Our society does not as a whole deal decently with mental health issues. People are often oblivious to the obvious signs even when they are staring you right in the face. I believe this is because it is not a physical wound that can be seen at a glance. Most don’t take the necessary time to discover the underlying, painful, anguish-filled moments. If it’s not broken or bleeding, leave it alone. One would think things would have changed over the years for the better. Yes, we have modern meds, but it is not often easy for some doctors or family members to find the magic formula that makes anxiety, deep fears, PTSD, or depression disappear.
My husband suffers from these symptoms, and it is a fight every day for him to stay “sane.” Not everyone can do this. Not everyone has an advocate standing beside them to help clear out the excess noise. Not everyone has the support of family and friends. It is a tough battle every minute, and if you are surrounded by those who don’t believe in the importance of good mental health, then you are doomed to be thrust into a continual loop of pain for the rest of your life. And heaven help you if those around you have anger issues of their own.
This was the circumstances for Tennessee William’s tragic, genius play and 1951 film, A STREETCAR NAMED DESIRE. Blanche, Stella, and Stanley were destined for destruction and suffering. Their paths were entwined. It never mattered how many times Stanley would shout and cry out for Stella in the middle of the night. It wasn’t ever about love or desire.
The film, A STREETCAR NAMED DESIRE, was nominated for twelve Oscars and was awarded the gold statuette in four categories which included Best Actress, Vivian Leigh, Best Supporting Actress, Kim Hunter, Best Actor, Jarl Malden, and Best Art Direction. It was nominated for Best Film. Karl beat Marlon Brando for Best Actor. An interesting tidbit is that most of the movie cast was hired directly from the Broadway production with the exception of Vivian Leigh who was hired instead of Jessica Tandy. This was because the studio wanted a big name to draw attention. Marlon was not a huge star at the time. This was only his second film.
Vivian was said to feel very left out from the camaraderie within the cast. This helped her performance immensely as well as the fact that most of the ensemble followed “The Method” and she did not use those acting techniques. Vivian as the character, Blanche, who was losing touch with reality often said in interviews, that this was helpful. Vivian’s portrayal was superb. She was able to capture minute, necessary nuances of a deteriorating mind while making it all appear quite natural. It was a mesmerizing, sad, compelling performance. Her constant backing-up movements, the touching of her hair at the nape of her neck, and visual, constant nervousness added immensely. I could not keep my eyes from following her every step.
Marian Brando was a conundrum of testosterone and cliche masculinity. Audiences were meant to feel uncomfortable when watching his behavior with his wife, Stella, and his taunts towards Blanche. I am still wondering how Stella and Stanley ever got married. This is a compliment to their brilliant performances, especially when listening to the angst-ridden cries from Stanley. It was voted one of the most memorable lines in movie history. Once you hear it, you can’t let it go.
Most of A STREETCAR NAMED DESIRE was filmed within the Kowalski apartment. The design was much more spacious in the beginning than at the end. They built the set with movable interior walls so that it could appear smaller and more claustrophobic as Blanche became unhinged. The effect was perfect.
The sad part about this movie was the lack of information and knowledge about how to treat mental illness. Putting someone away in an institution and keeping them drugged is not the answer. It is a shame that seventy years later, doctors still don’t know enough about the ravages of this disease. Shame on our society for not having the answers and solutions for those who are inflicted.
A STREETCAR NAMED DESIRE is not a rom-com with a happy-ever-after ending. It is rather a gritty, seedy look at the underbelly of our country. It showcases poverty, PTSD, and loss for all that should have been. It is a heartbreaking, explosive classic that Elia Kazan, the director, helped create. It included the unforgettable classic line…”I got this lawyer friend.” The film’s theme became “I need kindness,” as viewers descended into darkness and emerged with the light. In the end, all of us understood the importance of “keeping on going” even amid the sometimes cruelty of life.
A STREETCAR NAMED DESIRE is available on TCM.
