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When Blanche Met Brando: The Scandalous Story of "A Streetcar Named Desire", by Sam Staggs
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Exhaustively researched and almost flirtatiously opinionated, When Blanche Met Brando is everything a fan needs to know about the ground-breaking New York and London stage productions of Williams' "Streetcar" as well as the classic Brando/Leigh film. Sam Staggs' interviews with all the living cast members of each production will enhance what's known about the play and movie, and help make this book satisfying as both a pop culture read and as a deeper piece of thinking about a well-known story.
Readers will come away from this book delighted with the juicy behind-the-scenes stories about cast, director, playwright and the various productions and will also renew their curiosity about the connection between the role of Blanche and Viven Leigh's insatiable sexual appetite and later descent into breakdown. They may also--for the first time--question whether the character of Blanche was actually "mad" or whether her anxiousness was symptomatic of another disorder.
"A Streetcar Named Desire" is one of the most haunting and most-studied modern plays. Staggs' new book will fascinate fans and richen newcomers' understanding of its importance in American theater and movie history.
- Sales Rank: #1668200 in Books
- Published on: 2006-07-25
- Released on: 2006-07-25
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .96" w x 5.50" l, .84 pounds
- Binding: Paperback
- 432 pages
From Publishers Weekly
Tennessee Williams's 1947 masterpiece took Broadway by storm and made the brooding Marlon Brando a star. Blanche DuBois's last line, "I have always depended on the kindness of strangers," has become a cliché, but Staggs (All About All About Eve; Close-Up on Sunset Boulevard) argues that the whole play is a seminal work, which still "seduces with its disordered exoticism and its power to engulf." He has crafted an entertaining behind-the-scenes narrative of both the play and the film—from Williams's early drafts to the film's battles with Hollywood censors. Rather than dwell on academic interpretations of Streetcar, Staggs takes a more personal tack. He profiles everyone from director Elia Kazan to Jessica Tandy (Broadway's Blanche) as well as backstage personnel. The result is a comprehensive minihistory of 20th-century American stage and screen. And he doesn't stint on tabloid juice, either, noting that both Vivien Leigh and Kazan had voracious sexual appetites. He also incorporates playful trivia, such as a Jeopardy!-style quiz on actresses who've played Blanche. The inclusion of such lighthearted information balances Staggs's absorbing account of the creation of and continued fascination with this American classic. Photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
“Opinionated, revealing, constantly entertaining account of the birth and growth of Tennessee Williams's most famous play.” ―Kirkus Reviews
“A comprehensive minihistory of 20th-century American stage and screen and [Staggs] doesn't skimp on tabloid juice.” ―Publishers Weekly
“With his infectious devotion to "Streetcar," Staggs surely will motivate many to revist the play and watch the film.” ―Los Angeles Times
“as loquacious and overripe as Blanche herself and as hard to resist.” ―Washington Post
“…a spellbinder…” ―The Hollywood Reporter
From the Back Cover
"WHEN BLANCHE MET BRANDO: The Scandalous Story of ‘A Streetcar Named Desire' promises something salacious but delivers something better…a witty, insightful probe of Tennessee Williams' most famous play in all its variations."―The Dallas Morning News
The play launched Marlon Brando's career, and the movie shot his star into the stratosphere. The film also redefined Vivien Leigh as another kind of Southern belle: Blanche as Scarlett on the skids. And the movie as modern audiences know it barely escaped the unforgiving knife of censorship. "A Streetcar Named Desire" is more than a classic piece of American art―it's a daring and raw masterpiece as alive with meaning today as it was when first performed in 1947.
Witty, rich with detail and exuberantly opinionated, WHEN BLANCHE MET BRANDO is the full behind-the-scenes story of "A Streetcar Named Desire." Moving from the opening of Tennessee Williams' groundbreaking play and the scandalized audiences it left on Broadway to its London debut to Elia Kazan's exceptional movie version, Staggs illuminates "Streetcar's" surprising complexities and the powerhouse personalities behind them.
"Staggs' book is an excellent companion piece, giving a fine and often funny account of the many difficulties Williams' story faced on the way to becoming history."―Reuters
Most helpful customer reviews
9 of 9 people found the following review helpful.
What about the other Stanleys?
By hooligan
I enjoyed Sam Staggs' book about "Streetcar!" However, I didn't find it as thorough as his other books about "All About Eve" and "Sunset Boulevard." There were plenty of details about the Brando-Tandy & Brando-Leigh versions of "Streetcar," but hardly a mention of the Ralph Meeker and Anthony Quinn/Uta Hagen productions of "Streetcar...!" There was one humourous mention of Judith Evelyn as Blanche, but I would have been more interested in hearing about these two versions rather than all the other operatic and various foreign productions of "Streetcar"!
5 of 5 people found the following review helpful.
Entertaining - but not more and not always
By Leser
Like other reviewers, I was delighted to find a book dedicated to the fabulous "Streetcar named Desire". The book doubtlessly is entertaining, at least most of the time. The style is chatty, the author indulges in rumors, anecdotes and gossip, never hesitating to give a highly subjective viewpoint. As he doesn't pretend to be objective, I didn't mind too much, though I would have preferred more information and less gossip. Still, most of it was amusing to read. I don't know much about Brando and the author's chit-chatty information about him made Brando come to life for me. - Sometimes, I was a bit lost when the author seemed to forget that not everybody is as familiar with all Hollywood personalities or wannabee personalities. His overly familiar way of talking about people I never heard of, the lack of at least one or two sentences of background information, made some passages unclear to me.
What I thoroughly enjoyed were the interpretations of the play and its characters, some by the author himself, some quoted from others. I would have liked more of this. Also, his description of mimic and camera work during the first scene of the movie was very perceptive. I watched this scene right afterwards and did see it with different eyes. Again, more of that would have been great. Those - in my opinion - were the best parts of the book.
As mentioned by another reviewer, the information about Vivien Leigh and her being affected by playing Blanche was highly insufficient. It is such a fascinating topic and one that would have deserved more coverage. I was disappointed by the lacklustre handling of this topic. Also, less rehashed gossip and more information would have improved the chapter on Vivien Leigh tremendously.
Generally, I was often surprised - and disappointed - by the author's choice of what to cover in great detail and what to cover only cursorily. I didn't need to know every memo, phone call and detail of the preproduction phase. Many of the actor biographies were extremely boring. If someone did nothing interesting apart from having a tiny part in Streetcar named Desire, I don't want to read about that person's life in detail. The chapter on several actresses who played Blanche or could have played Blanche was tedious. The author gives descriptions of several actresses and how they got to play Blanche. Most of the time, these descriptions weren't interesting, they didn't contain any additional information except for "XY always wanted to play Blanche and then played her in XY theatre on this date." This doesn't make good reading. It could have been limited to the few interesting background stories.
Sometimes, the writing seemed utterly unstructured. Anecdotes are written down without a combining element, without any attempt to get some nice writing style into them. Three sentences about a Karl Malden anecdote are written at the end of a one-page paragraph with Brando anecdotes, then a new paragraph is started. The Karl Malden anecdote is out of place and one wonders whether nobody edited this book. Small things like this appear repeatedly, making for uninspired writing. This contrasts with several other chapters, giving the impression that the author didn't care about all of his topics.
So, in total, this book is a mixture of highly entertaining, at times witty observations and bland listings of uninteresting facts or gossip. It did give me new information about the play, the movie and some of the actors, but in my opinion it suffers too many weaknesses to be recommendable.
34 of 39 people found the following review helpful.
Facts filtered through opinion...
By Todd E. Babcock
The title of this book is by no means deceiving in it's pulp/tabloid style. The author, while having done much research, revels in his own streaming opinions about Williams, Brando, 'Streetcar' and more importantly, what he 'thinks' happened based on pure speculation. Theres no doubt the simple facts of this production and its titan creators is enough to be compelling material but I often found some of the belittling commentary irritating.
An entire paragraph on Brando's "bubble butt" or describing LAST TANGO IN PARIS as "limp-dick cinema" should give the reader some idea of the level of cattiness married to erudition you have here. If you are looking for less of a 'personal' contribution from the author I would recommend Donald Spoto's book on Williams and Peter Manso's on Brando (the latter cited repeatedly in this book).
If you are simply looking for an information-laden, STAR magazine read for the summer...you've come to the right place. Or, if you're like me, you want any kernal of wisdom not already covered in other tomes (i.e. Kazan's A LIFE) you may turn over a few stones between the speculation and hetero-phobic opinions.
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