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A Streetcar Named Desire (Two-Disc Special Edition)
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Additional DVD options | Edition | Discs | Price | New from | Used from |
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November 9, 2010 "Please retry" | New Packaging | 1 |
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| $4.42 | $3.00 |
DVD
March 26, 1997 "Please retry" | — | 1 |
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| $6.96 | $1.99 |
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May 8, 2006 "Please retry" | Special Edition | 2 |
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| — | $4.99 |
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Genre | Classics, Drama |
Format | Subtitled, Black & White, Closed-captioned, Original recording remastered, NTSC, Special Edition, Multiple Formats, Dubbed See more |
Contributor | Vivien Leigh, Elia Kazan, Marlon Brando, Kim Hunter |
Language | English, Spanish |
Runtime | 2 hours and 2 minutes |
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Product Description
Product Description
Streetcar Named Desire, A: Special Edition (Dbl DVD) A Streeetcar Named Desire: The Original Director's Version is the Elia Kazan/Tennessee Williams film moviegoers would have seen had not Legion of Decency censorship occurred at the last minute. It features three minutes of previously unseen footage underscoring, among other things, the sexual tension between Blanche DuBois (Vivien Leigh) and Stanley Kowalski (Marlon Brando), and Stella Kowalski's (Kim Hunter) passion for husband Stanley. Catch all of the classic - nominated for 12 Academy AwardsO including Best Picture and winner of 4* - that introduced a new era of filmmaking. Step aboard this Streetcar.
Set Contains:
An exemplary selection of supporting material makes this second disc much more than a throw-in. Richard Schickel's lucid 90-minute profile, Elia Kazan: A Director's Journey, gives a fine account of the Kazan career, including lesser-known but worthy films such as Wild River and America, America. (One wonders, however, why a documentary about the art of a director can't letterbox its widescreen clips.) Kazan's work, rather than his fascinating life, is the focus, and his cooperative testimony before the House Un-American Activities Committee in the 1950s is given a brief, neutral treatment. Clips from those Kazan interviews figure in two shorter docs, a look at the origins of Streetcar on Broadway (and the way Marlon Brando's performance threatened to tip the balance of the play) and a thorough half-hour history of the movie adaptation. A nine-minute profile of Brando is mostly an excuse for reminiscences from Karl Malden, but they are wonderful memories indeed. (Malden also contributes his sharp recollections and wise insights to a commentary track on the film, along with film writers Rudy Behlmer and Jeff Young, all recorded separately.) A ten-minute look at composer Alex North's contribution is informative and smart. Outtakes here are really a collection of snippets, of interest to fanatics. A Brando screen test is surprisingly ordinary, although one can see hints of the tiger waiting to escape. --Robert Horton
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : PG (Parental Guidance Suggested)
- Product Dimensions : 5 x 5.75 x 0.45 inches; 2.4 ounces
- Item model number : 2232769
- Director : Elia Kazan
- Media Format : Subtitled, Black & White, Closed-captioned, Original recording remastered, NTSC, Special Edition, Multiple Formats, Dubbed
- Run time : 2 hours and 2 minutes
- Release date : May 2, 2006
- Actors : Marlon Brando, Vivien Leigh, Kim Hunter
- Dubbed: : French
- Subtitles: : English, French, Spanish
- Language : Unqualified, English (Dolby Digital 2.0 Mono), French (Dolby Digital 2.0 Mono)
- Studio : WarnerBrothers
- ASIN : B000EBD9TY
- Number of discs : 1
- Best Sellers Rank: #28,698 in Movies & TV (See Top 100 in Movies & TV)
- #4,739 in Drama DVDs
- Customer Reviews:
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Elia Kazan manages to make the transition from the stage play that he directed to this scintillating movie version with almost all of the original cast intact. The casting of Vivien Leigh as Blanche Dubois was the only change, due to the necessity of having a marquee name to get the movie made. Karl Malden and Kim Hunter were Broadway stage actors and unknowns in Hollywood. Marlon Brando had only made one previous film, "The Men", but was also still unknown to movie audiences. Of course, all that would change after the world saw his mesmerizing, fiery, sexually raw, intense portrayal of Stanley Kowalski. In the hands of a lesser actor, Stanley Kowalski could have come off as a two-dimensional, cardboard cartoonish caricature of a neanderthal brute. However, in Brando's hands, he comes across as a multi-layered, complex, ambivalent, mercurial man who can change in a heartbeat from a wife-beating drunken brute to a lost, needy, vulnerable, childlike man who has a surprising tenderness at the most unexpected times. This is the genius of Brando. One never knows quite what to expect from one scene to the next and this adds to the already tense, tightly wound, emotionally charged atmosphere.
Vivien Leigh's Blanche Dubois is a faded southern belle, desperately clinging to a lost past, an aristocratic upbringing on the family estate Belle Rive, a life that is dead and gone forever. Blanche has created an artificial world of fantasy and illusion to hide how lonely and desolate her reality has become. She has never gotten over the trauma of falling in love with a young man who betrayed her love. She turned on him cruelly and he killed himself. Blanche is still haunted by this tragedy and has never really been able to get beyond it. She seems to be a woman incapable of coping with life's tragedies and losses, the setbacks and difficulties that one encounters along the way. She must pretend to be that ageless southern belle, but in reality she has stooped so low as to seduce a seventeen year old student, causing her to be fired from her job as an english teacher. After the loss of Belle Rive she took up residence at a second rate hotel and essentially prostitued herself with a long line of strange men, until finally she was asked to leave. She has fallen a long way, but is determined to keep up the fragile facade of her past, holding a tenuous grip on reality.
Stanley is Blanche's nemesis, the one who discovers the truth about her past. It's interesting how my view of Stanley and Blanche has changed over the years. I can now understand why Stanley unmasked Blanche and ended her chance of marrying his best friend Mitch. After the scene in which Stanley beats Stella in a drunken tirade and causes her to run to the upstairs neighbor, but finally come back home, the next morning he overhears a conversation between Blanche and Stella. He hears Blanche describe him as "common", a "survivor of the stone age" and say that she has a plan to get them both out of there. Once Stanley realizes that Blanche is a threat to his very survival, to his territory, his family, then there is no question that he will do whatever he must to destroy her. The battle lines are drawn between Stanley and Blanche and Stella and her conflicting loyalties are caught right in the middle. However, as I watch this movie today, I see that it is inevitable that Blanche will lose this epic battle. She is no match for Stanley, who is tough, uncompromising, strong, determined and outraged at this woman who he sees as a two-faced, pretentious hypocrite without a job, money and totally destitute. I also believe that Stanley is aware enough to realize Blanche's precarious mental state. He senses that she is on the edge, a woman on the verge of a nervous breakdown. All he has to do is help it along.
I no longer see Blanche as a victim. I feel empathy for her plight and her slow descent into madness. It's not a pretty site. However, I can also see that her lies, constructed out of her own necessity to keep up this sham existence, have also caused pain and hurt to others. I can understand Stanley telling his friend Mitch the truth, rather than stand by and watch him make a fool of himself. I don't believe that Mitch or anyone else can ever save Blanche from her fate. At one point in the movie, after the birthday party for Blanche in which Mitch has failed to show up because of what Stanley told him, we see Stanley and Stella arguing heatedly. Stella asks what will Blanche do now if Mitch won't marry her. Stanley utters a line which seems to be a precursor of Blanche's fate. He says - "Oh, her future is all mapped out for her". He gives her a ticket back to Oriole and Blanche is devastated and Stella is angered at this callous gesture.
When I watched this movie earlier in my life, I actually felt as someone else did here in their review. I wasn't sure if Stanley raped Blanche or not. That scene that passed for a rape back in 1951, seems somewhat ambiguous now. I never read the play and now I wish that I had done so a long time ago. It would have cleared up a good deal of my confusion. I totally understand the constraints in which the creators of this movie were working back in the days of strict censorship. There are controversial and taboo subjects in this story and some of it had to be removed or at least watered down. I have researched the play online and know the actual story as Williams originally wrote it. Stanley does rape Blanche in a final act of domination and control. In doing so, he pushes her over the edge and the last vestiges of her sanity are destroyed.
What I have also come to understand, is that Tennessee Williams didn't write a story about good versus evil, right versus wrong. This is not a morality tale. This is reality versus illusion. Stanley represents the modern world in all its raw coarseness, survival of the fittest. Blanche represents a bygone world, a halcyon existence that has faded into the past, a world of frivolity, elegance, gentility and grace. She cannot adapt to this new world and retreats into a world of make-believe. After the scene in which Mitch angrily confronts Blanche and leaves, having found out the truth for himself, we see Blanche alone in the darkened apartment. She has gotten all dressed up with a tiara and ballgown and is conversing with imaginary guests, retreating into a long ago night of partying at Belle Rive. She is once more the southern belle, humming along to imaginary music. Her reverie is interrupted by Stanley arriving home from the hospital. The two of them will spend the night alone there together. The final confrontation will inevitably take place in the ugliest possible way. Their destinies will collide one last time and, when it is over, Blanche will have gone completely out of her mind.
The original ending was changed at the insistence of the censors, but I believe that they didn't achieve what they intended. Somehow Kazan filmed the ending in such an ambiguous way with Stella running upstairs to the neighbor vowing that this time she won't ever go back. It isn't convincing, not with what we know of her relationship with Stanley. I always felt that she never really left for good. Now that I know the real ending, it's almost as though I knew what Tennessee Williams had in mind without ever reading the play. The censors just succeeded in muddying everything, clouding it with doubt. That's why the ending never really made sense to me. I think that people will come away with their own ideas about the ending. The triumph is that this movie got made at all. The basic story is still intact, the actors stayed faithful to their characters and Kazan's brilliant direction made it all come together in the end.
Truth has a way of coming through even when some are determined to try to cover it up. The censors didn't really change the ending. They didn't take away a powerful story of passion, betrayal, deceit, lust, brutal truth and a climactic battle that ended inevitably. This movie has stood the test of time and is as powerful and unsettling and relevant today as it was sixty years ago. Everyone owes it to themselves to watch true greatness.
A troubled Southern belle, Blanche DuBois (Vivien Leigh), arrives in New Orleans to live with her sister, Stella (Kim Hunter), and brother-in-law, Stanley Kowalski (Marlon Brando). The seemingly genteel and delicate Blanche is shocked by the decrepit state of her sister's French Quarter flat and by the brutish manners of her husband. She quickly latches onto one of Stanley's friends, the comparably well-mannered Mitch (Karl Malden), and sees in him a safe harbor in the storm. Stanley resents Blanche's intrusion and haughty demeanor and soon discovers the secrets of her sordid past, which he reveals to Mitch and Stella. Mitch rejects Blanche and she descends into madness. In a rousing climax to their game of "cat and mouse," Stanley rapes Blanche and she is subsequently dispatched to a sanitarium.
Elia Kazan directed Tennessee William's Pulitzer Prize-winning play on Broadway where it had a two-year run and adapted the play to film. Although a few scenes were shot on location in New Orleans, most of "Streetcar" was filmed in studio.
Nominated for twelve Academy Awards, "Streetcar" won Best Actress (Leigh), Best Supporting Actress (Hunter) and Best Supporting Actor (Malden). Kazan had been nominated for Best Director and Brando for Best Actor. Although he didn't win an Oscar, Brando's performance was a stunning tour de force and revolutionized film acting. Jessica Tandy played the part of Blanche on Broadway but Leigh was brought aboard for the film version due to her draw power. Although Leigh won an Academy Award, her portrayal is a bit over-the-top. Malden is great and Hunter is okay. Alex North's jazzy score is wonderful. The cinematography is good but the viewer tires of seeing Leigh's fading beauty through a cheesecloth. Richard Day and George Hopkins deservedly won the Oscar for art direction.
As an interesting aside, William's choice of a Polish American character for the role of the brutish brother-in-law was no accident. The working-class, "dumb Polak," stereotype was quite prevalent throughout America in the 1950's and it would peak in the 1960's and 1970's. Surprisingly, Polish American academia has not addressed the "dumb Polak" phenomenon in a substantial way.
This package contains two DVDs; one for the film and the other for special features. Commentary is provided by Rudy Behlmer, Jeff Young, and Karl Malden. Very little of the commentary is devoted to scenes from the film, most is a discussion of the personalities involved with the play and film.
Special features include: "Elia Kazan: A Director's Journey," a wonderful 1995 documentary of the filmmaker narrated by Eli Wallach. Also included are five documentary shorts: A Streetcar on Broadway, A Streetcar in Hollywood, Censorship and Desire, North and the Music of the South, and An Actor Named Brando. These documentaries basically rehash the same information provided in the commentary but the clips of Karl Malden and Kim Hunter are priceless. Also included are film and audio outtakes and a Brando screen test. Censored by the film industry at the time of its initial theatrical release, this DVD presents "Streetcar" in its original version.
"A Streetcar Named Desire" is considered a cinematic milestone and is ranked # 45 on the American Film Institute's 1998 listing of the 100 Greatest American Films. This is a nice DVD package of a very important movie which elevated Kazan to the ranks of America's finest directors.
Top reviews from other countries
Moving along. The performance that stuck with me most was honestly Vivien Leigh's Blanche Dubois. People have dissed Leigh's acting style as pretentious and artificial, especially compared to Brando the god, but her character is a fragile woman, teetering on the edge of sanity, living in her own world. She WOULD act pretentious and artificial. And seeing as Vivien Leigh was not a healthy woman (she suffered from depression and bipolar disorder, as well as bouts of tuberculosis which eventually killed her), it tended to translate to her roles. Sort of like Joan Crawford with her alcoholism and mental issues, there was no way for either actress to hide the hurt on their faces, the defeat, the fact that they were chewed up and spit out and disgusted with themselves, and it showed up in all of their later roles, even when they were trying to play strong characters. To be honest, Joan Crawford would have made a very good Blanche Dubois (she was actually a southern belle, unlike Leigh, who for some reason was cast as a southern belle in two blockbusters- GWTW and this one- and won Oscars for her performances in both), but the studios thought that she wasn't good enough to play roles with substance, so we're stuck with Viv. Not stuck. That was bad wording.
Kim Hunter and Karl Malden underplay their roles with great effect. Elia Kazan directs almost seamlessly, but in this film, it's about the actors. It's amazing film, and could have been made a decade ago. Nice to see the clash of 1930s and 1950s acting styles, but for me, the 1930s wins.
Of course, a lot from the play is changed, but I was surprised at how much they were allowed to keep in. Read the play after watching this one.
Die hübsche Blanche zieht gezwungenermaßen zu ihrer Schwester Stella und ihrem Mann Stanley. Blanche, die sonst ein kultivierteres und wohlhabenderes Leben genossen hat, muss nun in einer engen Wohnung zurecht kommen und gerät schnell mit dem direkten und launischen Stanely aneinander. Und so dauert es nicht lang, bis sich die Ereignisse überschlagen…
Anders als das Stück, gibt es hier ein paar Änderungen, die vor allem damit zu tun haben, dass der Film entschärft werden musste, aufgrund des unsäglichen Hays Code (der sorgte dafür, dass alle amerikanischen Filme zwischen den 30ern und 60ern deutlich konservativer wurden). Besonders interessant wird es am Schluss, denn auch hier wurde das Finale etwas abgeändert, um der Geschichte eine Art bittersüßes Ende zu geben. Mich persönlich hat das nicht wirklich gestört, der Film schafft es auch mit diesen Änderungen eine dreckige und düstere Atmosphäre der menschlichen Abgründe zu schaffen. Besonders die beiden Protagonisten zeigen ihre düsteren Seiten, wobei es vor allem an Stanely liegt, das Publikum und seine Mitmenschen zu schockieren.
„Endstation Sehnsucht“ trumpft vor allem mit seinen grandiosen Schauspielern auf. Marlon Brando und Vivien Leigh (zwei absolute Augenweiden) sind grandios! Es ist toll zu sehen, wie animalisch und authentisch ihre Darstellungen damals bereits waren, da viele Schauspieler aus der Zeit für heutige Verhältnisse steif und künstlich wirken. Nur die emotionalen Schock-Momente der weiblichen Darsteller haben mich ab und zu genervt, denn es ist immer wieder dieses typische, ruckartige Losreißen, gefolgt von einem weinenden Weglaufen oder auch ein energisches sich auf's Bett schmeißen…
Dennoch überzeugen hier alle Schauspieler auf ganzer Linie. Es ist eben ein Theaterstück, das von einem starken Ensemble lebt und genau das bekommt man auch hier geboten. Und ich als Schauspieler bekomme sofort Lust selbst zu spielen!
Optisch sieht der Film klasse aus, die Schwarz-Weiß-Optik passt perfekt zur düsteren, farblosen Geschichte. Zudem gibt es (anders als im Stück) neue Locations, abseits des kleinen Apartments, um dem Ganzen etwas mehr Abwechslung zu geben. Auch die Musik von Alex North ist toll: Dramatische Score-Momente verbinden sich mit ruppigen Noir-Jazz.
Fazit: Es sollte kein Wunder sein, dass „Endstation Sehnsucht“ ein beeindruckendes Filmwerk ist, das sich bis heute wunderbar gehalten hat. Wenn es um Tennessee geht, mag ich zwar etwas mehr „Die Katze auf dem heißen Blechdach“, aber dieser Klassiker hat seinen Status zurecht verdient, vor allem wegen der fantastischen Darsteller!
Die snobistisch veranlagte Lehrerin Blanche DuBois (Vivien Leigh aus VOM WINDE VERWEHT) besucht ihre einfach gestrickte Schwester Stella (Kim Hunter) in New Orleans. Dort lernt sie ihren Schwager Stan Kowalski (damals erst Mitte Zwanzig: Marlon Brando) kennen, mit dem Blanche von Anfang an auf Kriegsfuß steht. Sie verschmäht seine einfache Arbeiterherkunft und er kann ihre aufgesetzten Allüren nicht ausstehen.
Hinzu kommt, dass Stan Blanche misstraut. Weil er denkt, dass die Gastfreundlichkeit seiner Frau überstrapaziert wird, stellt er Nachforschungen über die eitle Blanche an. Wenig später findet er den wahren Grund für den Besuch von Stellas Schwester heraus, der nicht bloß vom Verkauf der Familienranch herrührt. Die Auseinandersetzung mit ihrer direkten Vergangenheit und mit Stans ständigem Jähzorn setzen der Psyche von Blanche arg zu, sodass die familiären Bande im Hause Kowalski immer wieder auf die Probe gestellt werden.
--- Kritik ---
ENDSTATION SEHNSUCHT ist die filmische Umsetzung des Broadwaystücks A STREETCAR NAMED DESIRE von Tennessee Williams aus dem Jahr 1951, bei der mit Ausnahme von Vivien Leigh alle ursprünglichen Darsteller des Stücks beteiligt sind. Die Besetzung von Darstellern aus dem Theater kommt dem Stoff der Geschichte zugute, die vor allem auf ihre vielschichtigen Charakteren als auf eine komplexe Handlung setzt. Der Gedanke, dass ENDSTATION SEHNSUCHT als Theaterstück konzeptualisiert wurde, bleibt bei der Verfilmung bestehen. Man könnte sie von der Machart her durchaus mit alten Hitchcock-Klassikern wie BEI ANRUF MORD vergleichen, da man wirklich das Gefühl hat, der Vorhang würde sich nach der Vorstellung, äh, dem Filmende schließen.
Für Marlon Brando hingegen wurden damals alle Türen geöffnet, denn durch sein Portrait des ungehobelten Stan Kowalski, der auch gegenwärtig für die brutale Ehrlichkeit der Arbeiterklasse steht, wurde er zum Star. Obwohl sein Charakter äußerst fiese Züge aufweist, so schafft es Brando durch sein reizvolles Spiel, dass man mit Stan mitfiebert - zumal ihm im Drehbuch neben seiner schroffen Art auch eine verletzliche Ader gegönnt wurde. Vivien Leigh, die ihm als Blanche DuBois gut Paroli bietet und eine Talfahrt der Gefühle durchmacht, ist der ideale Gegenpol zu Brandos Spiel. Für Zuschauer, die am liebsten temporeiche Filme mit viel Action sehen, ist dieser Schwarzweißfilm, der auch schon Gegenstand in einer Folge der SIMPSONS war, also nichts. Wer aber wahrlich geniale schauspielerische Leistungen und nicht zuletzt einen teuflisch gut aussehenden Marlon Brando sehen will, der hiermit wohl zum ersten männlichen Sexsymbol wurde, der wird das Drama ENDSTATION SEHNSUCHT lieben.
--- Zur Blu-ray ---
Warner Home Video hat es geschafft, dem Filmklassiker noch mehr Glanz herauszukitzeln. Obwohl der Film mitnichten so atemberaubend in HD ausschaut, wie z.B. VOM WINDE VERWEHT oder DER ZAUBERER VOM OZ, so macht das 4:3-Bild eine sehr gute Figur. Störende Schmutzpartikel oder übermäßiges Filmkorn bleiben glücklicherweise aus, sodass viele Details im HD-Transfer offenbart werden, die man vorher nicht erkennen konnte. Das einzige Manko ist höchstens der etwas zu schwach ausfallende Kontrast, aber mehr gibt es zumindest von meiner Seite aus nicht zu beanstanden.
Tonal darf man allerdings nicht zu viel erwarten. Die deutsche Monospur ist natürlich frontlastig und mit scharfen S-Lauten behaftet, dafür sind die Dialoge immer klar verständlich. Außerdem gibt es sieben Sequenzen, die insgesamt etwa fünf Minuten ausmachen, die im englischsprachigen Original laufen, weil sie damals nicht synchronisiert wurden. Der amerikanische "Production Code" und sein strenges Reglement, das vor Anstößigkeit schützen sollte, war Schuld daran. Damit er in den Fünfzigern im Kino gezeigt werden konnte, mussten unter anderem Szenen, in denen Nymphomanie und Homosexualität angedeutet werden, entfernt werden, die bei der vorliegenden, restaurierten Fassung wieder vorliegen. Interessant ist in diesem Kontext das Blu-ray-Extra "Zensur vs. Sehnsucht", das darüber eingehend aufklärt.
Generell punktet die blaue Disc mit ziemlich genau drei Stunden an zusätzlichen Inhalten (!) in Standardauflösung. Unter anderem bekommt man zum Regisseur Elia Kazan in einer 76minütigen Doku umfangreich Input geboten und man kann sich an Marlon Brandos süßen Screentest erfreuen. Ein Filmkommentar mit dem mittlerweile wie Leigh und Brando verstorbenen Darsteller Karl Malden bekommt man ebenfalls geboten. Eigentlich bekommt der geneigte Zuschauer und Fan alles, was er zum Film wissen und haben möchte. Nur das Wendecover bleibt auf der Strecke. Das ist besonders schade, weil das wunderschön kolorierte Titelbild ohne FSK-Flatschen wesentlich mehr Wirkung erzielt hätte (Marlon Brandos muskulöser Oberarm wird nämlich verdeckt ;-)).
--- Fazit ---
ENDSTATION SEHNSUCHT sollte in keiner Sammlung von Interessenten für Filmgeschichte fehlen. Er bedeutete nicht nur den Durchbruch für den heutzutage ikonenhaft verehrten Marlon Brando, einen der bedeutendsten Akteure des zwanzigsten Jahrhunderts, sondern zeugt auch nach sechs Dekaden noch von Schauspielniveau, das seinesgleichen sucht. Das ist Theater für daheim, Theater, wie man es sich wünscht!
Die Blu-ray-Verwirklichung fällt enorm gut aus. Der HD-Transfer zeigt den Klassiker so, wie man ihn noch nicht kannte: ungekürzt und mit Details, die man aufgrund der frühen Entstehungszeit gar nicht für möglich gehalten hätte. Die drei Stunden an Sonderausstattung komplettieren das Bild einer fast schon mustergültigen Veröffentlichung für Schwarzweißfilme - fünf Sterne.