A Streetcar Named Desire

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.

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!

Ann Margret was excellent in character of Blanche and really brought home the overarching theme of human sexual picadilloes (or what is to some sexual perversion). Indeed, when faced with a mirror that's recorded human history, truth lies somewhere between acceptance and horror.

Ann-Margaret turned in one of the best performances of her career in the 1984 TV version of A STREETCAR NAMED DESIRE, a well-mounted remake of the Tennessee Williams play that became the 1951 classic film that made a star out of Marlon Brando and won a 2nd Oscar for Vivian Leigh. Ann-Margaret gives an intense and chilling interpretation of Blanche, the mentally fragile southern belle who is brutalized by her boor of a brother-in-law (Treat Williams)when she arrives in New Orleans to visit her sister Stella (Beverly D'Angelo). Ann-Margret has never lost herself in a role the way she lost herself in this one, a performance that lacks the china-doll fragility of Leigh's Blanche but adds an underlying layer of strength that was missing from Leigh's interpretation. Treat Williams lacks the electricity that Brando brought to Stanley but D'Angelo brilliantly conveys the tattered emotions of the conflicted Stella. The other plus of this production is that it restores the original Tennessee Williams ending to the play which was drastically changed in the theatrical film in order for the story to be more acceptable to audiences in 1951; however, it completely dilutes the power of the original piece but it is restored to its original beauty here and packs the emotional punch felt by audience at the 1947 premiere of the play. Coupled with the performances of Ann-Margret and Beverly D'Angelo, this is a remake which can proudly stand up next to the original.

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.)