Review of A Streetcar Named Desire (1951) by Ashley M — 23 Aug 2011

I enjoyed this, I studied the play at uni and found the characters so engaging - Brando is a true inspiration.

This review of A Streetcar Named Desire (1951) was written by Ashley M on 23 Aug 2011.

A Streetcar Named Desire has generally received very positive reviews.

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More Reviews of A Streetcar Named Desire

Review of A Streetcar Named Desire (1951)

By Pat M (244) on 19 Jul 2018

Brilliant acting, direction and peosuction. One of the best performances by an actress ever by Vivien Leigh…

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Review of A Streetcar Named Desire (1951)

By Andy S (1,590) on 17 Feb 2018

The camerawork is tight and I could almost feel the essence of New Orleans flowing from the screen…

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Review of A Streetcar Named Desire (1951)

By Vadim D (535) on 18 Aug 2015

A classic deserving its' status, A Streetcar Named Desire, is not only filled with powerful performances, but also with great atmosphere and…

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Review of A Streetcar Named Desire (1951)

By Kyle20Ellis (540) on 21 Mar 2022

What can I say? A Streetcar Named Desire is a superb film, elevated especially by superb writing and performances…

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Review of A Streetcar Named Desire (1951)

By Art S (1,002) on 19 Aug 2017

The day I watched 'A Streetcar Named Desire' was the day I discovered Marlon Brando and Tennessee Williams, and I fell in love with both of…

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Review of A Streetcar Named Desire (1951)

By Andres V (550) on 27 May 2015

It stars off kind of slow but the performances by Brando and Leigh will definitely keep you entertained…

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Review of A Streetcar Named Desire (1951)

By Ethan C (134) on 17 Feb 2018

The camerawork is tight and I could almost feel the essence of New Orleans flowing from the screen…

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Review of A Streetcar Named Desire (1951)

By John D (2,323) on 07 Jun 2017

One of the best performances of the great marlon brando…

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Review of A Streetcar Named Desire (1951)

By Carlos M (2,069) on 26 Nov 2016

Second half when it's crazy bird vs fuck you brando... gold…

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Review of A Streetcar Named Desire (1951)

By Pauline Kael (368) for New Yorker (1,403) on 02 Jan 2018

Elia Kazan’s direction is often stagy, and the sets and the arrangement of actors are frequently too transparently “worked out,” but…

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