s editing with the use of abrupt cuts to play out some of the strange things that are happening around Peter to the use of freeze-frames and other stylish cuts to help give the film a brisk pace. Production designer Alfred Junge does amazing work with the set pieces from the look of the staircase to the look of Heaven itself as it is a work of beauty.

Costume designer Hein Heckroth does wonderful work with the costumes to play up some of its coloring in the scenes on Earth while keeping things simple and stylish for the scenes in Heaven. The special effects work by Douglas Woolsey and Henry Harris is terrific for its use of optical effects to create some look of the universe as well as the backgrounds for the staircase scenes. Sound recorder C.C. Stevens does nice work with the sound to create sound effects for the film‘s opening sequence of Peter‘s plane crumbling as well as some intimate moments between characters as well as the scenes where sound isn‘t used. The film’s music by Allan Gray is superb for its lush orchestral score to play out the drama and some of its humor through some sweeping string arrangements and a few bombastic moments in the percussions.

The film’s cast is brilliant as it features some small appearances from Richard Attenborough as an English pilot who arrives to Heaven, Abraham Sofaer as Heaven’s judge and the surgeon performing surgery for Peter, Robert Coote as Peter’s deceased co-pilot Bob Trubshawe, and Kathleen Byron as the head angel who greets the dead to Heaven. Raymond Massey is excellent as Abraham Farlan who believes that Peter should die and be sent to Heaven while Marius Goring is marvelous as the very charming French aristocrat who has become an angel as he tries to get Peter to Heaven while realizing the severity of the situation. Roger Livesay is superb as Dr. Frank Reeves as a man who believes Peter’s stories as he tries to help him in every way while finding himself in a situation of his own where he can play a crucial role in Peter’s trial.

Kim Hunter is remarkable as June as an American woman who falls for Peter through their radio conversation while trying to wonder what is wrong with him as she turns to Dr. Reeves for help. David Niven is fantastic as Peter Carter as a man who had just experienced a near-death experience as well as love as he realizes his fate is in the hands of people beyond him as he tries to comprehend the idea of life itself.

A Matter of Life and Death is an incredible film from Michael Powell and Emeric Pressburger. Armed with a great ensemble cast that includes David Niven, Kim Hunter, Roger Livesay, Raymond Massey, and Marius Goring as well as Jack Cardiff’s rapturous cinematography. It’s a film that explores the idea of life itself as well as how a man can put his own life in the hands of other to see if he should live. It’s also a film about the power of love and how strong it can be for a man’s fate. In the end, A Matter of Life and Death is a tremendous film from Michael Powell and Emeric Pressburger.

Powell/Pressburger Films: The Spy is Black - (The Lion Has Wings) - Contraband - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I‘m Going! - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffman - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2013