In contrast to On the Waterfront (1954), this film—also directed by Elia Kazan— feels dated although it is only three years older than On the Waterfront. Brando’s acting is not at fault. It is impeccable. The film has the timeless theme of the battle between men and women. But it is so much grounded in the Zeitgeist of the immediate post World War II period that we no longer can easily relate to what moves the characters. In fifty years from now, nobody may be able to relate to what people in New York felt during the first month after September 11. The film, based on the play by Tennessee Williams, takes place in a small apartment in the French quarter of New Orleans. In this particular version of the battle of sexes, the energy that makes the sparks fly derives from the differences in the backgrounds and characters of the two protagonists. He is working class, hot-headed, dominating, realistic, violent and full of life;  she is aristocratic, shy, unstable, nymphomaniac, unrealistic, and on the decline. With an updated social context, this would still be fantastic material for a drama.

He is working class, hot-headed, dominating, realistic, violent and full of life;  she is aristocratic, shy, unstable, nymphomaniac, unrealistic, and on the decline. With an updated social context, this would still be fantastic material for a drama.