A Streetcar Named Desire
Its an adaptation of an a equally great play by Tennessee Williams, but little of the original intensity is lost. Williams himself wrote the screenplay, it was directed by Elia Kazan, who directed it on Broadway, and starred three members of the original cast. As only two sets were required, it was able to be shot in continuity; something unheard of in Hollywood at the time (1947), or in present day cinema.
The film’s magic is a little too personal for me to expand on in detail, but easy for the viewer to perceive if they happen to have a relationship with the prime Lwa manifest within it. Watch for Her symbols and mysteries: the Lantern, the Fan and the Mirror. Finery and adornment. The themes of illusion, its creation and sustenance. The struggle for beauty and delicacy to survive in a hostile and harsh universe; one that is eventually futile. The beautiful dream (Belle Reve) lost forever. Sorrow and madness, yet retainment of the Pure Heart.
"A woman's charm is fifty percent illusion..."
"I don't want realism, I want magic".
"The cathedral bells are the only clean thing in the quarter."
It’s especially powerful when read with certain chapters of Maya Deren’s The Divine Horsemen, or when viewed in conjunction of some of her own films, especially Meshes of the Afternoon. |