Kazan's film of [A Streetcar Named Desire] gives one of the first opportunities to see what can be done with [harsh, class-conscious realism] in the cinema….
Behind [the protagonists's] personal drama there develops the conflict of values which Tennessee Williams has explored elsewhere: the clash between the young and the old; the sordidly real and the magically bogus; between the precarious dignity of Stanley's primitive sensual nature and Blanche's equally vulnerable refinement. (p. 170)
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