In addition, Blanche was married before in all the versions, but in the 1951 film her husband's death is quickly glossed over, while in the harder hitting play, her husband committed suicide because he had been caught having a homosexual encounter. This is only hinted to in the film, and is lost in the 1998 opera version. This may not seem like an important detail, but for a woman to have lost a husband to suicide and homosexuality was a major stigma in 1947, and certainly would have affected Blanche and her self-image. Today, it does not seem like such an important or compelling issue, and so it does not take such an important role in the depiction of the characters.
When Blanche arrives at her sister's home, she notes how the play got its name. "They told me to take a street-car named Desire, and transfer to one called Cemeteries, and ride six blocks and get off at -- Elysian Fields!" (Williams, Scene 1). From the first, her relationship with Stanley is rocky, as all three pieces show: "Laurel.... Mind if I make myself comfortable?" (1998 Browning). As Stanley sings or speaks these innocuous words, he strips off his shirt, and the ultimate end to their relationship is already sealed. Stanley is the sexual predator, and Blanche is the victim, no matter her past.
Blanche cannot forgive her sister for leaving their family plantation and moving to the city. "I, I, I took the blows in my face and my body. All of those deaths. The long parade to the graveyard. Father, mother...You just came home in time for