The dawn of the 1950s in the United States marked a profound period of societal change, as the nation basked in the glow of the post-war boom with a sense of optimism and renewal.
In cinema, the early 1950s witnessed a notable shift from broad physical comedy towards more nuanced acting performances. This can be attributed in part to the influence of legendary Russian theater director Konstantin Stanislavski’s theories on acting, translated by Americans into method acting techniques.
“The Method,” as it is also called, revolutionized acting by emphasizing actors’ immersion into their character’s emotional, psychological, and physical states. Actors were able to deliver performances that felt grounded and realistic.
Whenever we hear of actors drastically changing their diets, standards of living, and never breaking character until a film’s production is over, it’s a clear sign that they are engaged in The Method.
While method acting was widely popularized by actors such as Marlon Brando and James Dean, relatively little credit is given to actor Montgomery Clift, who brought The Method to the silver screen before his contemporaries.
Clift’s riveting performance in the 1951 film “A Place in the Sun” epitomizes his adept use of the technique: His portrayal of George Eastman, a young man caught in a web of ambition and desire, is widely regarded as one of the finest examples. Clift accurately captures the essence of Theodore Dreiser’s 1925 novel, “An American Tragedy,” on which the film is based.
George is the son of spiritually rich yet financially destitute missionaries. Despite his meager upbringing, George possesses two invaluable assets: boundless ambition and a prestigious family name. His relatives, the wealthy Eastmans, are headed up by industry tycoon Charles Eastman (Herbert Heyes).
After a chance encounter with George at a Chicago hotel, Charles extends an offer of employment should the young man ever visit him. George seizes the opportunity and soon finds himself at the opulent Eastman estate in California.
Despite a chilly reception from Charles’ wife Louise (Kathryn Givney) and son Earl (Keefe Brasselle), Charles makes good on his offer and hires George to work at one of his factories.
George toils away for months on a factory assembly line, all while secretly courting his coworker Alice Tripp (Shelley Winters). Their relationship, however, must remain clandestine due to the Eastman family’s strict prohibition against romantic involvement with company employees.
Invited to a lavish Eastman soiree at the estate, George, a quiet introvert, finds himself ostracized by the snooty attendees upon arrival. Seeking solace in a room with a pool table, George crosses paths with Angela Vickers (Elizabeth Taylor), a stunning swimsuit model and socialite.
A spark of mutual attraction ignites between George and Angela, affirming Alice’s prediction that his prestigious last name would elevate his fortunes. True to her words, George soon receives his inaugural promotion from Charles, setting him on a path toward success.
However, as George becomes ensnared in the lives of both Angela and Alice, unforeseen events unfold that threaten to overshadow his aspirations. Particularly troubling is Alice’s revelation of a closely guarded secret, thrusting George into a dilemma that tests the limits of both his ambition and loyalty.
This is an elegantly produced drama with some unexpected twists and turns. Producer and director George Stevens, working from a script by Michael Wilson and Harry Brown, depicts the passionate, sometimes tortured, drive for success within an initially humble man, drawing out an his unfortunate resolve to dispense with the past and embrace the glittering symbols of perceived success.
Clift adeptly brings George Eastman to life, skillfully portraying instances of his social unease and psychological turmoil that gradually reveal both the character’s inner struggles and motivations.
Meanwhile, Taylor shines as Angela Vickers, radiating a mesmerizing charm that offers an alternate future amid George’s uncertain journey. Through her performance, Taylor encapsulates the essence of extravagance and ease, welcoming George into a rarely-glimpsed realm filled with lavish vacations, shopping sprees, and exclusive social gatherings—a striking juxtaposition to his modest origins.
Regarded as one of the finest dramatic films of Hollywood’s Golden Age, “A Place in the Sun” lays out the elusive possibilities out there when pursuing upward mobility.
