A Streetcar Named Desire

""In 1947, when Marlon Brando appeared on stage in a torn, sweaty T-shirt, there was an earthquake; and the male as sex object is still at our culture's center stage. In the age of Calvin Klein steaming hunks, it must be hard for [kids today] to realize that there was ever a time when a man was nothing but a suit of clothes, a shirt and tie, shined leather shoes, and a gray, felt hat.""

- Gore Vidal

Tennessee Williams' A Streetcar Named Desire is a 1947 play about a hundred different things. Reality vs. the imaginary, the old America vs. the new, insanity, abuse, violence, appearances and purity. Most people are familiar with the 1951 movie staring Vivien Leigh, Marlon Brando, and Kim Hunter, which was of course Oscar-tacular. But there have been many adaptations including a made for TV movie starring Alec Baldwin and Jessica Lange, an opera and even a ballet. Stuffed full of imagery and complex characters, it may be considered Williams' best known work, and the character of Blanche has been considered the most difficult female role in all of English literature.

The plot revolves around Blanche DuBois - a beauty in her youth who has now begun to fade - coming to stay with her pregnant sister Stella in New Orleans. Blanche has lost the women's ancestral home, Belle Reve, due to the financial strain of caring for their dying relatives, and has quit her job as a school teacher due to her nerves. Blanche meets Stella's husband Stanley and the two develop an almost instant disliking. Blanche finds Stanley vulgar and common, while Stanley hates Blanche's continual snobbery, despite the fact she is now just as poor as them. He is also suspicious of his sister-in-law, thinking that Blanche may have cheated Stella out of her share of the inheritance.

Throughout the play we start getting glimpses that Blanche is hiding something.

Tropes used:
"Blanche: I don't want realism.
 * All Girls Want Bad Boys: Stella,
 * Author Appeal: An entire paragraph devoted to Stanley's handsome looks, great physique and animalistic drive? Tick. Young gay man struggling with his sexual identity in a repressive society that maligned any sign of cultural or sexual diversity to the point where it was taboo? Tick.  So we've got wish fulfillment, personal projection,   Yep, it's a Tennessee Williams play alright.
 * Bait the Dog: Stanley is not only charismatic, but the way Blanche looks down on him makes him easy to sympathize with (at least at first), especially given how nasty Blanche can be.
 * Beam Me Up, Scotty: One of Streetcar's most famous lines is "I don't want realism. I want magic!" Although it was added to later versions, Blanche never says this in the original play. Here's how the conversation actually goes:

Mitch: Naw, I guess not.

Blanche: I'll tell you what I want. Magic!"


 * Better Than It Sounds/Film and Better Than It Sounds Theatre: The notion of a film/play about a crazy woman who goes to live with her sister and brother in law doesn't sound well on paper but works in execution.
 * Big Word Shout: Guess which one.
 * Break the Haughty: Blanche. After the penultimate scene, you can't help but see her as The Woobie. In fact, the whole point of the play is that Breaking The Haughty is not justice.
 * Break the Cutie: Despite her many flaws, Blanche has had a rough time.
 * Christmas Cake: Blanche is terrified of being this.
 * Cloudcuckoolander: Blanche. She prefers the world of her own creation, where she still is a chaste lady of refinement and she still can win the favors of men like Shep Huntleigh (whom we never meet ). This is highlighted when Stanley is revealing her falsehoods to Stella and Blanche is singing in the bath: "Say, its only a paper moon/Sailing over a cardboard sea/But it wouldn't be make-believe/If you believed in me."
 * Colour-Coded for Your Convenience: The first time you see Blanche she's all in white. Hell, even her name means "white."
 * Also of note is the men's poker game, which Williams emphasizes should be lit in raw, primary colors. And there are big ripe watermelon slices on the table.
 * Another example is Williams' direction for Stella's kimono in the Act 4, Scene 1 - it should be bright blue, a departure from her usual color scheme. This is just after that scene, which implies that Stanley and Stella have just had sex.
 * Deconstruction: Williams' play scrutinized gender and class roles in the emerging postwar America.
 * Dissonant Serenity: Blanche heads to the asylum as if for a coronation. Reportedly, this was a last-minute change during rehearsal.
 * Dream Melody: The Varsouviana.
 * Domestic Abuse: Stella explains away everything.
 * Downer Ending
 * Eating the Eye Candy: Blanche when she first meets Stanley. She even stops talking mid-sentance when she sees him taking off his T-shirt, although you can tell she really, really, does not want to be looking at him.
 * Elves Versus Dwarves: The delicate, cultured, and slightly arrogant residents of Belle Reve versus the gritty, rude, and down-to-earth residents of New Orleans.
 * Environmental Symbolism
 * Ephebophile:
 * Mr. Fanservice: Marlon Brando.
 * How much so? Brando caused tee shirt sales to spike astronomically.
 * Executive Meddling: The 1951 movie suffered heavily from this: besides changing the ending,
 * Foreshadowing: In a way. Blanche  drinking is foreshadowing revelations about her past.
 * Freak-Out: The permanent kind.
 * The Ghost: Shep.
 * Grievous Bottley Harm:
 * Heroic BSOD: Literally! The lighting changes, the music swells,
 * Hot for Student:
 * Hooker with a Heart of Gold: Blanche, though the play and movie subvert it by having Blanche compare her time as a hooker to being a tarantula, preying on the flesh of men.
 * She was being sarcastic, because she was angry at Mitch.
 * In Love with Your Carnage: The reason Stella doesn't leave Stanley, though violence toward other people crosses the line for her.
 * Interplay of Sex and Violence: Stella and Stanley's relationship.
 * Insistent Terminology: Stanley, in general, doesn't mind it when Blanche insults him because of his ethnicity; he does get irritated when she calls him a Polack, and he insists that she should call him a Pole instead.
 * Jerkass: Stanley fits the bill.
 * He's definitely worse than a Jerkass by the end of the play, but at the same time he's not quite a Complete Monster either...
 * Jerk with a Heart of Jerk, more likely. A bit of Fridge Horror always sets in when you think about how Stella's life would continue with him. Good luck to the child of that marriage.
 * Jerkass Woobie: YMMV, Blanche. She's very harsh towards Stanley (who she sees as a 'Polack' and an 'ape'), and she isn't particularly nice in general, but once you find out about her past, it's very hard not to feel sorry for her...
 * Also overlaps with Jerk with a Heart of Gold.
 * Karma Houdini:
 * Leitmotif: Blanche is represented by a blue piano coming from the bar around the corner, while Stanley is usually associated with a more boisterous jazz. Memories of Allan are accompanied by the Varsouviana polka.
 * Interestingly, the Varsouviana actually plays in Blanche's head during those scenes.
 * Meaningful Name: Blanche DuBois means "white woods" in French - a dreamlike and old-world scene. Belle Reve is French, too - for "beautiful dream." Also, Blanche's closeted husband was named Allen Grey. Remind you of anyone?
 * Or rather "white of the woods". Also, Belle is feminine whereas rêve is masculine (it should be "Beau Rêve").
 * Momma's Boy: Mitch
 * Mood Lighting: All of Blanche's borderline crazy moments have blue lighting.
 * This is used extensively in the 'Poker Night' scene, which is lit in 'raw, primary colours' to represent the men's coarse, powerful nature.
 * Really Gets Around:
 * Revised Ending: The 1951 film
 * Say My Name: If you got two guesses, you'll only have one.
 * Sensitive Guy and Manly Man: Mitch and Stanley.
 * Skyward Scream: Oh, what the hell! SSTTTEEELLLAAA!!!!
 * Southern Belle: Blanche is a Southern Belle in the 20th century, a fading relic of a bygone age.
 * Spotlight-Stealing Squad: Not for nothing does everybody remember Brando's Stanley -- not Blanche, the alleged star. The film version didn't help; Vivien Leigh is all nervous tics, while Brando dominates every scene.
 * Stellar Name: Stella for star.
 * Stepford Smiler: Blanche and Stella.
 * Blanche is defined by this trope, though. The thing with her husband when she was a teenager broke her permanently, and she has been empty ever since, circling the drain around neurosis and finally psychotic delusions.
 * The Red Stapler: T-shirts sales in general, and tight t-shirts especially spiked as a result of Marlon Brando wearing several in the film and play. This is partly what caused tight t-shirts to actually be mass produced; until then, only regular t-shirts could be bought, and for the film regular t-shirts were washed several times and sewn in at the back to be tighter.
 * The Reveal: Oh, so many. Interestingly, few - if any - of them serve as a climax: rather, they are used to both forward the plot and build up to the actual climax.
 * What Do You Mean Its Not Symbolic: It's Tennessee Williams - what do you expect? Just be glad there aren't any blue roses.
 * Blanche is defined by this trope, though. The thing with her husband when she was a teenager broke her permanently, and she has been empty ever since, circling the drain around neurosis and finally psychotic delusions.
 * The Red Stapler: T-shirts sales in general, and tight t-shirts especially spiked as a result of Marlon Brando wearing several in the film and play. This is partly what caused tight t-shirts to actually be mass produced; until then, only regular t-shirts could be bought, and for the film regular t-shirts were washed several times and sewn in at the back to be tighter.
 * The Reveal: Oh, so many. Interestingly, few - if any - of them serve as a climax: rather, they are used to both forward the plot and build up to the actual climax.
 * What Do You Mean Its Not Symbolic: It's Tennessee Williams - what do you expect? Just be glad there aren't any blue roses.