From Williams to Kazan: Adapting A Streetcar Named Desire Anonymous College

Any time a play or a novel is adapted into a film portrayal of the text, critics will evaluate the film either in a positive or a negative manner. It is necessary to understand the freedoms a director has, and understand that an adaptation allows for someone else to depict a play or novel in a new inventive way. Creativity and uniqueness are sometimes necessary in the adaptation of a play to film. Critics are still chasing after the idea of fidelity, but the truth is adaptations have as much to offer as the actual piece does. Elia Kazan’s 1951 adaptation of A Streetcar Named Desire is not loyal to the play, but its authenticity and many similarities allows the adaptation to become its own personality. It is necessary for the directorial changes, created by Elia Kazan, to exist in order to refute the idea that fidelity is always correct in a film adaptation.

When a story intended for the stage is translated into film, there are some points of difference and contention that naturally arise. Elia Kazan adapted Tennessee Williams’ A Streetcar Named Desire and for the most part kept true to the original play, but he was able to add more to the story within a film format. Kazan was able to explore places mentioned in the play such as...