When I’m stressed I begin to speak in a TransAtlantic accent, unsure why… it just happens. Kind of like how when I see an attractive man in a film I have to then watch his entire filmography, it just happens; especially a man like Marlon Brando. I never would have considered myself a fan of monochrome films, I was forced to watch so many in college they began to feel like a chore; but thanks to my newfound love TUBI, I just can’t get enough. Classic cinema does many things for me, aside from providing color. I find these old pictures to have a lot more realism than modern cinema even though they were quite restrictive and playful. The lack of color allows for a pleasing display of shadows, depth, and character development without the crutch of color analysis or editing techniques. With this recent appreciation for classic cinema I have become enamored by the use of choreography and set design, and the general mise en scene of these pictures- bringing me back to my college seminar days. So without further adieu, let’s dive into A Streetcar Named Desire and the beauty of depth in black and white cinema.
A Streetcar Named Desire had two things that I admire so much about filmmaking: 1. Long and steady intimate scenes between two characters that mimic daily conversation and 2. Marlon Brando in a damp t-shirt. Attractiveness aside, I thoroughly enjoyed this film. Specifically I enjoyed the relationship between Blanch (Vivian Leigh) and her younger sister Stella (Kim Hunter) and how their vocal dynamics showcased the differences in their demeanors. Blanch spoke in a high, melodramatic tone that emphasized her hoity-toity upbringing and hopeful spirit. Where Stella spoke in a far more reserved tone alluding to her domesticated lifestyle and conformity to the “common.” In modern cinema conversations are often shot over the shoulder and are cut back and forth between each character. I am Blanche, even though she drove me crazy the entire first act of the film with her over dramatic vocal performance, but I too have disdain for mediocre men, and a lucid imagination.
The performances in this film are highly theatrical which works wonderfully in tandem with the film’s blocking and set design. In A Streetcar Named Desire and most other classic films, the blocking is more choreographed in order to shoot a scene consecutively (due primarily to the use of film, but other factors as well). A recent film that did something similar to this was Maestro, directed by Bradley Cooper. The scenes with Cooper and Carey Mulligan were shot in a way that focused on the dialogue rather than the editing; with long takes and wide angles emphasizing a voyeuristic participation from the audience. Similarly in A Streetcar Named Desire, the scene between Blanch and Mitch on the dock heightened our experience as the audience because their dialogue and actions weren’t broken apart by multiple cuts. This created realistic scenarios between the characters as they conversed or fought because there are no cuts naturally in life. The reason I feel old pictures have a lot more realism than modern cinema even though they were quite restrictive and playful is simply due to the lack of technology; long drawn out scenes rely on the performance of the actors more than intricate editing styles, ADR (Audio Dispute Resolution), and of course things like green screen. This is in part why I have such an appreciation for low budget or independent films, they don’t rely on Ai or green screens to establish a world, they create it from reality. A Streetcar Named Desire creates a heightened sense of reality for women during the 1950s, who had to endure abuse from their husbands while maintaining peace and sanity. To be completely honest, I was shocked by the ending of the film when STELLAAAAAAAA ran upstairs and said she was never going back to Stanley after he sent her sister away. Blanche is a complex character with a blend of personal trauma, societal pressures, and the disintegration of her identity. Throughout the film, Blanche clings to illusions of gentility and beauty to mask the harsh realities of her life, including the loss of her ancestral home, Belle Reeve, and the guilt she harbors over her husband's suicide. Her brother-in-law Stanle, only makes matters worse with his short temper, entitlement, and lack of empathy. The dynamic between these three as they share a home, with a baby on the way, unravels in a complicated and frantic manner; at the start of the film I worried Blanche and Stanley were going to have an affair but then I saw how much Stanley loved Stella (loved to control her). The blocking and set design in the film adaptation of A Streetcar Named Desire are masterful extensions of the play's theatrical roots. The film's careful attention to spatial dynamics and the interplay between light and shadow enhance the tension and intimacy of the scenes, allowing the audience to feel the characters' emotional turmoil more acutely. I truly think this is a great film, especially for someone who wants to add some new material to their repertoire. I give A Streetcar Named Desire 4 olives! Cin Cin.
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