A history of Tennessee Williams' "A Streetcar Named Desire" is explored here, with a particular focus on the original 1947 Broadway production and the 1951 film. Both of these played a significant role in catapulting Marlon Brando to stardom. Hidden within the book are several interesting, albeit mostly gossipy tidbits. However, the book is written in a personal and idiosyncratic style. Initially, it can be quite fun, but by the halfway point, it begins to wear one down. It seems as if the author is attempting to emulate the style that Ethan Mordden employs in his series of books on Broadway history. Yet, while Mordden's books are a delight to read, this one unfortunately becomes a bit of a chore. It's like a long, drawn-out Vanity Fair article that eventually runs out of steam. Most irritatingly, the author disrespects Jessica Tandy, who was the original Blanche on stage, even though he didn't witness her in the role. His judgment is based solely on a televised excerpt that she appeared in years later.

This article is essentially a biography that delves into the transformation of a great play into an equally great movie.

The author has clearly conducted extensive research, which is evident in the detailed and accurate information presented.

The writing style is also quite good, making the content engaging and easy to follow.

It takes the reader on a journey through the development of the play, highlighting its key aspects and the decisions that led to its successful adaptation into a movie.

Overall, this is a well-written and informative piece that provides valuable insights into the world of theater and film.

Whether you are a fan of the original play, the movie, or simply interested in the creative process behind such adaptations, this article is definitely worth a read.

It offers a unique perspective and showcases the talent and hard work that goes into bringing a great story to life on both the stage and the screen.

I so very much enjoyed Mr. Staggs' informative and amusing background story, "All About All About Eve." It was truly a delight to read. As a result, I delved right into "When Blanche Met Brando: The Scandalous Story of 'A Streetcar Named Desire.'" However, after slogging through hundreds of pages, I'm sorry to say that I did not have the same experience.

There is nothing new here. Every date of historical note regarding both the Broadway production and the film version of the play (and there are a LOT of them) are noted with numbing efficiency. Each of the tales, "scandals," gossipy backstage stories, and censorship troubles have been well documented before. It seems that literally every single piece of information has been reported upon more than once. And being a fan of "Streetcar," I've read them all.

If you have no real background information on the play and you're interested, this might be a book to hold your attention. However, do not expect any light moments. Well, perhaps there is ONE - when there was a brief discussion about Shelley Winters playing Blanche and the author opines that it would be the one time when Blanche was more masculine than Stanley. But for anybody who is a Tennessee Williams devotee, this will be a dry re-hash, I'm very sorry to say.

There's a wealth of impressive research that lies beneath Sam Staggs' history of Tennessee Williams' most renowned play.

Particularly, as he delves into the original Broadway production and the 1951 film version, his work seems quite comprehensive.

However, he unfortunately brings some rather definite prejudices to bear on his storytelling.

Mr. Staggs has firmly decided that the Method is the only way, the absolute truth, and the guiding light.

Consequently, he completely trashes Jessica Tandy's performance as Blanche. He bases this harsh judgment solely on having witnessed her perform a scene many years later on TV and having recorded some scenes for radio.

He treats Judith Evelyn even worse. She played Blanche in one of the two touring productions.

Apparently, he has no knowledge of her extensive stage career. If he did, he would know that she was a major dramatic star and her casting was quite a coup.

Instead, he focuses only on her supporting roles in films and then reports entirely on a memo that recounts her causing trouble during costume fittings.

Those two actresses truly deserve a great deal better than such unfair treatment. So, be forewarned.

If you know and admire their work, you're likely going to end up royally pissed off.

It is truly very interesting indeed. One of the most fascinating aspects is getting to learn the back story of the play. This provides a deeper understanding and adds an extra layer of richness to the overall experience. Additionally, delving more into the life and works of Williams is equally captivating. By exploring his background, his creative process, and the influences that shaped his writing, we gain a greater appreciation for his genius. It allows us to see how his personal experiences and emotions were translated onto the stage, creating powerful and memorable works. Overall, learning about the back story of the play and more about Williams is a journey that enriches our understanding and enjoyment of the theatrical art form.

Staggs is truly a delight to read. His works are filled with charm and entertainment. However, every so often, he delves into the realm of quasi-academic "camp" literary theory.

This tendency is also present in his book "All About All About Eve." But interestingly, in this earlier work, it seems to function a little more effectively.

Perhaps it's because the context and the overall narrative of the book allow for a more seamless integration of this theoretical aspect.

Staggs manages to strike a balance between providing an engaging read and introducing these somewhat esoteric literary concepts.

His exploration of "camp" in "All About All About Eve" adds an extra layer of depth and complexity to the work, making it not just a simple analysis but a more thought-provoking examination of the subject matter.

Overall, while his forays into quasi-academic theory may not always be to everyone's taste, in this particular book, they do contribute to making it a more unique and interesting read.

Such a huge disappointment.
My all time favorite piece of dramatic literature, one of my favorite movies, and the topic of my college thesis, I have long loved "A Streetcar Named Desire."
I was so excited to find this book, which promised a behind the scenes look at the original Broadway production, its transfer to film, and subsequent productions.
However, in spite of the amazingly interesting source material, this book is a complete snooze.
The writing is awful, in a pretentious way.
The author actually gives opinions on performances he hasn't seen and second guesses the opinions of those who were in the audience!
The best example of the awful writing was this line regarding a production of 'Streetcar' by a Deaf company: "Perhaps it's fair to say that American Sign Language is harder than Esperanto, but easier than Hungarian."
The book is peppered with bizarre and arbitrary sentences like that.
I'm giving it two stars just because there are some really interesting bits of information here on one of the greatest plays of the 20th century.
It's a shame that the writing fails to do justice to the fascinating subject matter.
Overall, I was left feeling let down by what could have been a great book.

I found this book extremely absorbing.

I have perused several books that delve deeply into the making of films. I have also read works by this author and others.

This particular book delves into every detail of the film, including some of the extras who appeared in it.

It provides a comprehensive and in-depth exploration of all aspects related to the film's production.

The author's attention to detail is remarkable, and it makes for a truly engaging read.

Whether you are a film enthusiast or simply interested in learning more about the behind-the-scenes process of filmmaking, this book is well worth reading.

It offers valuable insights and perspectives that will enhance your understanding and appreciation of the art of cinema.

Overall, I highly recommend this book to anyone looking for a fascinating and informative read about the making of films.

The wonderful history of "A Streetcar Named Desire" is truly captivating.

It doesn't shy away from revealing the backstage or backscreen bitchiness that was involved in bringing this masterpiece to the stage and screen in all its incarnations throughout the years.

There are many interesting bits of trivia that add to the allure of this story.

One can't help but wonder what Tennessee Williams hath wrought with this iconic work.

His powerful and complex characters, along with the intense and emotional storyline, have made "A Streetcar Named Desire" a classic that continues to resonate with audiences today.

The play's exploration of themes such as desire, delusion, and the breakdown of society is as relevant now as it was when it was first written.

Whether it's on the stage or the screen, "A Streetcar Named Desire" never fails to leave a lasting impression.

Aside from the fact that the author was completely enamored of Marlon Brando, it was evident that Sam Staggs had conducted extensive research on Tennessee Williams and all the individuals involved in bringing "Streetcar" to the stage and screen. The mini-biographies of nearly everyone, including costumers and bit-players, were at times interesting but mostly rather tedious. What was most fascinating to me was the information regarding Vivien Leigh. Her health issues and ultimate breakdown were truly heartbreaking. It is a pity that her talent was overshadowed by her personal struggles.

I suppose if I had a greater interest in the work itself, this might have been a more engaging read. However, as it stands, while the research is thorough, the presentation could have been more captivating. Nevertheless, it does provide valuable insights into the making of this iconic play and its various contributors.

For the most part, this is a detailed and surprisingly witty history of "Streetcar."

It commences from its earliest beginnings in Tennessee Williams' imagination and progresses through its Broadway run and, later, its classic movie. Every aspect of the production is comprehensively covered. There are even detailed biographical sketches for the walk-on parts. I particularly love the apocryphal story of the actor playing one of the asylum attendants in the final scene, who describes the play as "about a man who takes a woman to a loony bin."

Author Staggs introduces just the right amount of his own opinion to prevent the narrative from becoming a mere dry history. However, the book loses some momentum toward the end when he covers subsequent productions in much less detail. Nevertheless, the history of the deaf theater production is truly fascinating.

The best aspect of the book is that Staggs situates "Streetcar" within the context of its era, while simultaneously detailing the reasons why it remains timeless. This allows readers to not only understand the historical significance of the play but also appreciate its enduring appeal.

Staggs, who is also the author of books on the making of ALL ABOUT EVE and SUNSET BOULEVARD, has done an excellent job in this particular book.

It is more complex than the other two works as STREETCAR was initially a play before it became a renowned film.

However, there is one minor complaint. Staggs, who has a penchant for overstating things but usually not to the extent of being irritating, fails to mention Mary McCarthy's misguided article titled "A Streetcar Named Success."

I would have relished reading the caustic response that he would no doubt have given to MM's spiteful review.

Nonetheless, despite this omission, Staggs' book on STREETCAR remains a valuable and engaging read that offers unique insights into the making of this classic work.

It delves deep into the various aspects of the play-turned-film, including the casting, the directing, and the overall production process.

Overall, it is a must-read for fans of Tennessee Williams and those interested in the history of American theater and film.