The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.
Joseph L. Mankiewicz
Brick, an alcoholic ex-football player, drinks his days away and resists the affections of his wife, Maggie. His reunion with his father, Big Daddy, who is dying of cancer, jogs a host of memories and revelations for both father and son.
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
With this film, Elizabeth Taylor found herself in the most demanding role of her career. George Stevens asked much of her in take after take, but Taylor appreciated the challenge. She was quoted as saying, "[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." Stevens himself saw what Taylor was up against: "If she thought I was more severe than needed, she'd spit fire. But the following morning she had forgotten it completely....She had enormous beauty but she wasn't charmed by it. It was there. It was a handicap and she discouraged people being overimpressed with it. She was seventeen, and she had been an actress all her life. The only thing was to prod her a bit into realizing her dramatic potential." See more »
The convertible that George and Alice leave open all night in the pouring rain would be swamped with water the next morning when George leaves Alice's apartment. See more »
[George kisses Angela]
Angela: Every time you leave me for a minute, it's like goodbye. I like to believe it means you can't live without me.
See more »
Isn't IMDb great? As well as reading the detailed and thoughtful criticisms from contributors about a film like this, you can browse through all sorts of IMDb trivia, discovering interesting stuff all the time. My latest favourite activity on the site is checking out films that won the Academy Award for Best Cinematography. Needless to say A Place in the Sun won this award for William C. Mellor. Much has already been said of the beauty and precision of the images. I'd like to add a comment about one shot where Clift is coerced into a speedboat ride with Taylor and her rich pals. The static camera is on the jetty with a portable radio in close-up. The speedboat pulling away and doing a spin in the bay occupies our middle vision, while hills and boats lie in the distance. All of them are in wonderful pin-sharp deep focus, a skill that seems all but lost in today's productions. The radio announces the discovery of the girl's body while the boat speeds past, completing the dramatic reason for the shot.
A funny thing I've noticed about these great cinematographers is they all seemed to live a good long life, usually working right up the end of their lives. I don't know why, I just thought I'd mention it!
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