The money is gone; the values are disintegrating. She hangs on to what vestiges of gentility she can, but this serves only to alienate rather than to shield her. Tender and delicate, like the moth she resembles, Blanche is unable to survive in the harsh reality of modern society. There is more to the character of Blanche than merely the role of pathetic victim. She, too, has been active in her destruction. Despite recognizing her own undeniable flaws, she makes very little attempt to disguise her contempt for those she feels are inferior to her in refinement, and she is willing to use Mitch and Stanley to provide for her.
If Blanche represents defunct southern values, Stanley represents the new, urban modernity, which pays little heed to the past. If Belle Reve is not going to mean a financial inheritance, Stanley is no longer interested in Belle Reve. However, Stanley, like Blanche, is an ambiguous character.
His cruel intolerance of Blanche can be seen as justifiable response to her lies, hypocrisy, and mockery, but his nasty streak of violence against his wife appalls even his friends. His rape of Blanche is a horrifying and destructive act as well as a cruel betrayal of Stella. Ultimately, however, Stanley prevails. When times get rough, who is to blame for your downfall, yourself or the ones around you? Blanche DuBois once referred to herself as a Southern Belle: Her husband, Allan Grey, shot himself.
He committed suicide after Blanche caught him cheating on her with another man. After the death of her husband, she ran out of money to pay her mortgage. Blanche felt a sense f pleasure at the hotel. Her financial difficulties were improving and her sexual desires were being taken care of as well. She was kicked out of the Hotel Flamingo and had no other choice, but to live with her sister and brother-in-law, Stella and Stanley Kowalski.
Throughout the course of the story, Blanche begins to receive less support from Stella. Blanche is so used to being used and mistreated by men that she loses her one chance of happiness, with Mitch. Mitch fell for Blanche until he, too, learned of her past. Then like all the others, Mitch turned to Blanche for one reason, sexual intercourse.
The way people treated her affected the way she reated herself and others. Blanche is unfit to be accepted by anyone in society. Blanche lies about her past whenever the conversation is brought about. As Stanley shows his interest in what happened to Belle Reve, it his tent on the door step. This is one of the instances where Blanche continually lies until Stanley reveals the truth. It has indisputable evidence. The similarities brought out between the two works are evident in the fact that the playwright retains the spirit and plot of the original play even in the Streetcar case.
In fact, the dramatist worked on the screenplay himself making his personality dominate even in the film adaptation. The casting crew consisted of Marlon Brando who took the role of Stanley Kowalski. Most of the other original stage production members remained the same and repeated their roles in the movie. For instance, he emphasizes on the meaning of death and desire when Blanche is shown taking different streetcars in the neighborhood of Stanley and Stella. The viewer gets an imagination of how Blanche struggles to adjust.
Similarly, Blanche talks about streetcars in the play and this put the audience into imagining the situation. The setting hardly changes in the film. The movie closely follows the directions of its stage equivalent.
The words used in the movie are identical to those used in the play. The eleven scenes of the play provide a perfect script for the screen as well, which makes the movie follow the plot of the play. The Kowalski apartment and its depressing narrowness are transferred to the screen. A remarkable trick is used, however. Kazan made the set smaller and as the story continues little flats are taken out to make the set get smaller and smaller.
Consequently, the plot remains unchanged and is used in the film in its entirety. In the literary techniques used, the film leaves the audience visualizing the play. Though the movie is black and white, Kazan uses different lighting variations to bring out the style used in the play. For instance, in the part where a young man enters, Blanche cannot tell who it is due to the light from outside.
The room is pitching dark, making the young man look like a large black shadow.
A Streetcar Named Desire literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of A Streetcar Named Desire.
Essays and criticism on Tennessee Williams' A Streetcar Named Desire - Critical Essays.
In A Streetcar Named Desire, Tennessee Williams creates a complex web of conflicting emotions, which creates tension between characters. Williams presented many emotional conflicts with his character Stanley and the other characters in the play. In A Streetcar Named Desire, by Tennessee Williams. Streetcar Named Desire Essay: Themes in A Streetcar Named Desire - Themes in A Streetcar Named Desire A Streetcar Named Desire is a pessimistic work that is the “culmination of a view of life in which evil, or at least undiminished insensitivity, conquers throughout no matter what the protagonistic forces do”(Szeliski 69).
Home Essay Samples Streetcar Named Desire Different approaches can be used to compare a play to its film adaptation. The strategies used vary depending on the similarities or differences portrayed by the film and the play. Symbolism in A Street Car Named Desire - Essay. Print Reference this. Published: 23rd March, Last Edited: 1st June, Keywords: symbols in a streetcar named desire, a streetcar named desire symbols. Tennessee Williams' play A Street Car Name Desire is a domestic drama. There is a film adaptation of play which released in .