A Streetcar Named Desire

Here was an opportunity to compare the performances of two of my favorite actresses, in a legendary role. (The more famous the story, of course, the more critical viewers can be.) Ann-Margret and Treat Williams had humongous shoes to fill---as did the supporting players--and my take is: the fit ain't bad.

Initially, as with many new versions of famous plays, the differences glared out at me: at times, the dialogue tends to be spoken a bit too rapidly; more memorized than natural. And at first, Ann-Margret's sex appeal and confidence is a bit startling compared to the butterfly-like fragility we're used to from Vivien Leigh's iconic turn as Blanche.

But here, A-M makes the character her own. Beverly D'Angelo is fine as sister Stella too, in spite of the variance in height between the two actresses. As this 'Streetcar' rolls on, there are more good moments. Randy Quaid's Mitch plays well with the neurotic Blanche; their scenes are touching and realistic. It would be nice to see them go off into the sunset at the end---of course, Tennessee Williams had other plans---and the climactic confrontation between Stanley and Blanche is every bit as unsettling as it was written to be. All in all, worth a watch---and when Ann-Margret is involved, it's never a waste of time. (Yes, I'm biased. Now see the movie.)

Maybe there is a viewer who will watch this production, having absolutely no familiarity with Elia Kazan's film. If you have seen the earlier film, you may have difficulty in evaluating this version without reference to the earlier film. I personally think that a more gifted director would have been able to draw from this cast a more satisfying show. The credits indicate that Tennessee Williams wrote the teleplay, so he would have been around to help a talented director get the most from the cast. Too often it seemed to me that the cast was merely reciting the lines. And Treat should have avoided a "Southern" accent: Blanche, yes; Stanley, no. He would have profited from a director who might have focused on the animal in Stanley, and not simply the pig.

Ann-Margaret as Blanche Dubois turns in the best performance of her career. Do not believe the deriders! EVERY actor in this version is more believable than in the Leigh/Brando release. This will be particularly evident if you see this version before the original as I did. Camera work is excellent & the music is outstanding in creating that hot New Orleans atmosphere. Don't miss this one!

The TV remake of A Streetcar Named Desire does not measure up to the classic film starring Vivien Leigh, one of the finest actresses who has ever lived. Ann- Margret gets and A for Effort in this remake, but her essential personality is simply too robust to portray the fragile Blanche. The essence of Blanche Dubois is great delicacy and vulnerability. Ann Margret is about as delicate and vulnerable as an atomic bomb. The rape scene is not convincing, since anyone who tried to rape Ann-Margret would probably end up in the hospital. Treat Williams is by no means as primal as the crude Brando; he almost seems a gentleman in comparison, which lowers the dramatic tension. This film is well-acted and well-directed, but does not compare with the Brando/Leigh original.

I know most will say the original 50's version of A Streetcar Named Desire is without competition and that this adaptation shouldn't even exist, but if people could get over their prejudices and watch it for what it is, they might enjoy it.

Not only is this take on the material more faithful to the original play (by the time the 80's rolled around, you could get away with more on TV than you could get away with on screen in the 50's), but it features a wonderful performance by Ann-Margret as Blanche DuBois. At first, Margret's interpretation of the character is a bit jarring. She's far from the nervous, shrinking violet we're so used to seeing. She has more strength than most other Blanches I've seen, but as the story progresses, one starts to see how this is simply a mask she wears to hide her fear and vulnerability. It's a wonderfully fresh interpretation of the role.

Beverly D'Angelo and Randy Quaid are equally excellent as Stella and Mitch. Treat Williams can't quite seem to escape the shadow of Marlon Brando, but he looks the part and is appropriately brutish as Stanley. Broadway vet Marvin Hamlish's music score is gorgeous and sexy.