A Streetcar Named Desire is a good film which surely would have been even better had it not had to tiptoe around its plot to meet the ridiculous censorship standards of the time. Powerful as it is you definitely get the sense that a great deal was lost to appease the censorship zealots. Never is that more evident than in the film's crucial climactic scene in which not only can we not see what happens we can barely even have it hinted at. No doubt this dulls the film's impact. And that's a shame because there is so much to appreciate about the film. It has a great, captivating story and some terrific acting performances. And director Elia Kazan brings it all together so well, all while doing his delicate dance with the censors. Getting this movie, with all its "controversial" material, made at all in 1951 is a little miracle. Getting it made so well is a really masterful achievement.

The first thing that people remember about the film is probably Marlon Brando's portrayal of Stanley Kowalski. And well they should, it's a career-making performance. And a performance unlike most anything else Hollywood had seen up to that time. Brando holds nothing back in bringing the rough, tough brute Stanley to life. It's such a powerful performance, charged with emotion. It's impossible to take your eyes off him, you never know where the next explosion is coming from. Of course we now know what a great star Brando was. At the time though he was essentially an unknown. In 1951 the "star" of this film was Vivien Leigh. And with her portrayal of faded, troubled Southern belle Blanche DuBois she matches Brando stride for stride. Blanche is no doubt a complicated character, certainly a challenging part to play. And Leigh captures the character, all her pretensions and delusions, perfectly. With Brando and Leigh in top form everyone else is somewhat overshadowed but both Karl Malden and Kim Hunter still managed to pick up Oscars for their supporting work. Malden plays Blanche's suitor Mitch, a bit of a sap but definitely a good guy and a welcome contrast to the boorish Stanley. And Hunter is very good in playing the woman torn between her affection for her sister and her love for the brute whom she just can't quit. Hey Stella!

As presented A Streetcar Named Desire is captivating, powerful drama. But in many places not as powerful as it could have been. Not the fault of director Kazan or his wonderful cast though. They did the very best they could while confined to the little box the era's moral police placed them in. Brando's performance in the film has become the stuff of legend. Leigh is absolutely terrific and Malden and Hunter contribute nicely. After all the fine work the actors turned in, after all the twists and turns of the compelling story, it is a shame that the ending had to be so watered-down. It's a film which deserved a better ending than its era allowed it. You may lament what was lost but you can still appreciate what Kazan and his terrific cast managed to give you. Despite all the challenges they produced a very good film.

I thought i was a cinephile because i had watched thousands of movies. I was wrong. You can't call yourself a "cinephile" if you have not watched some particular movies. For example, you don't know anything about cinema if you have not watched CASABLANCA (1942), and i watched it a few days ago. That's exactly the case with A STREETCAR.. too. You are basic, cinema wise, if you haven't watched this.

Watching this is like travelling to a distant world/another reality. There is magic in the air, i can't describe it, but i felt like i was watching demigods on the screen. Leigh and Brado are giving glorious performances. Leigh's acting is outdated of course, and that shows how unbelieavable she was: Whereas her acting is indeed outdated, she still shines and viewers have no choice but consider it among the greatest acting performances of all time.

Brando is, lol, of course there are no words for his performance. He seems like he came from the future, the way he talks, the way he moves, his grimaces. It's like he is not an actor from this era. Like his acting method is 20-30 years ahead of his time.

Still, Leigh steals the show. Is her character the richest/more complex/more multilayered character of all time? Possible. There were moments i didn't like her at all, but in the end, i almost cried. She touched my soul. People like her should be protected at all costs. Her fate shattered me.

There was only one thing that bothered me, and i will tell it, even if that makes me an ignorant and sacrilegious moviegoer: The hideous things Kowalsky did in the end of the movie were out of character. I never viewed him as a monster during the first 115 minutes of it. Yes, he was some kind of villain but there were redeeming qualities of his, considering his time era and the cultural oppression of women. I mean, too many men were monsters back then and it was almost socially acceptable behavior. Still, during the first 115 minutes of it, i never thought he was a monster. So, the final minutes confused me. Because he acts like one.

Probably it's my fault and not Tenesse's Williams i guess, that i didn't understand Kowalsky entirely, lol. But still, i can't explain the rape. He loved his wife. He just had a baby. Blanche would soon leave. There is absolute no reason he sexually abuses her, considering that he hadn't shown any flashes before, at all.

In any case, this is a masterpiece. Go watch it.

... of two powerhouse juggernauts. Absolutely dripping with tension, acrimony and bitterness as Blanche DuBois and Stanley Kowalski lock horns in their own uniquely individual way with the backdrop a dark, drenched and run down part of New Orleans. Coupled with a pair of superb supporting performances that amplify and escalate the whole to a unique plateau, you'll feel as though you've been run down by an out of control steam train, flattened by a steamroller to be reformed in a furnace fuelled by fear, frustration and desire.