Imagining/fantasizing about being a character in the film, I'd love to inhabit the talked about role of Blanche's former boyfriend Shep Huntleigh, reconnecting with her while visiting New Orleans (one night when she sneaks off to a high class Mardi Gras ball), sweep her off her feet again (better than Malden managed to!) and rescue her from Stanley's sexual wrath! I'd take her on a cruise around the world and show her what its like to really be loved! God, Vivien Leigh was so sexy in this movie despite her deteriorating mental state and youth-obsessed nature (how old was she? 37 or 38???). There's hope for the character even in the real ending, leaving among the kindness of strangers, away from that hellish hovel!

It has become rather difficult in comparing this 1951 film version of the award winning play "A Streetcar Named Desire" with the original stage production as no one in today's world is old enough to recall it. Various people from film historians to the director himself Elia Kazan have debated over who gave the definitive interpretation of Blanche, Jessica Tandy or Vivien Leigh. Most viewers enjoy the performance of the latter that much, that the performance of the former has been overshadowed somewhat. There is no doubt that Vivien Leigh gives a haunting and powerful performance as the mentally fragile Blanche but I can't comment upon Jessica Tandy's effort. Marlon Brando is giving a fine example of the kind of actor he was when given a film that was worthy of his talent. He is to cinema what Laurence Olivier is to the theatre. Judging by Brando's performance in the film version, he must have gone down just as well when he was cast as the bullying, controlling, vulgar and brutal Stanley Kowalski in the theatre production that ran on Broadway for something like 2 years. He proved that his kind of acting represented something quite different and fresh. Kim Hunter and Karl Malden give excellent support as Stella Kowalski and Mitch respectively. They both deserved their victories at the Oscars, as did Vivien Leigh. It is rather a pity that Marlon Brando didn't win the Oscar for Best Actor. Karl Malden said it was an absolute joy in working with Brando. They maintained a close friendship that lasted until the time Brando passed away. The play crackles and simmers with sexual tension as Blanche and Stanley engage in their psychological battle of one trying to gain the advantage over the other. Their verbal sparring lights up the screen and both actors compliment each other well. The crude qualities in Stanley which attracted Stella to him in the first place, are the same character traits that deep down, Blanche would wish to be aroused by. In Mitch, Blanche spots an opportunity for happiness. Sadly, this will not bear fruition. A wedge is driven between sisters Stella and Blanche over Stanley until the play reaches its shattering climax. Kim Hunter stated how during all the time it took in setting up the cameras and the lighting, Elia Kazan was always taking the time to rehearse for an upcoming scene and to help sustain the momentum of his actors. This made the filming process a lot more fun and stimulating. Brando was once quoted as saying that he partly based the way he played Stanley on his own father. The sets are quite basic as I would expect from a theatrical film but they serve their purpose very effectively. The film is given a slightly unreal or off centre kind of look because of the sets. The acting, the writing and the direction are all top notch. For me, it begs the question: when do we ever see anything of this quality nowadays?

Blanche is no more neurotic than the rest of the mumbling characters, but the most vulnerable (not having enough income to be able to get her own apartment), so it is she that gets marked to be the scapegoat, and gets carted off to a "mental hospital" at the end.Before that climax, you see a troop of impossibly over-emotional people yelling and throwing things. I thought I was watching a nature film about chimpanzees.

Absolutely fantastic, there are no two ways about it. The movie is a testament to the fact that to be great, it isn't necessary to rely on visual effects or cheap gimmicks. If any aspiring actor has a question of how to do a character, they need to refer to any actor or actress in this film because truly they do an amazing job. I can't emphasize enough how beautiful it was. What continued to add to the greatness of the film was the cinematography and production design. It was simplistic, but effective. The use of the focal points, such as the mirror and framing faces did an outstanding job of allowing the audience to connect with what was going on. The last amazing element of this film was the sound design. The only way to describe it is "spot-on." In contrast to many other films that use noises and soundtracks to distract the audience and force an emotional response, the sound design in this film simply amplified what was already brought by the plot and actors. Never did it feel out of place or overbearing, but it felt as though it was inviting me as an audience member a moment to react first and then the noise/ soundtrack was used to confirm my thoughts and feelings. The only complaint that I have was the ending. I felt the same way with "On the Waterfront," but due to the rules in film at the time when the two were made, their endings do make sense. However, it is unfortunate. Pros: Acting was astounding. Sound design was beautiful and inviting to the audience. Cinematography and production design were both simple, yet powerful. Cons: The ending. That is my sole complaint with the movie because it was absolutely brilliant.