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The ending to the film A Streetcar Named Desire directed by Elia Kazan is the complete polar opposite from the original work by Tennessee Williams by closing the story with Stella waking up from her desire induced stupor and finally breaking away from her violent, brutal, cruel, vindictive chauvinistic husband Stanley, but not before her sister Blanche becomes a victim of his bestial ways; this differs from the original because in the play despite Stanley having raped Blanche, Stella stays in denial refusing to believe Blanche and stays with him. Both versions have Blanche being taken away by the doctor to an insane asylum, but the dramatic element added to the film enlarges feelings that in the play the characters lacked such as Stella’s struggle with herself, torn between believing Blanche about Stanley or believing in Stanley and continuing living in denial. Stanley’s brutal ripping of Blanche’s paper lantern and therefore tearing up her dream and last hope of living normally was made more dramatic both by Blanche’s crying reaction to it and by his abrupt and violent action. During the struggle in the bedroom where Blanche is trying to get away from both Stanley and the apathetic matron Mitch shows rage and was charging into the room to presumably rescue Blanche but was dragged away by Steve and Pablo before falling into an abysmal depression; this was unseen in the play and shows that Mitch did not become completely cold to Blanche and still cares for her deeply, although because of her background cannot marry her. The scene where the matron has Blanche pinned sobbing to the floor further increases the dark mood that exists throughout the scene until the doctor walks in and soothes Blanche who taking the opportunity makes for herself another dream and follows him out believing he’s her knight in shining armour saving her from the terrible dragon’s lair. Stella who has been fighting against Eunice during the struggle cries with the baby held in her arms as Blanche is led away, with Stanley giving her a quick hug that she does not register before heading back into the house for more poker. When he calls for her she straightens up muttering never again and rushing up the stairs to Eunice’s place with the baby, Stanley calling after her. Although the play version of the ending had Stella staying with Stanley and therefore a darker conclusion than the film, that is only on the surface; through the reactions of other characters in addition to Stella we are shown that Blanche’s exit causes a much darker atmosphere and through her sacrifice Stella finally snaps out of the illusion cast by Eros and sees Stanley for what he truly is; a savage primitive beast who works only to satisfy his desires.

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