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A Place in the Sun (1951)

Passed  -  Drama | Romance  -  11 October 1951 (France)
7.9
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Ratings: 7.9/10 from 12,806 users  
Reviews: 133 user | 62 critic

A poor boy gets a job working for his rich uncle and ends up falling in love with two women.

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(based on the novel: "An American Tragedy" by), (play), 2 more credits »
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Won 6 Oscars. Another 10 wins & 8 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
Keefe Brasselle ...
...
...
Herbert Heyes ...
Shepperd Strudwick ...
Frieda Inescort ...
Kathryn Givney ...
Louise Eastman
Walter Sande ...
Art Jansen - George's Attorney
...
Judge R.S. Oldendorff
John Ridgely ...
Coroner
Lois Chartrand ...
Marsha
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Storyline

The young and poor George Eastman (Montgomery Clift) leaves his religious mother and Chicago and arrives in California expecting to find a better job in the business of his wealthy uncle Charles Eastman. His cousin Earl Eastman advises him that there are many women in the factory and the basic rule is that he must not hang around with any of them. George meets the worker of the assembly line, Alice Tripp, in the movie theater and they date. Meanwhile, the outcast George is promoted and he meets the gorgeous Angela Vickers at a party thrown at his uncle's house. Angela introduces him to the local high society and they fall in love with each other. However, Alice is pregnant and she wants to get married with George. During a dinner party at Angela's lake house with parents, relatives, and friends, Alice calls George from the bus station and gives him thirty minutes to meet her; otherwise she will crash the party and tell what has happened. George is pressed by the situation which ends ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

A Love Story Of Today's Youth... with three magnificent young stars See more »

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

11 October 1951 (France)  »

Also Known As:

An American Tragedy  »

Box Office

Budget:

$2,295,304 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The part of Alice Tripp, played by Shelley Winters, was originally meant for Audrey Totter. However, she was under contract to MGM at the time and the studio wouldn't loan her out. See more »

Goofs

Shelley Winters said that the walking scene had been filmed from twilight to midnight, and her feet hurt, so she changed shoes during a break. When they saw the rushes the next day, everyone noticed the change, but the director said, "If they're watching her feet, I might as well go home. We are not redoing the scene." See more »

Quotes

Prisoner in George's cell block: [Lat Lines]
[Said to George as he walks to the electric chair]
Prisoner in George's cell block: Good-bye, George. I'll be seeing you.
See more »

Connections

Featured in Friday the 13th: A New Beginning (1985) See more »

Soundtracks

Aloha Oe
(uncredited)
Written by Queen Liliuokalani
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
An American Tragedy, on film, becomes an American masterpiece
1 September 2003 | by (Western New York) – See all my reviews

Bringing Theodore Dreiser's sprawling novel An American Tragedy to the screen must have been a daunting task, made harder by the constraints Paramount imposed on director George Stevens. The studio had lost big on a version made 20 years earlier, under Josef von Sternberg, and had little faith in a remake. So, hobbled by a tight budget, Stevens scaled back his ambitious plans but delivered, perhaps even to his own surprise, a superbly crafted and and powerfully sustained work of movie art.

He was lucky that Paramount, edgy about the story, gave him a cast that would guarantee not only good box office but solid performances as well. Montgomery Clift, Elizabeth Taylor and Shelly Winters take the principal roles, with, in the last third of the movie, extra oomph courtesy of Raymond Burr (in a role that may have nabbed him the Perry Mason franchise).

The jaws of the vise Clift finds himself squeezed into are class and sex. Barely educated, raised by stern members of a religious sect, he luckily (or not) happens to be the shirt-tail nephew of a prosperous entrepreneur who casually offers him work in his factory. Awkward and lonesome, Clift escapes the drudgery of his job by taking up with a mousy co-worker (Winters, toned way down from her platinum-bombshell image at the time). But his nose-to-the-grindstone ways attract the attention of his uncle, who rewards him with a promotion and an invitation up to the manor.

There he meets Taylor and launches an obsession about her, reinforced by a neon sign visible from his window that blazes her surname through his restless nights (she's another child of an industrial fortune, raised in wealth and privilege). Somehow, she falls for him – and, need it be added, he for her – despite his coming from the wrong side of the tracks (she hasn't the faintest notion that for people like him, life may not be the blithe affair it is for her).

Only one inconvenient fact keeps Clift from taking his rightful place in the sun: He's left Winters pregnant. The two worlds he occupies are destined to collide, and crash they do when Winters phones him, in the midst of a Hawaiian-themed luau at Taylor's summer place on the lake, to issue her ultimatum: Marry her or she'll spill their sordid secret. He leaves abruptly to meet Winters, desperately trying to assemble the plan which will seal three fates.

Stevens sustains an overwhelming, ominous momentum, unbroken by even a hint of levity (not even a single bit player is allowed to lapse into shtik). Languorous dissolves and superimposed images heighten the sense of inevitability as each scene, each event glides seamlessly into the next.

Maybe he wasn't able to pile on the exhaustive social commentary that bulked up Dreiser's novel, but everywhere there's sharp detail that he adroitly leaves to be noticed. When Clift shows up hours late at his intimate birthday party in Winter's cramped room, with the tiny table pushed up against her marble washstand, the ice cream has warmed to lumpy syrup (a self-homage to a similar scene in Steven's Alice Adams?). With an island combo playing merrily on, Clift sports a lei and eats pineapple out of its shell when Winters calls to break the spell – and this South-Seas reverie is offered up not as Veblenesque excess, but merely as the way Taylor's crowd spend their days and evenings and nights in an endless round of heedless gaiety.

The apex of the film's crescendo is handled with tight, quiet assurance – the reckoning in a rowboat upon a deserted lake. Dusk gathers among the pines like fog, the loons call back and forth, and the rippling waves reflect a demented flash into Clift's eye as he wrestles with his conscience. Winters natters nervously about the dreary life they'll spend together while his head swims with luminous visions of Taylor. Then, destiny catches.... Romantic but unsentimental, serious but without pretension, gripping without stooping to the manipulative, A Place in the Sun ranks as a masterpiece of American cinema.


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