Media Assignment

Olivia Fraser

Mrs. Chaussé

ENG4U-02

6 February 2014

A Streetcar Named Desire Film Adaptation Personal Response

In order to portray what the screenplay had intended for the movie, Kazan used the elements of light and shot composition to improve the effectiveness of the adaptation to the movie. In Scene Three, commonly known as the poker scene, it is an example of the effectiveness of the elements. This scene is where we first see the true personalities of the characters we come to know. The screenplay had intended directions but in just like most adaptations from screenplay to movie, it is up for interpretation. With proper casting, selection and omission, they were able to effectively create the adapted film.

            First of all, the use of shot composition has many purposes and uses for symbolism.  Through the use of camera angles and costumes, they were able to symbolize the truth within the characters. In many cases, the shot composition uses different angles to show and emphasis the characters personalities. In Scene Three, the film crew used camera angles to demonstrate the contrast in Blanche and Stanley’s relationship. This is when Stanley storms into the room to turn off the radio; Blanche is kneeling on the floor with Stanley standing over her. The camera angle was equal with Blanche to show that Stanley and Blanches personalities clash, with Stanley being the dominant one. In addition, the costumes are purposed to symbolize the truth in the characters. Stanley is often seen in basic and normal clothes, but when he becomes outraged his clothes become ripped, this shows his animalistic personalities coming out. He is often referred to as having “animalistic” traits throughout the screenplay and movie. Contrasted with Blanche who’s costumes gives off the persona of her being a social elite, and a southern Belle, but this is far from reality when in fact she is in the midst of a mental breakdown. She is often seen in the colour white, which is commonly associated with innocence, and purity. Compared to Stanley is in the dark colours, which is usually associated with power. The adaptation of the film is effective through the use of shot composition.

Throughout the play, there are many circumstances where the play uses light to symbolize and hide the motives of the characters. The most obvious example of this shown through Blanche, she avoids the light throughout both the screenplay and movie.  The light symbolizes Blanches inability to face the present; she often lives in a fantasyland rather then facing reality. This is a common theme throughout the novel, Fantasy vs. Reality. In Scene Nine, Blanche tell us, “I misrepresent things to them. I don’t tell the truth, I tell what ought to be truth. And if that is sinful, then let me be damned for it! – Don’t turn the light on!” The light that she talks about will unveil the truth about Blanches past; she had been hiding in the shadows she is trying to dismiss the past that she had been running from. The example in Scene Three was the introduction of the use of lighting throughout the movie and screenplay. When Mitch and Blanche are having their first conversation, Blanche begins to hide appearance/secrets from Mitch. Blanche “can’t bare the idea of a naked light bulb.” This sentence represents that Blanche is unable to handle her past life; she cannot bare the light. The variety in lighting helps the viewers and readers to see the deeper meaning intended for the play.

In conclusion, with the elements of light and shot composition in Scene Three the adaptation was effective. The screenplay and movie do have differences, but overall the portrayal of the film is what Tennessee Williams intended, showing the truth is not always what you see. The shot composition was used to decipher the truth about the characters. The element of lighting was used to symbolize the truth about Blanches reality, versus her fantasy world. These production elements were used to effectively adapt Kazans vision for A Streetcar Named Desire in Scene Three.

Work Cited

A Streetcar Named Desire. Adapt. Elia Kazan. 1951. DVD.

Williams, Tennessee. A Streetcar Named Desire. New York: New Directions, 1980. Print.