A Streetcar Named Desire
A Streetcar Named Desire is a play by Tennessee Williams describing a culture clash between Blanche DuBois—a pretentious, fading relic of the Old South—and Stanley Kowalski, a rising member of the industrial, inner-city immigrant class. The first stage version was produced by Irene Mayer Selznick with Marlon Brando starring as Stanley, Jessica Tandy as Blanche, Kim Hunter as Stella, and Karl Malden as Mitch. Brando portrayed Stanley with an overt sexuality that made Brando, Stanley, and Tennessee Williams into cultural touchstones. The play opened on Broadway on December 3, 1947. It won the Pulitzer Prize for Drama in 1948.
Related Topics:
Play - Tennessee Williams - Blanche DuBois - Old South - Stanley Kowalski - Irene Mayer Selznick - Marlon Brando - Jessica Tandy - Kim Hunter - Karl Malden - Sexuality - Broadway - December 3 - 1947 - Pulitzer Prize for Drama - 1948
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Brando's magnetic performance tricked audiences into rooting for Stanley in the opening scenes of the play, effectively implicating them in Stanley's eventual brutality towards Blanche.
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Blanche DuBois is a fading Southern belle whose pretensions to virtue and culture only thinly mask her nymphomania and alcoholism. After her ancestral southern plantation is "lost" (due to the "epic fornications" of her ancestors), Blanche arrives at her sister's house in the French Quarter of New Orleans where the multicultural setting is a shock to her nerves.
Related Topics:
Nymphomania - Alcoholism - French Quarter - New Orleans
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Stella, the sister, is just as addicted to sex as Blanche, and is willing to put up with Stanley's crudity and lack of culture because of her need for a sexual partner.
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Blanche and Stanley, together with Arthur Miller's Willy Loman, are among the most recognizable characters in American drama.
Related Topics:
Arthur Miller - Willy Loman
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The reference to the streetcar (tram) called Desire is ironic, as well as an accurate piece of New Orleans geography. Blanche has to travel on it to reach Stella's home, the idea being that she has already indulged in desire before she arrives. Her sorrow is that the pleasure brought from desire is only short, just like the streetcar journey. It does not give her security. Still, she cannot return on the streetcar named Desire because she has only a one-way ticket.
Related Topics:
Streetcar - Tram
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In 1951, Elia Kazan directed a movie based on the play; Vivien Leigh replaced Tandy but the other three main characters remained the same. In 1999 the film, widely regarded a classic, was deemed "culturally significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Censorship of the time called for the end of the film involving Stella's renunciation of Stanley's rape, perhaps to the point of leaving the household. The actual play's ending is far more ambiguous with a distraught Stella (at having sent off her sister Blanche) mutely allowing herself to be fondled by Stanley.
Related Topics:
1951 - Elia Kazan - Vivien Leigh - 1999 - Library of Congress - National Film Registry
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The movie won Academy Awards for Best Actor in a Supporting Role (Karl Malden), Best Actress in a Leading Role (Vivien Leigh), Best Actress in a Supporting Role (Kim Hunter), and Best Art Direction -- Set Decoration, Black-and-White. It was also nominated for Best Actor in a Leading Role (Marlon Brando), Best Cinematography, Black-and-White, Best Costume Design, Black-and-White, Best Director, Best Music, Scoring of a Dramatic or Comedy Picture, Best Picture, Best Sound, Recording and Best Writing, Screenplay.
Related Topics:
Academy Awards - Best Actor in a Supporting Role - Best Actress in a Leading Role - Best Actress in a Supporting Role - Best Art Direction -- Set Decoration, Black-and-White - Best Actor in a Leading Role - Best Cinematography, Black-and-White - Best Costume Design, Black-and-White - Best Director - Best Music, Scoring of a Dramatic or Comedy Picture - Best Picture - Best Sound, Recording - Best Writing, Screenplay
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Streetcar came shortly after Williams's first big success, The Glass Menagerie of 1945. While Williams kept writing plays and fiction into the 1980s, none of his later works lived up to the critical reputation of his first hits.
Related Topics:
The Glass Menagerie - 1980s
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~ Table of Content ~
| ► | Introduction |
| ► | Comparison with other works |
| ► | Streetcar revival in New Orleans |
| ► | Oh! Streetcar! |
| ► | See Also |
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Bon Appe-TV
I watch an awful lot of Food Network. I'm not sure how the obsession developed, exactly. (Though I suspect the FDA should classify Alton Brown as a 'gateway chef'. A couple of hours a day watching him, and you'll spiral down into the hard stuff. You think I'm kidding. Just wait until you're sitting on your couch at 2:30 in the morning, watching crap involving some spiky-haired surf punk driving around the country looking for chili dogs to shove down his goateed gob. Then you'll know you're 'on point'. Not so much.) In spite of my curious epicurean affliction, I'm no good in the kitchen. Couldn't cook my way out of a paper cupcake liner. My notion of 'blanching' food involves taking it to see 'A Streetcar Named Desire'. If the recipe doesn't begin with 'Microwave for...' and end less than four words later, I've got no business reading it. And frankly, I'm okay with that. (In fact, the very pinnacle of my questionable culinary career to date was managing to make scones a few months back which were neither immediately poisonous nor required a jackhammer to pry open. Not that I made them from scratch, mind you. From a bag. Even that was touch and go. And met with considerable skepticism, as you might imagine.) My wife, bless her little whisk, can't reconcile this apparent paradox. How can I enjoy watching shows about food, and the preparation thereof, but display absolutely zero ability, interest or initiative in throwing my own spatula into the ring to learn? It's simple, I tell her. Cooking shows -- the good ones, anyway -- aren't actually about cooking, per se. They're entertainment. I can watch 24 without wanting to become a ruthless, reckless, occasionally-dead counter-terrorism agent. I can sit through Family Guy and successfully quash the urge to have three kids, gain sixty pounds and move to Rhode Island. I can catch a rerun of Three's Company and still have no desire to live near the beach in sunny California with two young single women and... well, okay, fine. Bad example. (Oh, who am I kidding? I don't tan well, California's too damned hot, and I don't have the looks to fit in or the wardrobe to convince Mr. Roper I might be gay. Also, within a week they'd find Suzanne Somers gagged and tied up in the storage locker. That grating blonde shtick of hers made Pamela Anderson look like Niels frickin' Bohr.) "Is there some contractual obligation that says I can't TiVo Iron Chef, unless I run immediately to the kitchen afterward to try my hand at their sardine smoothie? Lord, I hope not." So why can't 'food TV' be pure entertainment, too? Can't I just watch Everyday Italian already, and forget about learning to make the Fettucine alla Whatsamattayou? Isn't it enough to simply enjoy Good Eats, without storming off to find a snarky Asian lady to sell me a waffle maker? Is there some contractual obligation that says I can't TiVo Iron Chef, unless I run immediately to the kitchen afterward to try my hand at their sardine smoothie? Lord, I hope not. My wife sees it differently, of course. She makes the point that these shows are meant to get viewers interested in cooking, to make us more self-sufficient, and to unfold for us the wonders of exotic flavors and aromas made possible with a few culinary skills. Right. If I want 'exotic flavors and aromas', I'll suck a big strawful of that unholy fishshake up there. No, thanks. I'm just trying to kill an hour or so in front of the tube. And Baywatch isn't on right now. (Hey, I said Pam Anderson was dumb. I never said I couldn't watch her with the sound turned down. Fair's fair.) So I decided to prove to my wife that sometimes cooking shows are meant to be emulated, and sometimes they're just pretty pictures and 'Bam!' noises you use to pass the time. To really get the point across, I've tried to think of other examples of cooking-as-just-entertainment. It hasn't gone well. First, I appealed to her visual sensibilities. I choreographed a little number, worked up a costume and showed her my impression of making pasta. As an interpretive dance. Sadly, just when I got to the crescendo where the water boils, I slipped on the placemats I was using to represent lasagna and went down in a heap. I think I sprained a fusilli. (My wife did report that she found the show 'highly entertaining'. But probably not in the way she was supposed to.) Next, I tried to convince her using a more traditional art form. I gathered a few of the vegetables we had in the pantry, set up a camera, and took pictures of myself slicing, peeling and chopping them. Black and white shots, very artistic and classy. Or so I thought. Until I got a call from the local cops, after the guy at the Photo Hut called them about some 'disturbing' images he'd developed. Finally, I was able to sort everything out. ("No, officer, that's just a carrot. Yes, I'm certain. No, I had no idea a zucchini would look that way in grayscale. Sorry for the trouble. And I hope you catch that 'Mad Grater' sex offender some day, but I'm afraid I can't help you." If I had it to do over again, I'd probably use less suggestive veggies. And color film. And I'd opt against the 'tasteful nudes'.) That's when I stopped appealing to my wife's visual sensibilities. This carrot knows when he's julienned. As a last resort, I turned to cooking as poetry. Surely, a flowery description of food preparation could be seen as pure art, without any need to get the kitchen involved. Just what I needed to prove my point once and for all. Sadly, the only material I had for inspiration were my past experiences in attempting to cook. Which were rarely successful, often dangerous, and universally regrettable. Also, about the only poetic form I know is the limerick. So the results of my 'artistic' stabs at food prep poetry turned out something like this: "The secret to pudding, they say, Is getting lumps out of the way. So I pressed mine out thin With my best rolling pin, But most of it slithered away." Or worse: "I once made a tomato soup, With a cup of salt instead of a scoop. Dry like the Sahara, Chunky as marinara, It pretty much tasted like poop." Don't even ask about the rhyme involving 'crispy duck'. Just don't. I give up. I just couldn't back up my claim that cooking shows have nothing to do with cooking. So the next time I sit down to watch a nice Unwrapped or Molto Mario, I'm just going to sigh and silently hand my wife this last attempt at artistry, my concession haiku: Convinced by your words, I shall now provide food; hope You like Papa John's. A large loaded pizza, with garlic sauce for the crusts? Made by someone else and delivered to our door? Now that's art I can watch all night long.
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