Montgomery CLIFT | Edward Montgomery Clift

* 17.10.1920, Omaha, Nebraska, USA † 23.07.1966, New York (City), USA

Schauspieler * 1935 erster Auftritt am Broadway in Fly Away Home * umfangreiche Theaterarbeit in New York und auf Tourneen * 1945 erste starring role am Broadway (Foxhole in the Parlor) * Ende der 40er Jahre (Gründungs)mitglied des Actors Studio * 1946 gibt sein Filmdebüt an der Seite von John Wayne in Red River * 1956 erhält Drei-Filme-Vertrag bei MGM * nach einem Autounfall 1956 (Narben im Gesicht, ständige Schmerzen) verstärkt sich sein Image als Einzelgänger und Außenseiter - danach langsamer (beruflicher) Abstieg (Alkohol- und Drogenmissbrauch) * stirbt mit 45 Jahren an Herzinfarkt

"Clift forced the other actors to be much better than they really were. That's the only way I can put it. He got performances from the other actors, he got reactions from the other actors that were totally genuine." Fred Zinnemann


Red River (Red River, 1946-USA * Howard Hawks ... Matt/hew Garth) (4809) > "I watched myself in Red River and knew I was going to be famous, so I decided I would get drunk anonymously one last time."

Die Gezeichneten / The Search (1947-CH/USA * Fred Zinnemann ... Ralph Stevenson) (07-10; 4803)

The Heiress (Die Erbin, 1948-USA; R: William Wyler, B: Ruth Goetz, Augustus Goetz, K: Leo Tover, M: Aaron Copland, D: Olivia de Havilland * MC-Morris Townsend * Ralph Richardson) 115m-Liebesdrama (Bühnenstück von Ruth Goetz & Augustus Goetz, 1947 > Roman Washington Square von Henry James, 1880) (06-09/+01; 4910)

The Big Lift (Es begann mit einem Kuß, 1949-USA; R+B: George Seaton, K: Charles G. Clarke, M: Alfred Newman, D: MC-Danny MacCullough, Paul Douglas) 119m-Nachkriegsdrama (07-10/+12; 5004)

A Place in the Sun (Ein Platz an der Sonne, 1949/50-USA; R: George Stevens, B: Michael Wilson, Harry Brown, K: William C. Mellor, M: Franz Waxman, D: MC-George Eastman * Elizabeth Taylor * Shelley Winters) 122m-Drama (Roman An American Tragedy von Theodore Dreiser, 1925 + Bühnenstück An American Tragedy von Patrick Kearney, 1926) (10-03; 5108)

I Confess (Ich beichte, 1952-USA * Alfred Hitchcock ... Pater Michael Logan) (08-10; 5303)

Stazione Termini / Indiscretion of an American Wife (Rom, Station Termini, 1952-I/USA; R: Vittorio De Sica, B: Cesare Zavattini, Luigi Chiarini, Giorgio Prosperi; Truman Capote, K: G.R. Aldo, M: Alessandro Cicognini, D: Jennifer Jones * MC-Giovanni Doria) 63/93m-Liebesdrama (10-12; 5304)

From Here to Eternity (Verdammt in alle Ewigkeit, 1953-USA * Fred Zinnemann ... Robert E. Lee Prewitt) (Roman von James Jones) (5308)

Raintree County (Das Land des Regenbaums, 1956-USA * Edward Dmytryk ... John Wickliff Shawnessy) (Roman von Ross Lockridge, Jr) (5710)

The Young Lions (Die jungen Löwen, 1957-USA; R: Edward Dmytryk, B: Edward Anhalt, K: Joseph MacDonald, M: Hugo Friedhofer, D: Marlon Brando * MC-Noah Ackerman * Dean Martin) 167m-Kriegsdrama (Roman von Irwin Shaw, 1948) (06-10; 5804)

Lonelyhearts (Das Leben ist Lüge, 1958-USA * Vincent J. Donehue ... Adam White) (Buch Miss Lonelyhearts von Nathanael West + Bühnenstück Miss Lonelyhearts von Howard Teichmann) (5812, LA)

Suddenly, Last Summer (Plötzlich im letzten Sommer, 1959-GB * Joseph L. Mankiewicz ... Dr. Cukrowicz) (Bühnenstück von Tennessee Williams) (05-09; 5912-USA)

Wild River (Wilder Strom, 1959/60-USA; R: Elia Kazan, B: Paul Osborn, K: Ellsworth Fredericks, M: Kenyon Hopkins, D: MC-Chuck Glover * Lee Remick) 110/5m-Drama (Roman Mud on the Stars /1942/ von William Bradford Huie + Roman Dunbar's Cove /1957/ von Borden Deal) (10-01; 6005)

The Misfits (Nicht gesellschaftsfähig, 1960-USA * John Huston ... Perce Howland) (07-11; 6102)

Judgment at Nuremberg (Urteil von Nürnberg, 1961-USA * Stanley Kramer ... Rudolph Petersen) (6112)

Freud (Freud, 1961/62-USA * John Huston ... Sigmund Freud) (6212)

L'espion / Lautlose Waffen (1966-F/D * Raoul Lévy ... Professor James Bower) (Roman von Paul Thomas) (6610)


Maurice Leonard: Montgomery Clift. London: Hodder and Stoughton, 1997

Mary C. Kalfatovic: Montgomery Clift: A Bio-Bibliography. Westport: Greenwood Press, 1994

Post World War II America saw a return to prosperity and the rise of a significant youth-culture. Television began to replace movies as the chief source of entertainment for the general public, and adolescents and single young adults began to constitute the largest portion of the audience for movies. With his youthful appearance, Montgomery Clift held special appeal to this new market, and he became one of the foremost American actors of his time. This book details his many performances. The introductory biography offers a succinct summary of Clift's life and the forces that shaped his work. The chapters that follow contain annotated entries for all of his work in plays, films, radio, and television. Entries present plot summaries, cast and credit information, critical analyses, and excerpts from reviews. The book gives equal attention to his lesser-known films and stage career, as to his most memorable performances. An extensive annotated bibliography cites and evaluates books, articles, and miscellaneous sources of information about Clift and includes fictional works in which he appears as a character. > xvii, 281 p. : ill. * includes index

Michelangelo Capua: Montgomery Clift: A Biography. Jefferson: McFarland, 2002

At the peak of his career in the 1950s, Montgomery Clift was the symbol of a very talented yet rebellious generation of movie stars. His acting combined the personal and the professional, and his seventeen movies show his superb craft and extraordinary sensitivity. Yet there was much more to his life than his talents as an actor - more than most people knew. This book is a biography of the extremely handsome, acutely intelligent, but tormented Montgomery Clift. His life has been described as "the longest suicide in the history of Hollywood," and this biography shows the accuracy of that description. It covers Clift’s sheltered childhood, his discovery at the age of 12, the early critical acclaim that brought attention from such noted directors as Elia Kazan and Antoinette Perry, his development as a professional actor and work with many of Hollywood’s greatest directors (including Kazan, Fred Zinneman, Alfred Hitchcock and John Huston), and the devastating car accident that disfigured his face and caused him to turn to drugs and alcohol. Throughout the book, attention is given to Clift’s self-destructive personality - which created problems that even close friends like Elizabeth Taylor could not help him solve - and his closet homosexuality, which contributed to his intense insecurity. Richly illustrated. > v, 184 p. : ill. * Includes bibliographical references (p. 175-178) and index

Amy Lawrence: The Passion of Montgomery Clift. Berkeley: University of California Press, 2010

From his 1948 film debut in Red River, through such classics as The Heiress, A Place in the Sun, and From Here to Eternity, Montgomery Clift exemplified a new masculinity and - leading the way for a generation of actors, including Marlon Brando and James Dean - epitomized the new naturalistic style of acting. Clift's impact was such that, both during his troubled life and after his untimely death, fans describe the actor in religious terms, characterizing Clift as a vision, acolyte, and martyr. In The Passion of Montgomery Clift, Amy Lawrence challenges the myth of Clift as tragic victim by examining Clift's participation in the manipulation of his image, his collaborations with directors - Hitchcock, Kazan, and Huston - his relationships with costars - Elizabeth Taylor, John Wayne, Frank Sinatra, and Marilyn Monroe - and his interactions with writers - Tennessee Williams and Arthur Miller. Combining theories of stardom and fandom with biography and film history, Lawrence explores the way Clift's extraordinary looks, controversial sexuality, and the accident that allegedly changed the course of his career continue to feed the religious intensity of fan discourse. > ix, 333 p., [8] p. of plates : ill. (some col.)

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