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Movie Analysis: A Streetcar Named Desire

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A Streetcar Named Desire (1951), is an Oscar winning film adaptation from director Elia Kazan, based on the Pulitzer Prize winning play written by Tennessee Williams. Over the course of this paper, we will be pulling back the curtain on a few of the major elements that made A Streetcar Named Desire such a hit. The exact story of the movie was difficult to pinpoint, but throughout the journey, the setting, cinematography, and acting remain as (a few of the) anchors that keep you connected to the events and characters. Regardless of the sharp turns back and forth throughout the story, the previously mentioned factors keep you enthralled in the story, interested in the characters. You feel like you’re living in the action-packed monochromatic …show more content…

The area seems to be bustling, but the Kowalski’s are living simply. The lack of privacy – mostly from the low number of rooms – is something prevalent throughout the story, and becomes important in advancing the plot forward a few times over, it plays a major part in the relationships in the story, with little room to breathe on a typical day, the sudden and (somewhat) unwelcome guest in Blanche makes the small space even more unpleasant. Stanly’s distaste for Blanche, along with the proximity brings us to some explosive, emotional moments. Those explosive moments are supported by the stark contrast in the characters’ personalities along with some truly remarkable …show more content…

The camera is a powerful tool that the director can speak to the viewer through, and although it is an effective tool of communication, most of the time the camera disappears as you feel you are peering into the lives of the characters. For example, the camera can portray strength or weakness just through the angle, and that is without considering the composition, or whether motion is present or not, among other things. Throughout the film, numerous decisions will likely slip past. A good example from the film itself would be when Stanly longingly calls out to Stella around the midpoint in the movie, he is seen staring up into the lens, this makes sense when we consider the environment, Stella went to the upstairs neighbor, but it also works if you’re considering it as a cinematographer, as Stanly looks up into the camera – this is combined, of course with the weather, his mannerisms, both in body and in his voice, and the music – he looks weak here, and the camera greatly contributes to

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