Ann-Margaret turned in one of the best performances of her career in the 1984 TV version of A STREETCAR NAMED DESIRE, a well-mounted remake of the Tennessee Williams play that became the 1951 classic film that made a star out of Marlon Brando and won a 2nd Oscar for Vivian Leigh. Ann-Margaret gives an intense and chilling interpretation of Blanche, the mentally fragile southern belle who is brutalized by her boor of a brother-in-law (Treat Williams)when she arrives in New Orleans to visit her sister Stella (Beverly D'Angelo). Ann-Margret has never lost herself in a role the way she lost herself in this one, a performance that lacks the china-doll fragility of Leigh's Blanche but adds an underlying layer of strength that was missing from Leigh's interpretation. Treat Williams lacks the electricity that Brando brought to Stanley but D'Angelo brilliantly conveys the tattered emotions of the conflicted Stella. The other plus of this production is that it restores the original Tennessee Williams ending to the play which was drastically changed in the theatrical film in order for the story to be more acceptable to audiences in 1951; however, it completely dilutes the power of the original piece but it is restored to its original beauty here and packs the emotional punch felt by audience at the 1947 premiere of the play. Coupled with the performances of Ann-Margret and Beverly D'Angelo, this is a remake which can proudly stand up next to the original.
13 Reviews
The object of desire
TheLittleSongbird26 September 2019
Tennessee Williams is one of the all-time great playwrights in my opinion, or at least one of the greats of the 20th century, and 'A Streetcar Named Desire' is among his best work along with 'Cat on a Hot Tin Roof' (the play that introduced me to him when studying it in school). With it containing some of his most intelligent and sizzling writing and two of his most memorable and difficult to perform characters in Blanche DuBois and Stanley Kowalski.
Of the versions of 'A Streetcar Named Desire', the best known one is the 1951 film with Marlon Brando and Vivien Leigh, although not a faithful adaptation as such and toned down in comparison on its own it still sizzles with passion, is incredibly well made and has two iconic lead performances. Other versions include the 1995 Jessica Lange version, which is more faithful and well performed, if not on the same level, but didn't have quite the same amount of passion and emotional impact. There is also this one from 1984, this time with Ann Margaret and Treat Williams, and would say the same general overview here as the Lange version overall though there is actually more of it. Also recommend highly the National Theatre Live production from 2014 with Gillian Anderson, and while it is more appreciate than love in quality the opera by Andre Previn may spark some interest too.
For me, this version on its own is not as good as the film, though did have enormous shoes to fill. It is though better than the Lange version, this having the better Stanley and Blanche and Stella's reactions to Stanley's rape are far more believable here, actually felt the hurt and anger. Its fidelity is admirable, with what was left out, repressed or just implied intact, and it's not a case of being faithful not being too much. Some may say it's pointless, do have to disagree and say it stands very well on its own without comparison and does deserve to exist, regardless of how it compares.
Not an awful lot wrong here in this 'A Streetcar Named Desire'. Maybe the tension, or at least the chemistry between Blanche and Stanley, doesn't sizzle as much as in the film, though there is more of it than in Lange's version.
Did admire that Treat Williams treated Brando's Stanley with respect and captures the animalistic brutishness very great intensity, it is a very good performance that could have been excellent. Perhaps though he could have brought out more of his own touches and have a slighter fresher interpretation, at times it did feel slightly too closely indebted to Brando though not quite an imitation. Although Alec Baldwin won't be for all tastes, his more human approach to Stanley was somewhat interesting.
'A Streetcar Named Desire' does look good though, both suitably elegant and claustrophobic. The photography is more than sufficient though could have been more expansive. The music captures the time period and setting very authentically. The production is thoughtfully directed and never tasteless, and Williams' dialogue has full impact here. The ending is intact and it is very powerful here.
While the performances may not be iconic level, they are still very good. Ann-Margaret is a more subtle but still searing Blanche, her vulnerability quite affecting to see. Beverly D'Angelo portrays conflicted Stella with very poignant pathos while giving some steel too. Randy Quaid's sensitive Mitch is no less inferior, loved how he portrayed his loyalty and also his later anger at his treatment by Blanche.
In summary, very well done and deserves to stand on its own two feet. 8/10
Of the versions of 'A Streetcar Named Desire', the best known one is the 1951 film with Marlon Brando and Vivien Leigh, although not a faithful adaptation as such and toned down in comparison on its own it still sizzles with passion, is incredibly well made and has two iconic lead performances. Other versions include the 1995 Jessica Lange version, which is more faithful and well performed, if not on the same level, but didn't have quite the same amount of passion and emotional impact. There is also this one from 1984, this time with Ann Margaret and Treat Williams, and would say the same general overview here as the Lange version overall though there is actually more of it. Also recommend highly the National Theatre Live production from 2014 with Gillian Anderson, and while it is more appreciate than love in quality the opera by Andre Previn may spark some interest too.
For me, this version on its own is not as good as the film, though did have enormous shoes to fill. It is though better than the Lange version, this having the better Stanley and Blanche and Stella's reactions to Stanley's rape are far more believable here, actually felt the hurt and anger. Its fidelity is admirable, with what was left out, repressed or just implied intact, and it's not a case of being faithful not being too much. Some may say it's pointless, do have to disagree and say it stands very well on its own without comparison and does deserve to exist, regardless of how it compares.
Not an awful lot wrong here in this 'A Streetcar Named Desire'. Maybe the tension, or at least the chemistry between Blanche and Stanley, doesn't sizzle as much as in the film, though there is more of it than in Lange's version.
Did admire that Treat Williams treated Brando's Stanley with respect and captures the animalistic brutishness very great intensity, it is a very good performance that could have been excellent. Perhaps though he could have brought out more of his own touches and have a slighter fresher interpretation, at times it did feel slightly too closely indebted to Brando though not quite an imitation. Although Alec Baldwin won't be for all tastes, his more human approach to Stanley was somewhat interesting.
'A Streetcar Named Desire' does look good though, both suitably elegant and claustrophobic. The photography is more than sufficient though could have been more expansive. The music captures the time period and setting very authentically. The production is thoughtfully directed and never tasteless, and Williams' dialogue has full impact here. The ending is intact and it is very powerful here.
While the performances may not be iconic level, they are still very good. Ann-Margaret is a more subtle but still searing Blanche, her vulnerability quite affecting to see. Beverly D'Angelo portrays conflicted Stella with very poignant pathos while giving some steel too. Randy Quaid's sensitive Mitch is no less inferior, loved how he portrayed his loyalty and also his later anger at his treatment by Blanche.
In summary, very well done and deserves to stand on its own two feet. 8/10
REMAKE OF A CLASSIC FALLS SHORT
ldanv1 March 2020
The TV remake of A Streetcar Named Desire does not measure up to the classic film starring Vivien Leigh, one of the finest actresses who has ever lived.
Ann- Margret gets and A for Effort in this remake, but her essential personality is simply too robust to portray the fragile Blanche. The essence of Blanche Dubois is great delicacy and vulnerability. Ann Margret is about as delicate and vulnerable as an atomic bomb.
The rape scene is not convincing, since anyone who tried to rape Ann-Margret would probably end up in the hospital.
Treat Williams is by no means as primal as the crude Brando; he almost seems a gentleman in comparison, which lowers the dramatic tension.
This film is well-acted and well-directed, but does not compare with the Brando/Leigh original.
Pales in comparison
fredit-4300410 March 2024
Maybe there is a viewer who will watch this production, having absolutely no familiarity with Elia Kazan's film. If you have seen the earlier film, you may have difficulty in evaluating this version without reference to the earlier film. I personally think that a more gifted director would have been able to draw from this cast a more satisfying show. The credits indicate that Tennessee Williams wrote the teleplay, so he would have been around to help a talented director get the most from the cast. Too often it seemed to me that the cast was merely reciting the lines. And Treat should have avoided a "Southern" accent: Blanche, yes; Stanley, no. He would have profited from a director who might have focused on the animal in Stanley, and not simply the pig.
A Faithful, Sexy Adaptation
bettybenzone23 July 2019
I know most will say the original 50's version of A Streetcar Named Desire is without competition and that this adaptation shouldn't even exist, but if people could get over their prejudices and watch it for what it is, they might enjoy it.
Not only is this take on the material more faithful to the original play (by the time the 80's rolled around, you could get away with more on TV than you could get away with on screen in the 50's), but it features a wonderful performance by Ann-Margret as Blanche DuBois. At first, Margret's interpretation of the character is a bit jarring. She's far from the nervous, shrinking violet we're so used to seeing. She has more strength than most other Blanches I've seen, but as the story progresses, one starts to see how this is simply a mask she wears to hide her fear and vulnerability. It's a wonderfully fresh interpretation of the role.
Beverly D'Angelo and Randy Quaid are equally excellent as Stella and Mitch. Treat Williams can't quite seem to escape the shadow of Marlon Brando, but he looks the part and is appropriately brutish as Stanley. Broadway vet Marvin Hamlish's music score is gorgeous and sexy.
Not only is this take on the material more faithful to the original play (by the time the 80's rolled around, you could get away with more on TV than you could get away with on screen in the 50's), but it features a wonderful performance by Ann-Margret as Blanche DuBois. At first, Margret's interpretation of the character is a bit jarring. She's far from the nervous, shrinking violet we're so used to seeing. She has more strength than most other Blanches I've seen, but as the story progresses, one starts to see how this is simply a mask she wears to hide her fear and vulnerability. It's a wonderfully fresh interpretation of the role.
Beverly D'Angelo and Randy Quaid are equally excellent as Stella and Mitch. Treat Williams can't quite seem to escape the shadow of Marlon Brando, but he looks the part and is appropriately brutish as Stanley. Broadway vet Marvin Hamlish's music score is gorgeous and sexy.
A Decent remake faithful to the play!
Sylviastel1 May 2006
There were some aspects of the original play changed when it was adapted into the film version starring Vivien Leigh, Marlon Brando, Karl Malden, and Kim Hunter. This play adaptation is not great but decent to our standards. I think the best performance in the role is Randy Quaid playing MItch. The 1951 film version had Karl Malden. Randy was perfectly cast as Mitch in my opinion. Ann Margret's Blanche Dubois was decent. It's hard to compare her to Vivien Leigh. Ann Margret portrayed Blanche to the best of her ability. Beverly D'Angelo was fine as Stella and Treat Williams was sufficient as Stanley Kowalski. As much as I liked the original film, Ann Margret holds her own to this adaptation. If you want to see the original adaptation, go ahead but don't make comparisons. In this film, the storyline and features remained the same. It didn't have to make adjustments or adapt to today's audience like the original. This was more faithful to Tennessee Williams than the original 1951 film production itself. It lacks some things but it's still pretty good.
Misguided Remake
mckeldin8 September 2011
Many loved this remake of the 1951 film based on Tennessee Williams 1947 play; while others, like me, were appalled. Ann-Margaret as Blanche DuBois seemed wrong from the get-go, but I suppose the director was correct in letting A-M play the role to her strengths rather than attempting to have her use characteristics she can't project (i.e., fragility, delicacy, vulnerability). Ann-Margaret's Blanche not only doesn't project the faded southern aristocracy that is the backbone of the role; but she's entirely too formidable a match for Treat Williams' Stanley. I suspect those who sympathized with A-M's Blanche more than Vivien Leigh's in the original, are responding negatively to Leigh's sense of hauteur -- snobbery -- that's anathema for post-60's audiences. Nevertheless, Leigh's Blanche *is* Blanche... love her or hate her. Ann-Margaret gives an excellent performance in an entirely misconceived interpretation which ruined the play for me.
Excellent remake
perfect_peony4 September 2018
I didn't go into this expecting much, thinking Brando and Leigh could not be surpassed. In other remakes I can't shake the feeling that the lead emulate Leigh too much. Here Ann Margret truly imbued Blanche Dubois with a different, less hystrionic personality, you feel like you are finally seeing the character through a different lens. Treat Williams also gives Brando a real run for his money. Thoroughly enjoyed this one.
Earnest but pallid TV remake, with performances washed away by the originals.
gbrumburgh-130 October 2001
You can't improve upon perfection. Remember that, all you young, impressionable, earnest Hollywood executive types out there even thinking about a TV remake of `Citizen Kane.' Back in 1984, some daring soul decided to re-film the immortal 1951 classic, `A Streetcar Named Desire.' After 33 years it was bound to happen I suppose, but, I thought, with the right mix of talent, it is not unfathomable to think that a decent, even above-average production could be had.
Vivien Leigh and Marlon Brando put their indelible stamps on the roles of Blanche Dubois and Stanley Kowalski, and time simply refuses to erode their puissant images. Elia Kazan's stark and stagy production, despite its sanitization by the Hollywood production code, made a landmark impact in Hollywood, pushing film into a new era of mature adult themes. It remains one of my 'top 5' movies of all time. Moreover, this is THE movie that single-handedly venerates the genius of one of America's foremost playwrights, Tennessee Williams.
All right, back to reality. This TV replica was almost unbearable to watch. A drowsy, perfunctory adaptation to say the least, I'll give it an extra point in that its intentions were honest and sincere, but this version is totally eclipsed by its predecessor both in raw power and sheer theatricality. In fact, not a single aspect of this production challenges the original in any way, shape or form.
As Blanche, the frail, illusory, emotionally unbalanced charmer who depended on the kindness of strangers, it appears that Ann-Margret had virtually no one, not even herself, to depend on here. Quoting the late critic Pauline Kael from another infamous review, this actress runs the gamut of emotions from `A' to `B.' It is merely a facsimile of a performance. There is nothing harder to `reel' in than a star playing a Southern belle. It seems to bring out the very worst in Hollywood actresses. Ms. Margret's aggressive performance is littered with irksome, Southern-baked affectations and unsubtle acting choices. And the harder she bears down on this tortured creature, the more unintended laughter she elicits -- none more so than the scene where Blanche's treasured love letters have fallen to the floor, having been touched and tarnished by Stanley. The way Vivien's Blanche grappled for and embraced her private recollections is heart-breaking. With Ann-Margret, she could have been holding junk mail. Even the reading glasses she wears in that scene look funny and fake on her.
The truly lamentable fact is that Ms. Margret really, really, REALLY tries. After the 1970 movie `Carnal Knowledge' came out, she beat down her "sex kitten" label and received the good seal of approval by film critics, but she is still identified with her feline roles in `Viva Las Vegas' and `Kitten With a Whip.' This is an altogether different undertaking. She is not classically-trained, or even stage-trained for that matter, and, with all due respect, it shows. By the way, she received some highly positive reviews, even earning an Emmy-nomination in the process. I don't know -- either there was a shortage of good performances that year or a gallant gesture for her effort. A much better TV-movie for her was the touching "Who Will Love My Children," which was shot the year before.
Lost as well, Treat Williams, who has strutted his stuff to good effect in other potent material (`Prince of the City') has neither the strut nor stuff to even infer the magic Brando brought to Stanley Kowalski. And the exciting cat-and-mouse chemistry between Blanche and Stanley is strictly high school. Only Beverly DeAngelo as sister Stella displays a freshness that actually threatens to rise above its mediocre surroundings, but she is defeated at almost every juncture by the less-than-adequate interplay with Ann-Margret and Williams. Randy Quaid completes the quartet, merely OK as the sensitive oaf who is taken in, then repelled by Blanche's charms. Kim Hunter and Karl Malden have nothing to worry about.
This `Streetcar,' is filled with unexciting passengers and hits dead-ends wherever it goes. Avoid it and take the `A' train, via the original. By the way, in 1995, Jessica Lange and Alec Baldwin took their much-heralded Broadway roles to TV, faring somewhat better. Although the always interesting Lange makes some bold, original choices for Blanche that's worthy of a look, Baldwin is much too cerebral to make a dent as the animalistic Stanley.
Like I said, if it ain't broken...
Vivien Leigh and Marlon Brando put their indelible stamps on the roles of Blanche Dubois and Stanley Kowalski, and time simply refuses to erode their puissant images. Elia Kazan's stark and stagy production, despite its sanitization by the Hollywood production code, made a landmark impact in Hollywood, pushing film into a new era of mature adult themes. It remains one of my 'top 5' movies of all time. Moreover, this is THE movie that single-handedly venerates the genius of one of America's foremost playwrights, Tennessee Williams.
All right, back to reality. This TV replica was almost unbearable to watch. A drowsy, perfunctory adaptation to say the least, I'll give it an extra point in that its intentions were honest and sincere, but this version is totally eclipsed by its predecessor both in raw power and sheer theatricality. In fact, not a single aspect of this production challenges the original in any way, shape or form.
As Blanche, the frail, illusory, emotionally unbalanced charmer who depended on the kindness of strangers, it appears that Ann-Margret had virtually no one, not even herself, to depend on here. Quoting the late critic Pauline Kael from another infamous review, this actress runs the gamut of emotions from `A' to `B.' It is merely a facsimile of a performance. There is nothing harder to `reel' in than a star playing a Southern belle. It seems to bring out the very worst in Hollywood actresses. Ms. Margret's aggressive performance is littered with irksome, Southern-baked affectations and unsubtle acting choices. And the harder she bears down on this tortured creature, the more unintended laughter she elicits -- none more so than the scene where Blanche's treasured love letters have fallen to the floor, having been touched and tarnished by Stanley. The way Vivien's Blanche grappled for and embraced her private recollections is heart-breaking. With Ann-Margret, she could have been holding junk mail. Even the reading glasses she wears in that scene look funny and fake on her.
The truly lamentable fact is that Ms. Margret really, really, REALLY tries. After the 1970 movie `Carnal Knowledge' came out, she beat down her "sex kitten" label and received the good seal of approval by film critics, but she is still identified with her feline roles in `Viva Las Vegas' and `Kitten With a Whip.' This is an altogether different undertaking. She is not classically-trained, or even stage-trained for that matter, and, with all due respect, it shows. By the way, she received some highly positive reviews, even earning an Emmy-nomination in the process. I don't know -- either there was a shortage of good performances that year or a gallant gesture for her effort. A much better TV-movie for her was the touching "Who Will Love My Children," which was shot the year before.
Lost as well, Treat Williams, who has strutted his stuff to good effect in other potent material (`Prince of the City') has neither the strut nor stuff to even infer the magic Brando brought to Stanley Kowalski. And the exciting cat-and-mouse chemistry between Blanche and Stanley is strictly high school. Only Beverly DeAngelo as sister Stella displays a freshness that actually threatens to rise above its mediocre surroundings, but she is defeated at almost every juncture by the less-than-adequate interplay with Ann-Margret and Williams. Randy Quaid completes the quartet, merely OK as the sensitive oaf who is taken in, then repelled by Blanche's charms. Kim Hunter and Karl Malden have nothing to worry about.
This `Streetcar,' is filled with unexciting passengers and hits dead-ends wherever it goes. Avoid it and take the `A' train, via the original. By the way, in 1995, Jessica Lange and Alec Baldwin took their much-heralded Broadway roles to TV, faring somewhat better. Although the always interesting Lange makes some bold, original choices for Blanche that's worthy of a look, Baldwin is much too cerebral to make a dent as the animalistic Stanley.
Like I said, if it ain't broken...
Significantly better than the classic original
phantomsightandsound12 August 2002
Ann-Margaret as Blanche Dubois turns in the best performance of her career. Do not believe the deriders! EVERY actor in this version is more believable than in the Leigh/Brando release. This will be particularly evident if you see this version before the original as I did. Camera work is excellent & the music is outstanding in creating that hot New Orleans atmosphere. Don't miss this one!
Still Memorable after all these years...
howlinglatina8 July 2022
Ann Margret was excellent in character of Blanche and really brought home the overarching theme of human sexual picadilloes (or what is to some sexual perversion). Indeed, when faced with a mirror that's recorded human history, truth lies somewhere between acceptance and horror.
Poor man's version of a classic play
bbmtwist18 August 2018
Oddly enough, one of the greatest plays of the 20th century has had only 4 filmings, one of which, a 2012 version at 140 minutes, has no footprint on IMDB or Amazon.
Of the three which I have seen over and over again (1951 - Vivien Leigh; 1984 - Ann-Margret; 1995 - Jessica Lange), the Ann-Margret is the least successful on every front imaginable.
Almost all the points I make are negative:
1. Same timing as 1951 film, so no advantage there. 2. Ann-Margret tough as nails and unable to suggest the fragility of Blanche. 3. Treat Williams physically perfect as Stanley, but can't act the role. 4. Randy McQuaid an ugly choice as Mitch -we want more for Blanche. 5. Beverly D'Angelo merely adequate as Stella. 6. Badly photographed in washed out color. 7. Indifferently directed and photographed.
This is a poor man's STREETCAR. Tellingly, it has never been made available on dvd. Only old worn out vhs versions are available.
Despite everyone involved's best intentions, this just doesn't cut the mustard. It's a bad tv movie. Ann-Margret does her best, but is just not talented or experienced enough to pull off the best written female role in the entire history of world theatre (in my humble estimation). Treat is gorgeous, he has to be, irresistible to anyone, man or woman, but he has no charisma. McQuaid does well, but Blanche should not be given a Mitch who is a leftover from the junk heap, he should be in his own way as attractive as Stanley.
My ideal STREETCAR would have been: Paul Newman as Stanley; Geraldine Page as Blanche; Joanne Woodward as Stella; Montgomery Clift as Mitch.
Casting a new film today, I know the men I would want: Matt Bomer as Stanley; Ben Whishaw as Mitch; but sadly, I don't know a single female actor I would cast for the two female roles. I would love to have seen Streep do a Blanche, but she is sadly too old for the role.
If you love the play, you must see the Ann-Margret version (she did win a Golden Globe and an Emmy nom), just to compare and contrast, but don't get your hopes up.
Of the three which I have seen over and over again (1951 - Vivien Leigh; 1984 - Ann-Margret; 1995 - Jessica Lange), the Ann-Margret is the least successful on every front imaginable.
Almost all the points I make are negative:
1. Same timing as 1951 film, so no advantage there. 2. Ann-Margret tough as nails and unable to suggest the fragility of Blanche. 3. Treat Williams physically perfect as Stanley, but can't act the role. 4. Randy McQuaid an ugly choice as Mitch -we want more for Blanche. 5. Beverly D'Angelo merely adequate as Stella. 6. Badly photographed in washed out color. 7. Indifferently directed and photographed.
This is a poor man's STREETCAR. Tellingly, it has never been made available on dvd. Only old worn out vhs versions are available.
Despite everyone involved's best intentions, this just doesn't cut the mustard. It's a bad tv movie. Ann-Margret does her best, but is just not talented or experienced enough to pull off the best written female role in the entire history of world theatre (in my humble estimation). Treat is gorgeous, he has to be, irresistible to anyone, man or woman, but he has no charisma. McQuaid does well, but Blanche should not be given a Mitch who is a leftover from the junk heap, he should be in his own way as attractive as Stanley.
My ideal STREETCAR would have been: Paul Newman as Stanley; Geraldine Page as Blanche; Joanne Woodward as Stella; Montgomery Clift as Mitch.
Casting a new film today, I know the men I would want: Matt Bomer as Stanley; Ben Whishaw as Mitch; but sadly, I don't know a single female actor I would cast for the two female roles. I would love to have seen Streep do a Blanche, but she is sadly too old for the role.
If you love the play, you must see the Ann-Margret version (she did win a Golden Globe and an Emmy nom), just to compare and contrast, but don't get your hopes up.
The streetcar leads to a New Orleans quite parallel from the movie classic.
mark.waltz2 September 2022
Warning: Spoilers
It's back to the stage basics for this TV version of the Tennessee Williams classic (one of two made for the small screen) directed by John and starring Ann-Margret in the lead that gives an indication of what Jessica Tandy might have been like as Blanche DuBois, the aging beauty desperately trying to stay desirable while dealing with recovery from a breakdown and not quite cured. She definitely does know how to accept kindness from strangers, failing to seduce a young college kid who stops by selling newspaper subscriptions, and is completely oblivious to the fact that he's repulsed. She is repulsed by the brother-in-law (Treat Williams) whom she has never met, married to her long-suffering sister Stella (Beverly D'Angelo), stunned by the treatment that she gets every time that Stella stands up to husband Stanley.
After initial polite conversation with Stanley, Blanche gets to see what he's really like during a card party he has which introduces "Mitch" (Randy Quaid) into the story and also features Pablo (Rafael Campos) who is obviously just looking for a good time and find Stanley's rude antics amusing. Mitch later meets Blanche out for a date, and it's obvious he's one of the few men to treat Blanche like a lady. But when your mind is already that far gone, no amount of respectful treatment is going to cure you, and Blanche once again heads towards her destiny of drunkenness and straight jackets.
With all of the Broadway revivals that there had been of "Streetcar" between the original play, the 1951 movie and this, it was obvious that the original text had to be brought to the screen in one way or another, and this version is excellently cast. By the mid-1980s, Ann-Margret had proved herself to be perfect for these type of fragile heroines, and she's absolutely mesmerizing. It's ironic that in the TV mini-series of 'Scarlett" that she'd play Belle Watling. No one will ever forget Vivian Leigh either as Scarlet or Blanche, but that doesn't mean that they own the role, not when someone else can put their own take on it and make it seem fresh.
Williams is quite good, but he seems to be doing more of a Brando impression than the rest of the cast with their parts and the 1951 film cast. Quaid highly resembles Karl Malden, but I never once thought he was playing the part as Malden had. D'Angelo is also quite different than Kim Hunter, just as good, and completely disappearing into the role. Campos (a one time teen actor) really doesn't get much to do, but it's obvious that his straw hat wearing character is a follower, just like the pint sized teen thug he played in "The Blackboard Jungle", and he has terrific reactions to Williams' buffoonery. This certainly deserved all the acclaim that it got when it first aired on TV, and is certainly a lot better than the television version of Tennessee Williams' "Cat on a Hot Tin Roof" a decade before.
After initial polite conversation with Stanley, Blanche gets to see what he's really like during a card party he has which introduces "Mitch" (Randy Quaid) into the story and also features Pablo (Rafael Campos) who is obviously just looking for a good time and find Stanley's rude antics amusing. Mitch later meets Blanche out for a date, and it's obvious he's one of the few men to treat Blanche like a lady. But when your mind is already that far gone, no amount of respectful treatment is going to cure you, and Blanche once again heads towards her destiny of drunkenness and straight jackets.
With all of the Broadway revivals that there had been of "Streetcar" between the original play, the 1951 movie and this, it was obvious that the original text had to be brought to the screen in one way or another, and this version is excellently cast. By the mid-1980s, Ann-Margret had proved herself to be perfect for these type of fragile heroines, and she's absolutely mesmerizing. It's ironic that in the TV mini-series of 'Scarlett" that she'd play Belle Watling. No one will ever forget Vivian Leigh either as Scarlet or Blanche, but that doesn't mean that they own the role, not when someone else can put their own take on it and make it seem fresh.
Williams is quite good, but he seems to be doing more of a Brando impression than the rest of the cast with their parts and the 1951 film cast. Quaid highly resembles Karl Malden, but I never once thought he was playing the part as Malden had. D'Angelo is also quite different than Kim Hunter, just as good, and completely disappearing into the role. Campos (a one time teen actor) really doesn't get much to do, but it's obvious that his straw hat wearing character is a follower, just like the pint sized teen thug he played in "The Blackboard Jungle", and he has terrific reactions to Williams' buffoonery. This certainly deserved all the acclaim that it got when it first aired on TV, and is certainly a lot better than the television version of Tennessee Williams' "Cat on a Hot Tin Roof" a decade before.
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