Movie #30: A Streetcar Named Desire. Or really, a Streetcar Named "Blanche Dubois has Gone Crazy"

Title: A Streetcar Named Desire

Starring: Vivien Leigh, Marlon Brando, Karl Malden, Kim Hunter

Directed by: Elia Kazan

Number on the AFI List: 47

Year: 1951

Confessions of a bad former theatre major: I’ve never read, nor seen, Streetcar before, either in play form or film form, so this was my first experience with either. I know, I know. Express your outrage. But at least I’ve seen it now!

From all advertising, it seems like this movie belongs to Marlon Brando (considering it was his film debut, I understand), but let’s be honest: this film belongs to Vivien Leigh. She portrays Blanche Dubois with dramatic flare only closely matched by Gloria Swanson in Sunset Blvd. Leigh fully commits to Blanche’s erratic behavior, manipulating flirtation, and spiral into insanity, all of which were riveting to watch. She was by far the most interesting character of the film. Brando was also fantastic as Stanley; I would never say anything negative about the greatest actor of all time. He has magnificent control and dedication to Stanley that never seems over the top or showy. While Blanche’s manipulation is more obvious, Stanley sucks those around him in-namely Stella- with his threatening anger and charm. I can’t forget Kim Hunter’s fantastic portrayal of Stella; she is the victim of everyone’s ills and yet the glue trying to keep everything together. Stella has also fallen from her former high society life but has been able to move on; her insistence to compliment her sister to keep her sane, coupled with being stuck with an abusive husband, is heartbreaking. Kudos of course goes to Tennessee Williams for writing such complex characters with dark secrets and troubled pasts. Tragically, not one character can break out of the downward spiral they're on. As Stella’s neighbor tells her at the end:

“We gotta keep on going, baby. No matter what happens, we gotta keep on going.”

Favorite moment: The final moment between Blanche and Stanley.

Will I Watch it again: Yes!

MOVIE 30! This means I get to update my own AFI list. This is getting more and more difficult as these movies get better and better!

1. City Lights

2. It's a Wonderful Life

3. Modern Times

4. Sunset Boulevard

5. Sunrise
6. Snow White and the Seven Dwarfs
7. Wizard of Oz
8. Gone with the Wind
9. A Streetcar Named Desire
10. Citizen Kane
11. All About Eve
12. Sullivan's Travels 
13. Double Indemnity
14. Casablanca
15. Bringing up Baby
16. The Gold Rush
17. The Best Years of our Lives
18. The Maltese Falcon
19. Yankee Doodle Dandy
20. It Happened One Night
21. A Night at the Opera
22. The Treasure of the Sierra Madre
23. The Grapes of Wrath
24. Mr. Smith Goes to Washington
25. The General
26. King Kong
27. The Philadelphia Story
28. Intolerance
29. Swing Time
30. Duck Soup

Movie #29: All About Eve. Or really, all about a manipulative biatch.

Title: All About Eve

Starring: Bette Davis, Anne Baxter, George Sanders, Celeste Holm

Directed by: Joseph L. Mankiewicz

Number on the AFI List: 28

Year: 1950

“Fasten your seatbelts. It’s going to be a bumpy night.”

Way to go Joseph L. Mankiewicz for directing a film with great female characters back in the 50s. I knew something was wrong with Eve, played by Anne Baxter, from the moment I first saw her on screen. As suspected, she turned out to be a conniving wannabe actress looking to ride the coattails of an already successful actress, Margo Channing, played by Bette Davis. What’s infuriating about the movie is Eve becomes successful (not a spoiler-it’s the opening scene). What’s satisfying is that it’s not exactly in the way Eve had intended. I was captured by the story from the moment the movie began until it ended, and appreciated the discussion of theatre and what it takes to make it as an actor/actress. How far will one go to achieve fame and fortune? How many people will one manipulate, step on, or even blackmail in order to achieve their dreams? Unfortunately, this is done far too often in an industry where, one “gives so much for so little,” and yet is addicted to praise and applause-like Eve. 

I can’t express how great the acting is from every actress in this movie. Bette Davis, Anne Baxter, and Celeste Holm, dominated this movie with power, conviction, and believability. And get this- no need for overt sex appeal! All three leading women were distinct in their character work. Davis avoided stereotypical actress clichés with great control and beautifully carried the film. Baxter played Eve with wonderful poise and subtleties, feigning innocence and playing her hidden motives like a skilled poker player. Holm was a breath of fresh air as the kindhearted, matronly Karen Richards, whose sweetness and naiveté kept the others down to earth. None of these women got the Oscars they deserved, but I’m glad the movie won the well deserved best picture!

“All playwrights should be dead for 300 years!”

“That would solve none of their problems because actresses never die! The stars never die and never change!”

Favorite moment: The conversation on the staircase at Margo's house where they talk about what it is to be a theatre person. I can't find a clip online but it's a great moment! 

Will I watch it again: Yes!

Movie #28: Sunset Boulevard. Or really, the illusion of fame.

Title: Sunset Boulevard

Starring: Gloria Swanson, William Holden, Erich Von Stroheim

Directed by: Billy Wilder

Number on the AFI List:

Year: 1950

“You can’t leave a star, that is what makes one a star!”

Led by Gloria Swanson, one of the greatest actresses of the silent film and film noir era, Sunset Boulevard exposes the harsh reality that is fame in Hollywood from both the beginning stages to the end. Joe Gillis, played by William Holden, is a struggling writer from Ohio who can’t catch a break, and ends up at Norma Desmond’s home (played by Swanson) after experiencing a flat tire. Little did he know he was entering a washed up silent film star’s home, a woman who has gone literally insane over her loss of fame over the years, so much so that she will manipulate anyone she can in order to keep them by her side. The two are struggling with the exact same thing, a lack of fame, though one is trying to break in and the other is living under the illusion she is still famous. Thus, the curtain has risen and we see the great and powerful Oz is not who he says he is, but a phony (wait, that was a different movie). Nevertheless, the metaphor still applies: what you see on screen doesn’t show the cruel reality that is living up to Hollywood standards. If you’re not careful, you’ll find yourself lost in a dream world having to pay to keep people around you, or worse, dead.

I’ve admired Swanson’s role in this film for many years. Her commitment to this washed up woman may seem overdone and fake, but while re-watching it this time I realized that is exactly who Norma Desmond is- a woman lost in her own world, over dramatic with no sense of reality. This is especially proven when she decides to perform her “Desmond follies” for Joe, taking on different silly characters one right after the other. Her Charlie Chaplin impersonation is spot on.

After doing some research, I realized Swanson had a similar career path as Desmond’s, although Swanson had a successful shift into talkies. This movie was Swanson’s first major motion picture in nine years. She was one of the best silent film actresses and had a great connection with Cecil De Mille (as depicted in the movie), she was apparently demanding to work with, and had a plethora of husbands. I wonder how much of her life inspired the writing of the movie, and if Swanson was anything like her character in real life.

I could keep talking about and quoting this movie. It's definitely one of my favorites of all time. Many thanks to my theatre teacher, Mr. Parker, for recommending I watch it for inspiration for my role as Medea in 11th grade. This movie made me want to be an actress. So, thank you.

Favorite scene: While this isn't the full clip, I love the initial meeting between Desmond and Gillis. Her next famous quote is "There once was a time in this business when I had the eyes of the whole world! But that wasn't good enough for them, oh no! They had to have the ears the whole world too. So they opened their big mouths and out came talk. Talk. Talk!" As someone who greatly appreciates silent films and have yet to watch a talkie better "City Lights," I couldn't agree more! 

Will I watch it again: Absolutely. 

"Mr. De Mille, I'm ready for my close up!"