‘A Place In The Sun’ (1951)
Jun 24, 2017 20:27:37 GMT
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Post by petrolino on Jun 24, 2017 20:27:37 GMT
‘A Place In The Sun’ tells the fateful tale of working-class romeo George Eastman (Montgomery Clift) whose uncle Charles (Herbert Heyes) is a wealthy industrialist running with society's elite. George takes a factory role from his uncle and vows to work his way up the ladder, embarking upon a whirlwind romance with assembly line worker Alice Tripp (Shelley Winters). Unfortunately, George can't shake this feeling he's been harbouring for a young girl he spied at his first social gathering, trendy socialite Angela Vickers (Elizabeth Taylor).
This stark melodrama is based on the 1925 novel 'An American Tragedy' by socialist Theodore Dreiser, a naturalist author from Indiana whose work inspired Josef Von Sternberg's 'An American Tragedy' (1931) starring depression-era icon Sylvia Sidney and William Wyler's period piece 'Carrie' (1952) starring Jennifer Jones.
Early on in the movie, Montgomery Clift models his "in vogue" tight white t-shirt for the ladies working the factory line, a new look for men that came to symbolise 1950s youth rebellion. Clift and Shelley Winters were both nominated by the Academy of Motion Picture Arts and Sciences for their performances in 'A Place In The Sun'
Director George Stevens brings an exquisite sense of framing to every interaction, assisted by top cameraman William Mellor. Take, for example, the introduction of the story's female protagonists; at the luxury Eastman home, we see how George views potential prize Angela and why he can't shake his intentions, while at the factory we witness things through the lens of Alice as she takes an instant fancy to George. What follows is a simmering melodrama in which emotions get the better of everyone, leading to a dark, destructive climax.
This stark melodrama is based on the 1925 novel 'An American Tragedy' by socialist Theodore Dreiser, a naturalist author from Indiana whose work inspired Josef Von Sternberg's 'An American Tragedy' (1931) starring depression-era icon Sylvia Sidney and William Wyler's period piece 'Carrie' (1952) starring Jennifer Jones.
"The Metropolitan Opera House in New York, known for its high musical standards but also for its musical and cultural conservatism, has seen only four new opera premieres in the past 30 years. An American Tragedy, a two-act opera by American composer Tobias Picker that premiered last month, was therefore awaited with great anticipation. Adding to the interest in the new work is the fact that it is based on Theodore Dreiser’s classic novel of the same name, which was published 80 years ago. Few works of fiction have so powerfully depicted the enormous social contradictions of American capitalism. An American Tragedy reveals the cultural and moral price of the frenzied drive for wealth and status which is officially encouraged as the realization of the “American Dream.” Dreiser based his novel on a notorious murder in 1906 in the Adirondack region of New York State."
- Fred Mazelis, World Socialist
- Fred Mazelis, World Socialist
Sylvia Sidney :
Early on in the movie, Montgomery Clift models his "in vogue" tight white t-shirt for the ladies working the factory line, a new look for men that came to symbolise 1950s youth rebellion. Clift and Shelley Winters were both nominated by the Academy of Motion Picture Arts and Sciences for their performances in 'A Place In The Sun'
Marlon Brando :
Paul Newman :
James Dean :
Steve McQueen :
Paul Newman :
James Dean :
Steve McQueen :
Director George Stevens brings an exquisite sense of framing to every interaction, assisted by top cameraman William Mellor. Take, for example, the introduction of the story's female protagonists; at the luxury Eastman home, we see how George views potential prize Angela and why he can't shake his intentions, while at the factory we witness things through the lens of Alice as she takes an instant fancy to George. What follows is a simmering melodrama in which emotions get the better of everyone, leading to a dark, destructive climax.
“Shelley Winters actively campaigned for the role of Alice Tripp. Initially, her agents could not get Paramount or director Stevens to even agree to meet the actress, known at that time almost exclusively for her "blonde bombshell" parts. Winters later wrote extensively in her autobiography about this episode of her life. She said that it was writer Norman Mailer who first alerted her to the role, and then coached her in the intricacies of Dreiser's novel, and "...the inner workings of that girl's soul and mind and what Dreiser wanted the reader to feel about the whole American syndrome of success at any price. Norman knew so much about Dreiser that I got the feeling he had been his protege, figuratively and perhaps literally. Winters was determined to audition for the part of Alice Tripp and not take "No" for an answer. She contacted Stevens's lawyer, and found out that though Stevens didn't want her to come and audition at the studio, he would agree to meet her in the lobby of the Hollywood Athletic Club. Winters embarked on some research. "I rushed out to the Firestone Tire factory and looked at all the girls on the assembly line. I rushed back to my apartment, dyed my hair brown, took the polish off my nails, combed my hair flat with sad little curls on the end below my ears, with two bobby pins on the side, and washed my face clean of makeup. Then I made myself a sandwich and put it in a brown paper bag." Winters also borrowed plain clothes from her sister Blanche, and so disguised, sat in the lobby of the Club -- lost amongst the ordinary people going to and fro. Stevens arrived and did not recognize her. Winters caught his attention as he was about to leave. "Slowly he walked over to me, touched the little bobby pins on the side of my head and said the words that changed my life: "Shelley, if I test you for this role and you get it, will you let me photograph you like this?" Not only did Winters allow the director to photograph her however he wanted, she also wore her sister's clothes for most of the film.”
- John M. Miller, Turner Classic Movies
"George Stevens didn't make me feel like a puppet. He was an insinuating director. He gave indications of what he wanted but didn't tell you specifically what to do or how to move. He would just say, "No, stop, that's not quite right,' and make you get it from your insides and do it again until it was the way he wanted it."
- Elizabeth Taylor
“He was the greatest director I’ve ever worked for. He made me understand that acting, especially film acting, is not emotion, but thinking. He had been a famous cameraman since the Keystone Kops days, and he showed me how the camera photographs your thoughts and sometimes your soul.”
- Shelley Winters on George Stevens, ‘The Shelleys : Shelley 1 & Shelley 2’
“This is the greatest movie ever made about America.”
- Charlie Chaplin, quoted while attending a special screening of ‘A Place In The Sun’
George Stevens & Rock Hudson give Elizabeth Taylor a helping hand :
Shelley Winters & Montgomery Clift :
- John M. Miller, Turner Classic Movies
"George Stevens didn't make me feel like a puppet. He was an insinuating director. He gave indications of what he wanted but didn't tell you specifically what to do or how to move. He would just say, "No, stop, that's not quite right,' and make you get it from your insides and do it again until it was the way he wanted it."
- Elizabeth Taylor
“He was the greatest director I’ve ever worked for. He made me understand that acting, especially film acting, is not emotion, but thinking. He had been a famous cameraman since the Keystone Kops days, and he showed me how the camera photographs your thoughts and sometimes your soul.”
- Shelley Winters on George Stevens, ‘The Shelleys : Shelley 1 & Shelley 2’
“This is the greatest movie ever made about America.”
- Charlie Chaplin, quoted while attending a special screening of ‘A Place In The Sun’
George Stevens & Rock Hudson give Elizabeth Taylor a helping hand :
Shelley Winters & Montgomery Clift :
Elizabeth Taylor would receive one of five Best Actress Oscar nominations for her performance in George Stevens' epic drama 'Giant' (1956) and they would reunite for 'The Only Game In Town' (1970). Stevens also directed Shelley Winters to a Best Supporting Actress Oscar in 'The Diary Of Anne Frank' (1959).
