Human Desire is a 1954 American film noir drama starring Glenn Ford, Gloria Grahame and Broderick Crawford directed by Fritz Lang. It is loosely based on mile Zola's 1890 novel La Bte humaine. The story had been filmed twice before: La Bte humaine (1938), directed by Jean Renoir, and Die Bestie im Menschen, starring Ilka Grning (1920).
The production utilizes other stock railroad footage. A major number of scenes take place around CRI&P Alco FA unit No. 153 painted as the fictitious Central National, however the interiors were filmed using a Hollywood mock-up of an EMD F-unit according to the Obscure Train Movies website[citation needed].
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In 2008 critic Dave Kehr wrote of the film, "Gloria Grahame, at her brassiest, pleads with Glenn Ford to do away with her slob of a husband, Broderick Crawford. ... A gripping melodrama, marred only by Ford's inability to register an appropriate sense of doom."[6]
A Streetcar Named Desire is a 1951 American Southern Gothic drama film adapted from Tennessee Williams's Pulitzer Prize-winning play of the same name. It is directed by Elia Kazan, and stars Vivien Leigh, Marlon Brando, Kim Hunter, and Karl Malden. The film tells the story of a Mississippi Southern belle, Blanche DuBois, who, after encountering a series of personal losses, seeks refuge with her sister and brother-in-law in a dilapidated New Orleans apartment building. The original Broadway production and cast was converted to film, albeit with several changes and sanitizations related to censorship.
Tennessee Williams collaborated with Oscar Saul and Elia Kazan on the screenplay. Kazan, who directed the Broadway stage production, also directed the black-and-white film. Brando, Hunter, and Malden all reprised their original Broadway roles. Although Jessica Tandy originated the role of Blanche DuBois on Broadway, Vivien Leigh, who had appeared in the London theatre production, was cast in the film adaptation for her star power.[4] Upon release of the film, Marlon Brando, virtually unknown at the time of the play's casting, rose to prominence as a major Hollywood film star, and received the first of four consecutive Academy Award nominations for Best Actor, while Leigh won her second Academy Award for Best Actress for playing DuBois.
The film earned an estimated $4,250,000 at the US and Canadian box office in 1951, making it the fifth biggest hit of the year.[5] It received Oscar nominations in 10 other categories (including Best Picture, Best Director, and Best Adapted Screenplay), and won Best Supporting Actor (Malden), Best Supporting Actress (Hunter), and Best Art Direction (Richard Day, George James Hopkins), making it the first film to win in three of the acting categories. In 1999, A Streetcar Named Desire was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Blanche reveals that the family estate, Belle Reve, was lost to creditors, and Blanche is broke with nowhere to go. She was widowed at a young age after her husband's suicide. (The homosexuality of her husband was censored out of the film version.) When Stanley suspects Blanche may be hiding an inheritance, she shows him proof of the foreclosure. Stanley, looking for further proof, knocks some of Blanche's private papers to the floor. Weeping, she gathers them, saying they are poems from her dead husband. Stanley explains he was only looking out for his family, then announces Stella is pregnant.
Weeks later, during another poker game at the Kowalski apartment, doctors arrive to take the nearly catatonic Blanche to a mental hospital. Blanche has told Stella what happened, but Stella cannot bring herself to believe it. On seeing the doctor and nurse, Blanche resists at first. The nurse matron seizes her but the doctor talks to her gently and she goes with them, saying her last lines in the play about having "always depended on the kindness of strangers". Mitch, present at the poker game, is visibly upset, and although Stanley denies touching Blanche, Mitch attacks him but is no match for the shorter but tougher Stanley. Stella, now realizing that Blanche had told her the truth, takes the baby upstairs to the Hubbells' apartment, determined to leave her husband. (The twist was dictated by the film industry, which demanded that Stanley be punished in some way for the rape. Subsequent film and TV versions have restored the original, bleaker ending, in which Stella remains with her husband for various reasons and at the urging of Eunice, as the stage play always ends.)
A Streetcar Named Desire was adapted directly from the successful 1947 Broadway production of the play, which won the New York Drama Critics' Circle Award for Best Play and the Pulitzer Prize for Drama. Many of the cast and crew were ported over from the stage production, including director Elia Kazan and actors Marlon Brando, Kim Hunter, Karl Malden, Rudy Bond, Nick Dennis, Peg Hillias, Ann Dere, Edna Thomas, and Richard Garrick. Kazan intended for Jessica Tandy, who won a Tony for her portrayal of Blanche, to also reprise her role on film, but producer Charles K. Feldman insisted on casting an actress with more box office appeal. The role was offered to both Bette Davis[7] and Olivia de Havilland, who both declined. Vivien Leigh, who had already played Blanche in Streetcar's London production (directed by then-husband Laurence Olivier), was eventually cast. In Brando's autobiography, he praised Tandy but felt that Vivien Leigh ended up being the definitive Blanche. "She was Blanche."
Aside from the opening and closing scenes, which were shot on location in New Orleans, A Streetcar Named Desire was filmed entirely on soundstages at the Warner Bros. Studios in Burbank, California. The Kowalski apartment set was designed to gradually appear smaller over the course of the film, to reflect the characters' sense of claustrophobia.
Several scenes were shot, but cut, after filming was complete, to conform to the Production Code and later, to avoid condemnation by the National Legion of Decency. In 1993, after Warner Bros. discovered the censored footage during a routine inventory of archives,[10] several minutes of the censored scenes were restored in an 'original director's version' video re-release.[11]
The jazz-infused score by Alex North was written in short sets of music that reflected the psychological dynamics of the characters. It was one of the first jazz scores composed for a mainstream feature film,[12] and earned North an Oscar nomination for Best Original Score, one of two nominations in that category that year.
In the months after its release in September 1951, A Streetcar Named Desire grossed $4.2 million in the United States and Canada, with 15 million tickets sold against a production budget of $1.8 million.[15] A reissue of the film by 20th Century Fox in 1958 grossed an additional $700,000.[16]
Upon release, the film drew very high praise. The New York Times critic Bosley Crowther stated that "inner torments are seldom projected with such sensitivity and clarity on the screen" and commending both Vivien Leigh's and Marlon Brando's performances. Film critic Roger Ebert has also expressed praise for the film, calling it a "great ensemble of the movies." The film has a 97% rating on Rotten Tomatoes based on 62 reviews, with an average rating of 8.60/10. The consensus reads, "A feverish rendition of a heart-rending story, A Streetcar Named Desire gives Tennessee Williams' stage play explosive power on the screen thanks to Elia Kazan's searing direction and a sterling ensemble at the peak of their craft."[17]
A Streetcar Named Desire won four Academy Awards, setting an Oscar record when it became the first film to win in three of the acting categories, a feat subsequently matched by Network in 1976 and Everything Everywhere All at Once in 2022.[19][20] It was also the first time since 1936 (Anthony Adverse) that a Warner Bros. movie won four or more Oscars.
After the film, there will be open discussion. The weekly event is open to Princeton University affiliates. Time and location is every Thursday at 5:30 pm, in Jones 100. Refreshments will be provided in Jones 102.
The camera has done greater justice to the Williams play, catching the nuances and reflected tragedy with an intimacy that is so vital in a story of this type. It is a film whose theme militates against general boxoffice interest, but word-of-mouth and critical acclaim should find it building strongly.
His iconic, metaphysical science fiction film "2001: A Space Odyssey" was so groundbreaking in its use of special photographic effects, he was awarded a Special Visual Effects Oscar in 1969, the only Academy Award he would ever receive. But everyone has to start somewhere and the road to greatness, particularly in film, can have several detours. Kubrick's first feature "Fear and Desire" - available on the libraries' Kanopy Streaming Video service - while not a successful film in this author's opinion, still serves as a testament to the learning process and displays the raw talent that was to blossom in Kubrick's future films.
At the time of "Fear and Desire's" production, the 25-year-old Kubrick had already displayed remarkable skill in both still photography and documentary filmmaking. While an average student in school, Kubrick's ferocious appetite for self-education made him adept at several subjects such as chess and military history; lifelong passions that he would continue to study. But movies became his main thrust, and without access to traditional gateways into this profession, Kubrick had to segue into more creative and independent alternatives in order to achieve his goal of making a narrative feature film. While working as a staff photographer for Look magazine, he produced "The Day of the Fight" and "Flying Padre," two short documentary films which Kubrick directed, photographed and edited. Already adept at capturing the reality of his subjects though still photography, creating documentary films was a natural progression, and one that Kubrick felt was a valuable education. When the time came for Kubrick to film "Fear and Desire," he was ready to put his new-found abilities to the test. be457b7860
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