Montgomery ​Clift 1 csillagozás

Patricia Bosworth: Montgomery Clift

“The ​definitive work on the gifted, haunted actor” (Los Angeles Times) and “the best film star biography in years” (Newsweek).

From the moment he leapt to stardom with the films Red River and A Place in the Sun, Montgomery Clift was acclaimed by critics and loved by fans. Elegant, moody, and strikingly handsome, he became one of the most definitive actors of the 1950s, the first of Hollywood’s “loner heroes,” a group that includes Marlon Brando and James Dean. In this affecting biography, Patricia Bosworth explores the complex inner life and desires of the renowned actor. She traces a poignant trajectory: Clift’s childhood was dominated by a controlling, class-obsessed mother who never left him alone. He developed passionate friendships with Marilyn Monroe and Elizabeth Taylor in spite of his closeted homosexuality. Then his face was destroyed after a traumatic car crash outside Taylor’s house. He continued to make films, but the loss of his beauty and subsequent… (tovább)

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Open Road Media, New York, 2012
392 oldal · ASIN: B0083JBXI8

Enciklopédia 2


Népszerű idézetek

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“Monty was the man who, if physically broken, could never be spiritually beaten,” writes Douglas Brode in a tribute to Clift. “His screen speciality became a brand of idealism that appeared insane in the beautiful extremity of its radical innocence.”

Part One: Chapter 15

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…he sensed he was going to be a star. The idea of losing his privacy terrified him. He told James Jones later, “I watched myself in Red River and I knew I was going to be famous, so I decided I would get drunk anonymously one last time.”

Part One: Chapter 15

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It’s only when you believe of yourself what the general public believes that you start losing the courage to risk outward failure. That is the biggest pitfall.

Part One: Chaper 18

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Monty represented a new kind of man in the bleak 1950s, a guy who was poetic and vulnerable and disturbed and not afraid to show it.

Part Two: Chaper 20

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Monty would often come back from California muttering, “I’m not called an actor out there, I’m called a hot property. And a property is only good if it makes money—a property is lousy if it loses money at the box office.”

Part Two: Chapter 21

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One could see him as prince, saint, and madman.

Part Two: Chaper 22

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By late 1953 Monty was beginning to hear a lot about a twenty-one-year-old actor named James Dean. “He’s a punk and a helluva talent,” Elia Kazan said. “He likes racing cars, waitresses—and waiters. He says you’re his idol.”
“Jimmy was affected by Brando, but he was more moved by Monty,” Dean’s good friend, actor Bill Gunn, said. “Jimmy dug Monty’s fractured personality—his dislocated quality. Brando was too obvious. Monty had more class.”

Part Two: Chapter 30

Kapcsolódó szócikkek: James Dean · Marlon Brando
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“To be an actor is to play any part—large or small—that has something important to say,” he told columnist Sidney Skolsky.

Part Three: Chapter 38


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