A Streetcar Named Desire, Essay Example

Watching the show, “A Streetcar Named Desire,” feels a lot different than before. This is not just because of the outdated black-and-white lighting, or the use of actors and actresses who passed away long ago, and not for its lack of cool special effects and graphics like those seen in movies of the 21^st century. It is the acting, such as in the way that Vivien Leigh and Marlon Brando communicate and show emotion. This is what feels different. Also, the film has no riveting plot. The story is about a woman moving in with her sister. This doesn’t seem much like a plot to keep viewers on their toes, and actually it doesn’t. What keeps viewers on their toes is how the story is told through creative dialogue and acting. Professor Hartmann says in her lecture, “film acting is rooted in theatre.” This means the transition of this story, originally a play by Tennessee Williams, from the stage to the screen was more than likely fairly easy. However, what brings the story to life? What makes viewers see and feel the emotions? Is Leigh and Brando’s method acting used to take on the roles of Blanche and Stanley? David Thomson says method acting, particularly the kind seen during the era of this film, was “pledged to sincerity and emotional truth, and it turned film-going in to a profound psychological ordeal…” Also, as Thomson points out, in 1951, moviegoers desired this type of experience; they “wanted honestly, the gritty truth, and a more realistic or ‘grown-up’ attitude to life.” Thus, actors took it upon themselves to serve as vessels of these emotions. They embodied the feelings of their characters and enabled the audience to get the gritty truth. Leigh’s fast-talking, muttering, coy-smiling Blanche is a perfect manifestation of Blanche’s innermost feelings that show her insecurity and insanity. Maybe Leigh prepared herself emotionally for this role by drawing from her own emotions brought on due to her consistent personal struggle with bipolar disorder. Brando probably brought brutish, passionate Stanley to life through his reflection on how Stanley may have initially acquired such a temper. Brando was well known as a Hollywood “bad boy” and he may have felt a connection with his character’s outburst episodes that allowed him the creativity of a meaningful portrayal of Stanley.

There are still many prominent actors in the business today, such as Sean Penn and Meryl Streep. They use method acting; however, this does not seem to be an expectation of actors nowadays. Method acting was popular in the mid-20^th century and, as Thomson notes, it fulfilled psychological needs for truth and honesty that post-World War II Americans wanted. Today, acting seems to pale in comparison to riveting plots and brilliant special effects seen in modern day billion-dollar blockbusters. But this is just a sign of the times we live in. While there are definitely films in which method acting is present and appreciated, it is certainly not something that today’s audiences demand. For now, everyone craves the latest and greatest technology such as the new iPhone, a hi-def BluRay player, and so on. This ideal translates to what people want in films, as seen by how people perceive new technology and how it holds a prominent place in the mind of the audience. Filmmakers are catering to this concept with over-the-top, dazzling special effects. Special effects can range from the spaceship explosions in “Star Trek” to the artificial aging of Brad Pitt in “The Curious Case of Benjamin Button.” While films like “A Streetcar Named Desire,” which rely heavily on the acting side of filmmaking and storytelling, are still appreciated by audiences today, the average filmgoer enjoys special effects just as much, if not more than raw, emotional acting. Thus, method acting does not hold as much of a place in films of today.