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It's as if the movie is trying to prove that Stanley is a waste of masculinity, while using the most attractive actor and acting to portray him. Or something like that....?
After the loss of her family home to creditors, Blanche DuBois travels from Laurel, Mississippi, to the New Orleans French Quarter to live with her younger married sister, Stella, and Stella's husband, Stanley Kowalski. She is in her thirties and, with no money, has nowhere else to go. For the opening scene, #922 was chosen to be the streetcar that dropped off Blanche. This streetcar is still in revenue earning service on the St. Charles Streetcar Line [8]
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The first censorship concerning movies was enacted by the city of Chicago early in 1907; the people who created a prohibiting law believed that certain silent films and melodramas would go as far as to threaten the Anglo-Saxon race and womanhood (Couvares 2006, 91). However, “early American films enjoyed an unrestricted artistic freedom and proliferated accordingly in the absence of censoring ‘frontiers” (Cristian 2014) and years after the first controlling law, film studios on the West Coast became the world leaders from the 1920s on in filmmaking. However, during the Great Depression and the New Deal, themes like sexuality and violence were still considered to be morally unacceptable and were all banned (Cristian 2008, 73-74). Moreover, showing the latter mentioned features on screen were interpreted as fake values and false illusions. Religious groups in the U.S. started to protest against films which, according to them, were destructive and harmful (73). Later on, in 1930s, institutions like the Catholic Legion of Decency was also established. These institutions were responsible for controlling the film studios on what they could show in their films and what they must not. In other words, the leaders of these institutions thought the viewers needed to be protected from the violent, morally incorrect content they saw proper in the television and in the cinema, otherwise the public would be exposed to dangerous visual content that would affect their mental stability. Advocates of censorship called the members of this kind of audience the „Vulnerable Viewer;” and this was often idealized into the figure of a young person (child) or, in most cases, a (grown-up) woman (Couvares 2006, 3). In a 2016 episode of The Originals, titled "A Streetcar Named Desire", Klaus Mikaelson and Elijah Mikaelson are forced to face two siblings, Tristan and Aurora de Martel, once friends but now foes. John Erman’s 1984 Streetcar is, as I stated above, a fidelity to the letter adaptation since despite the minor alterations to the plot it follows Williams’s narrative structure. Erman uses the colors of “soft-golden” and “sepia” in his version of Streetcar, which “suggest both the past and the paper-lantern lighting that Blanche uses to hide the fact that she is no longer young” (O’Connor 1984, The New York Times). The director places the focus on characters as Kazan did previously and highlights the tension between them with long-shots and close-ups but does not manege to creat such a powerful intradiegetic world as his predecessor in 1951. Glenn Jordan’s 1995 remake of the Streetcar is also a fidelity adaptation as I mentioned earlier, a fidelity to the letter adaptation of William’s play in terms of the original plot. Jordan arranged the scenes to be identical with the Broadway version of the play—and so, to confere a sense of being in the theater. I do not consider this solution as a very creative way of adapting a work; it reminds one of the so-called Cinema du Papa from the onset of the history of the film when all works were fidel to the letter to the novel they adapted since the mise-en-scène cannot give new experience for the viewer. On the contrary, the film, with regard to its mise-en-scène merely and anachronistically repeats its Broadway version. Moreover, by observing the performance of Jessica Lange and Alec Baldwin subsequently in the roles of the protagonist and antagonist, it seems that their acting is less original by trying to mime former actors playing the role. Francois Truffaut in his article entitled “Certain Tendency of the French Cinema” (1954) described that a good mise-en-scéne is something when the director is recognizable by the stylistic features and “thematic personality” he or she uses and does not work with a previously crated scenario, which does not need to be altered or formed (Cristian 2008,65). This version of Streetcar has no visible signs of thematic personality resulting in a flat fidelity re-creation of an earlier plot. Jordan’s characters, however, show strong intertextual features to Elia Kazan’s 1951 version rather than to the original play which creates an interesting contrast and connection between the films and the drama.
in show business, the noun ‘personality’ refers to a special performer whose fame rests on being him/herself rather than seeming to be someone else. Yet personality can also refer to an impression of a person projected by a fictional character and/or the impression of a person created in social interaction. (151)
Wikipedia citation
The 1984 television version featured Ann-Margret as Blanche, Treat Williams as Stanley, Beverly D'Angelo as Stella and Randy Quaid as Mitch. It was directed by John Erman and the teleplay was adapted by Oscar Saul. The music score by composed by Marvin Hamlisch. Ann-Margret, D'Angelo and Quaid were all nominated for Emmy Awards, but none won. However, it did win four Emmys, including one for cinematographer Bill Butler. Ann-Margret won a Golden Globe award for her performance, and Treat Williams was nominated for Best Actor in a Miniseries or TV Movie. National Theatre at Home: A Streetcar Named Desire". National Theatre. May 2020 . Retrieved May 28, 2020. Kolin, Philip C. (2000). Williams: A Streetcar named Desire. Cambridge University Press. p.157. ISBN 978-0-521-62610-1. It was noted by many critics that the 2013 Academy Award-winning Woody Allen film Blue Jasmine had much in common with Streetcar and is most likely a loose adaptation. It shares a very similar plot and characters, although it has been suitably updated for modern film audiences. [33] [34] In the film, Blanche is shown riding in the streetcar which was only mentioned in the play. By the time the film was in production, however, the Desire streetcar line had been converted into a bus service, and the production team had to gain permission from the authorities to hire out a streetcar with the "Desire" name on it. [14]
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