“’The marvelous performances in [this] great movie [...] [are] only slightly marred by [a] Hollywood ending.’ Tennessee Williams” (cf. Yacowar). Tennessee Williams’ play “A Streetcar Named Desire” from 1947 was often staged and interpreted. It was also the base of Elia Kazan’s famous and remarkable movie from 1951. Since a book allows for interpretation, the movie features a different realization. This paper will contrast the written form with the film version. To illustrate the different realizations there will be a closer look at the two special and important scenes, ten and eleven, which are exemplarily for the differences in the general conversion. The decision for exactly these scenes is founded in the striking differences in conversion and adaptation and by reason of plenty of content rapidly beat down in these scenes. Due to many influences, the film departs in places completely from Williams’ original. These influences and differences will be described in the following first part. Particular attention will then be paid to the music and noises, and the moods and emotions caused by these. And, due to being close linked to the adaptation of the whole movie, the effects of censorship will be explained. The impact is to work out in which ways the movie is adapted to the play and where it distinguishes from it.
Table of Contents
1. Content
2. Introduction
3. Differences in the general conversion of scene ten and eleven
3.1 Music and Noises
3.2 Censorship
4. Conclusion
5. Works Cited
Research Objectives and Themes
This paper examines the cinematic adaptation of Tennessee Williams' play "A Streetcar Named Desire" by director Elia Kazan, specifically focusing on how the transition from stage to screen altered the narrative, characterization, and dramatic impact of the final two scenes.
- The creative and structural differences in the conversion of scenes ten and eleven.
- The role and influence of music and sound design (e.g., "Varsouviana" and "blue piano") on audience perception.
- The impact of 1950s film industry censorship codes on thematic content and character representation.
- The divergence in the film’s ending compared to the original stage production.
Excerpt from the Book
3. Differences in the general conversion of scene ten and eleven
The general differences are varieties in the text that constantly influenced the plot and the characters. Opening with scene ten, there are text changes and interleaves that are of little importance, as well as in scene eleven. But when the rape and violence is introduced in this scene, the movie differs strongly in places from the play. To begin with some examples, the play says Stanley first “unbuttons his shirt” (Williams 138) during he is talking to Blanche after he was sent home from the hospital where Stella is going to give birth to her baby, and then he “starts removing” (Williams 139) it. The script states that “he takes off his shirt and tosses it down” (Garrett 461), which is much more provocative and gives the act more power and determination. Then the situation when Stanley has detected Blanche’s lie about her invitation and the wire of Shep Huntleigh, differs. In the movie Stanley jostled Blanche on the bed to tell her what he thinks about her and the lies, although the script does not claim that, this is already a sign for the rape.
Summary of Chapters
1. Content: Provides an overview of the document structure and chapter headings.
2. Introduction: Presents the research premise, emphasizing the comparison between Williams' play and Kazan's 1951 film adaptation, specifically through the lens of scenes ten and eleven.
3. Differences in the general conversion of scene ten and eleven: Analyzes specific textual and dramaturgical changes, including character intent and violent motifs, that shift the power dynamic between Blanche and Stanley.
3.1 Music and Noises: Discusses the function of music motifs like the "Varsouviana" and "blue piano" in both media and how Alex North's score alters the emotional atmosphere.
3.2 Censorship: Examines how the Hays Office and the Catholic Legion of Decency enforced significant alterations to the script, resulting in a more indirect depiction of rape and a modified ending.
4. Conclusion: Summarizes findings, noting that while the film is a high-quality adaptation, censorship and musical choices fundamentally shifted the thematic focus of the original work.
5. Works Cited: Lists the primary and secondary sources used to support the analysis.
Keywords
Tennessee Williams, A Streetcar Named Desire, Elia Kazan, Film Adaptation, Cinematic Conversion, Scene Ten, Scene Eleven, Music Motifs, Varsouviana, Blue Piano, Censorship, Hays Office, Legion of Decency, Stanley Kowalski, Blanche DuBois
Frequently Asked Questions
What is the core subject of this paper?
This paper examines the differences between Tennessee Williams' stage play "A Streetcar Named Desire" and Elia Kazan's 1951 film adaptation, specifically analyzing the conversion process of the final two scenes.
What are the central thematic fields?
The study centers on the impact of musical scores, the influence of strict industry censorship on storytelling, and the resulting changes in character motivation and plot outcomes.
What is the primary objective of the work?
The objective is to analyze how the film adaptation departs from the source text and how these changes—driven by artistic, musical, and institutional pressures—influence the audience's perception of the characters.
Which methodology is used in the study?
The author uses a comparative analysis method, specifically looking at textual changes in the screenplay, the function of auditory motifs, and historical evidence regarding 1950s film censorship.
What is covered in the main body of the paper?
The body analyzes the specific conversions of scenes ten and eleven, the role of Alex North's musical score, and the intervention of the Hays Office and the Catholic Legion of Decency.
What are the defining keywords of the work?
Key terms include "Film Adaptation," "Censorship," "Varsouviana," "Blue Piano," "Elia Kazan," and "Tennessee Williams."
How does the movie change the role of music compared to the play?
The movie incorporates a revolutionary score by Alex North that uses "simulated Jazz" and symphonic elements to create a more power-driven and orchestrated experience, though it loses some of the "subjective" qualities found in the play's motif usage.
Why was the ending of the film changed from the play?
The ending was fundamentally altered to ensure Stanley was punished for his actions, as the 1950s censorship code required that illicit acts not go unpunished; therefore, Stella is shown leaving him, unlike in the play where she stays.
What compromise was made regarding the depiction of the rape scene?
To adhere to censorship standards, the rape was not shown directly; instead, the director used a visual metaphor of a shattering mirror to signify the event.
- Citar trabajo
- Valerie Hurst (Autor), 2009, Tennessee Williams’ “A Streetcar Named Desire” - Contrasting the Play With the Movie from 1951 Directed by Elia Kazan, Múnich, GRIN Verlag, https://www.grin.com/document/144831
