There's
nothing I like more than a good list. I'm not bothered about the subject matter - the hundred greatest guitarists, Hollywood's biggest crackheads, the top ten
gymnasts of the 21st century – if it's in a carefully
ordered, numbered list, I want to know the outcome. I especially
enjoy film-related lists; which is just as well given their ubiquity.
However I rarely agree with the outcome of these countdowns. Everything is fine until you get to the top twenty and beyond.
Yes, the universally acclaimed greats are present and correct - The
Godfather, Raging Bull, One Flew Over the Cuckoo's Nest – but
alongside them sit esoteric reminders of a bygone era. Films like
1927's Metropolis, All Quiet on the Western Front (1930) or Mutiny on
the Bounty (1935). Those films don't belong there. They're too old. I've never seen them, and have no intention of ever seeing them.
But
where's the cut-off point, at what stage do I bury my pre-conceptions
and give these classics a fair go? Well for me it's the 1960s.
I figure this to be a reasonable compromise on my part. The sixties
were cool; pop music, drugs, the space-age, the Cold War. So that's
my start point, everything before that is off-limits. And it's worked
out just fine; This Sporting Life, 2001: A Space Odyssey, Rosemary's
Baby – a great decade for films. Fuck the fifties and the forties,
and the nineteen-fucking-twenties, I don't need to see any of that
fusty old nonsense. But then, the other day, I found myself embroiled
in a conversation with a cinephile, someone who doesn't share my
disdain for anything pre-dating Psycho. And before I knew it I was agreeing to watch something from 1951. Something dangerously outside my comfort zone. This is
what I get for being such an open-minded sort.
So, with a heavy heart, I logged into my torrent site of choice and
searched for the film in question. And there it was: A Streetcar Named Desire - four torrents available. How very reassuring. Torrent
downloaded, transferred to USB, and inserted into 39” wide-screen
HD-TV, I sat down to watch what would be the oldest piece of cinema I had ever viewed. And guess what? It held up perfectly. Yes it was very
much of its time. But it had aged gracefully. It was engaging,
involving and, at times, even riveting. In many ways A Streetcar Named
Desire is a lesson in film-making, a parable for all wannabee
directors. And it's all so simple; acquire
an incredible screenplay, a selection of outrageously talented actors, and set up camp in a couple of small, almost claustrophobic, locations. And hey presto, you've
got yourself a slice of cinematic history.
The
film opens with its central character, Blanche DuBois, arriving in
New Orleans to stay with her sister, Stella. At first glance Blanche,
played by Vivien Leigh, appears to be your typical 1950s
screen-siren, all winsome and whispery, a delicate, fragile little
thing. And as she makes her way to Stella's home she looks very much
out of her depth, a lady lost on the wrong side of town. When she sees what is to be her home for the next few
days; a run-down apartment with only a curtain separating its two
main chambers, you can almost feel her heart fluttering in fear. Clearly Blanche is used to a better standard of
living, something she is eager to remind her sister of at every
available opportunity. However her living arrangements are really the
least of her worries, because pretty soon Stella's husband, Stanley,
will arrive home, and he is not one to be trifled with.
That
is essentially the film's premise, an altogether ordinary tale, a
mundane one almost. But the very best stories manage to make the
ordinary seem extraordinary and that is what Tennessee Williams
does here. There are only four speaking roles in the film –
save for a couple of bit-part characters – but so focused are you
on their words, and their interactions, that it matters little. Much
of this is down to the quite staggering performances of the two
leads. I will dissect Vivien Leigh's work in due course, but it would
be remiss of me to go any further without discussing Marlon Brando
and his monumental achievements herein.
In
keeping with my philistinian ways I had only ever seen Brando perform
in four films prior to watching Streetcar. They were: The Godfather,
Apocalypse Now, Superman and The Score. I knew all about his
reputation as one of the greatest actors of all time but only had
those four pared-down roles as proof of his talents. So when I sat
down to watch Streetcar I was entirely unprepared for what I was
about to witness. From the moment he first appears on screen I was
left agog, “what is this creature?” “Is it human?” “A Greek God sent from the ages to mesmerise all who cross his path?”
“Or, simply God himself, checking in on his disciples before
returning to his heavenly palace?” I couldn't take my eyes
off him. One can only imagine how the women of that time felt when
confronted by this brooding presence at their local cineplexes.
And
then he starts to act, or rather, he doesn't. Marlon Brando may be
listed as Stanley Kowalski in the film's credits, and he may have
been nominated for a Best Actor award at that year's Oscars, but he's
not acting here. If he is it's not like any other acting I've seen.
It as if the screen is his natural habitat, and a film just happens to
be taking place around him. Everything he does is so effortless, so
natural, that I refuse to believe it was scripted, that the words he
spoke were created by somebody else and then handed to him to repeat.
And anyway he doesn't really even need words. They are merely just a
means to an end. He performs with his entire body. And that is a term
I would have deemed ludicrous just a few short days ago.
As
if all this wasn't enough Brando has been blessed with something not
quite approaching a voice, I would describe it more as a muscle, an
instrument of great power. He grunts and mumbles his way through some
scenes, his dialect so garbled as to be indecipherable, before
exploding to life in others, then simmering just long enough
for the audience to catch its breath before repeating the entire
process over again. His wife, and the victim of most of his
outbursts, is encouraged to leave him and never return. But how could
she possibly leave him? How could anyone? It's only been a couple of
hours since I watched the film and already I miss him. And while
Stanley's relationship with his wife is at once fractious, passionate
and vexing, it is his discomforting association with Blanche which propels the film forward.
He
is at once wholly unimpressed with his sister-in-law. Not only that,
he is suspicious of her also, suspicious of her reasons for being
there, and suspicious of her past. For her part she seems to have
only one weapon in her armoury with which to defend herself; her
womanly charms. And they are on the wane. What is a woman to do in
such circumstances? In Blanche's case it's transform into a worrisome
maiden in one instance, and a deluded, delirious fantasiser in
others. For at least the first third of the film Leigh's character is
nothing more than an annoyance. She appears a querulous presence
designed to highlight just how brutish Stanley really is. And then we
see her anew, we see her as a predator, a young boy her prey. All at
once she is a different entity, and our suspicions are aroused now
too. Just who is this woman, and where did she come from?
Rumours
about Blanche's past abound, with everything from her virtue to her
sanity questioned. Is it the presence of those rumours which force us
to look at her in a different light? Or does Leigh's gentle prodding
of the character change our outlook? Perhaps it's a combination of
both. But what can't be argued is the extremes in which Leigh goes to
portray this horrendously conflicted woman. Blanche's aversion to
daylight and indeed, any forms of light, is attributed to her vanity,
but in many ways she is Bram Stoker's Dracula's; a demonic entity
masquerading as a charming, flatterer of the opposite sex. In this
instance she attempts to ensnare Mitch, an ally of Stanley's played
by the latterly famous Karl Malden. Their trysts are as torrid and as
tense as anything Stella and Stanley can conjure up, but in an
entirely different way. What we have is an earnest, honest man
looking for someone with whom to make a home. But deep down he, just
like us, knows that Blanche isn't that woman.
Ultimately
this is a film about morality, about maintaining your integrity under
the greatest of duress. None of the protagonists come off well in
that regard, their prejudices toward one another almost as pronounced
as their cowardice and selfishness. On a personal level it has
certainly opened my eyes. It's by no means a beloved film of mine; I
enjoyed it mainly for the acting performances, the artistry of the
script, and the story-telling. But is has showed me that films from
this particular aeon are far more accessible than I had once thought.
Indeed it could be argued that this was the real golden era of
cinema, a time when acting and writing were the principal components
of any worthwhile movie. Of course the only way for me to discover
whether this assertion holds any weight is to continue my exploration
of 1950s film. Now, what else was Brando in during that decade I
wonder?