Weinraub, Bernard. “For a Less Restrained Era, a Restored 'Streetcar'; The steam around Brando,    Leigh and Hunter Gets Even Steamier.” New York Times (16 Sept. 1993): C12. University of Pennsylvania Library, Philadelphia. 7 April 2008. <http://hdl.library.upenn.edu/1017/8765>.

This newspaper article, written forty years after Streetcar was released, announces a re-release of the film that includes dialogue, extra shots, and additional music from the original score that was initially cut due to “inappropriate” sexual content. Beginning with an overview of the film that mentions its four Oscars and twelve nominations, Weinraub recounts the stringent Motion Pictures Production Code and Catholic Legion of Decency in 1929 that attempted to ban Streetcar from theaters altogether. According to the president of Warner Brothers, the film was restored in order to enliven the sexual undertones that Tennessee Williams always intended to display. Stella and Stanley’s primal attraction, the seemingly innocent Blanche’s promiscuous history, the sexual tension between Blanch and Stanley, and Blanche and Stanley’s violent rape scene have all been intensified in Streetcar’s latest version.
As Streetcar was overwhelmingly risqué for 1950s film, Weinraub also makes a point of discussing Williams’ and director Elia Kazan’s relationship with Hollywood officials during the initial production of the film. According to Warner Brothers documents that had just been released to the public, Kazan and Williams were on the brink of disassociating themselves with the production of Streetcar entirely due to the many “moral” objections they received, particularly in regard to the rape scene. Defending his work, Williams claimed that his rape scene was anything but immoral; in fact, he stated it was “a pivotal, integral truth in the play, without which the play loses its meaning, which is the ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces in modern society.” Thus, this situation not only exhibits Williams’ commitment to truth in a world filled with sins such as alcoholism, violence, and suicide (all of which is explores in his film), but also reveals Kazan’s realist priorities as a director. Furthermore, this clichéd conflict between the subordinate artist and superior capitalist sheds light on just how dramatically film has changed over the course of fifty years.