A Place in the Sun
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A Place in the Sun
George Stevens, 1951
USA | Format: 35mm | 122 minutes
SUNDAY, MAY 22 TIMING NOTICE
Due to the time required to switch projectors from 70MM (Cleopatra) back to 35MM (A Place in the Sun), A Place in the Sun will begin at approximately 5:30, and Raintree Country, originally scheduled for 7:30, will begin closer to 7:45.
We apologize for the inconvenience.
In the first of his three iconic screen pairings with Liz, Oscar-nominated Montgomery Clift stars as George Eastman, the ambitious but poor nephew of a wealthy industrialist, who takes an entry-level job in his uncle’s factory. Soon he starts dating his dowdy co-worker Alice (Oscar-nominated Shelley Winters), then promptly sets his sights on high-society debutante Angela Vickers (Taylor). But Alice will not go so quietly into that dark night, especially when she discovers she is pregnant with George’s baby. Masterfully crafted by George Stevens (who won the Best Director Oscar), this searing adaptation of Theodore Dreiser’s An American Tragedy has lost none of its power—or smoldering romance—in the six decades since it was first released.
“The most beautiful couple in the history of cinema.”
“There may be some belief that Montgomery Clift, as the tortured George Eastman, is not nearly the designing and grasping youth conceived by Dreiser. But his portrayal, often terse and hesitating, is full, rich, restrained, and, above all, generally credible and poignant. He is, in effect, a believable mama’s boy gone wrong. Equally poignant is Shelley Winters’s characterization of the ill-fated Alice. Miss Winters, in our opinion, has never been seen to better advantage than as the colorless factory hand, beset by burgeoning anxieties but clinging to a love she hopes can be rekindled. Elizabeth Taylor’s delineation of the rich and beauteous Angela also is the top effort of her career. It is a shaded, tender performance and one in which her passionate and genuine romance avoids the bathos common to young love as it sometimes comes to the screen.”
—A. H. Weiler, The New York Times