"A Streetcar Named Desire," the iconic 1951 American film, stands as a testament to the enduring power of Tennessee Williams' original play. Directed by Elia Kazan, who also helmed the successful Broadway production, the movie brought the intense drama of Blanche DuBois, Stanley Kowalski, and Stella to a wider audience. The film's journey from stage to screen was not without its challenges, particularly concerning censorship and the delicate process
of translating a raw theatrical experience into a cinematic narrative.
Adapting a Pulitzer-Winning Play
The foundation of the film was Tennessee Williams' Pulitzer Prize-winning play, which premiered on December 3, 1947, and ran for an impressive 855 performances. Despite its critical and popular success, major Hollywood studios were initially hesitant to adapt it for the screen due to its controversial themes. Williams, alongside Oscar Saul, co-wrote the screenplay, navigating the strictures of the Hollywood Production Code even during the writing phase. This early censorship meant certain elements from the play could not be directly transferred to the film.
For instance, in the original play, Blanche's husband commits suicide after she discovers him in bed with another man. In the film, this detail is softened, with Blanche merely stating that she drove him to suicide. These pre-production adjustments were just the beginning of the film's encounters with censorship, highlighting the industry's cautious approach to sensitive subjects like homosexuality, rape, and mental illness.
Navigating Censorship and Controversial Themes
The censorship challenges extended beyond the screenplay writing, impacting the final cut of the film. Even after production, censors intervened, removing references to homosexuality and explicit sexual content. The ending of the film was also altered to align more with Hollywood's expectations, differing significantly from Williams' original stage conclusion. In the film, Stella leaves Stanley after he rapes Blanche, a departure from the play where Stella, distraught over sending her sister to an institution, is comforted by Stanley. American censors at the time deemed it unimaginable for a woman to forgive the rape of a family member.
Unbeknownst to director Elia Kazan, further scenes were cut from the film after it was shot. These included a dialogue between Blanche and Stella implying Blanche's husband was homosexual and that she drove him to suicide. A scene where Blanche expresses a desire to kiss a newsboy on the mouth was also edited to remove the explicit mention of the kiss. Additionally, a close-up shot of Stella's face, radiating desire as she flees Stanley after he hits her, was removed. The rape scene itself was made far less explicit in the film, showing only Stanley dragging Blanche onto the bed rather than the full act. The censors demanded a total of sixty-eight changes to the screenplay, and the Catholic Legion of Decency further insisted on more interventions, particularly regarding references to homosexuality and the depiction of rape.
Casting and Production Insights
Elia Kazan initially hesitated to direct the film, having already directed the Broadway production, but Tennessee Williams persuaded him. Kazan then embarked on the casting process. Marlon Brando was cast early on, despite being relatively unknown at the time, as he had played Stanley Kowalski in the Broadway production. The studio, however, believed the film's success would hinge on the actress playing Blanche.
Jessica Tandy, who originated the role of Blanche on Broadway, was Kazan's initial favorite, but the studio deemed her not famous enough. Olivia de Havilland was considered but her fee was too high. Ultimately, Vivien Leigh, a well-known star from "Gone with the Wind" who had played Blanche in the London stage production, was chosen. This decision brought a recognized star to the project. Notably, many of the Broadway cast members, including Kim Hunter (Stella) and Karl Malden (Mitch), reprised their roles for the film, a rare occurrence in Hollywood where producers typically assembled an entirely new film crew for adaptations. The film was primarily shot in the studio, with limited exterior shots filmed in New Orleans, including Blanche's arrival on the Perley Thomas 922 streetcar, which was specially brought in for the production as most streetcars in New Orleans had already been replaced by buses.
