A Place In The Sun
Montgomery Clift stars as George Eastman, a poor young man determined to win a place in respectable society and the heart of a beautiful socialite (Elizabeth Taylor).
Copyright © 1951 by Paramount Pictures Corporation. All Rights Reserved.
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Tomatometer®reviews counted: 10see all A Place In The Sun reviews
Top Critic Reviews
Rotten: A good example of the kind of soporific nonsense that won rave reviews and armloads of Academy Awards back in the 50s, while the finest work of Ford, Hawks, and Hitchcock was being ignored.
- Dave Kehr, Chicago Reader, Tuesday, November 13, 2007
Fresh: Far less powerful than the novel.
- Dennis Schwartz, Ozus' World Movie Reviews, Thursday, June 24, 2010
A lower class relative of a well-positioned family courts two girls, one a clandestine factory worker and the other a society girl of means, but the unions become problematic when the former gets pregnant. A little more than loosely based on Theodore Dreiser's An American Tragedy, A Place in the Sun is a thorough and fascinating examination of class and the American Dream. George, Clyde in the book, is full of aspirations and lust, but his lack of acceptance in society prevents a healthy expression of his desires. This is not to say that George is innocent, as the film version makes abundantly clear; it's a credit to both the book and the film that the problem is not myopically treated: George is neither a victim of his position nor is he blameless. The film, cutting some truly important events and failing to expose the blame religion has in relation to George's tragic circumstance, is not as full as the book and shortens the blanket of the material's scope. Overall, as adaptations go, this is a very good one though it doesn't live up to the full genius of the original.
- hunterjt13, Tuesday, October 15, 2013
"a place in the sun" is the milestone for the careers of montgomery clift and elizabeth taylor, adapted from theodore dreiser's another classic called "an american tragedy"...inevitably the movie is somehow embellished with the dreaminess of first love, how could audience resist such a divine bond of clift and taylor who could two of the most fair-looking people on earth? it's a sad tale about a poor young lad named george who intends to evolve himself by purchuing a work position in his uncle's enterprise. then to cope with loneliness and his raging libido, he dives into a frivolous relationship with his female co-worker(winters)...but trouble occurs as he encounters his goddess heaven above, angela, the symbol of everything he craves for: wealth, fame, status, of course she's also so damned beautiful that he's immediately capitivated as the prisoner of his love for her. amazingly angela also falls head over heels in love with timid but gorgeous george. meanwhile his transient girlfriend happens to be conceived of his child... now george has to confront a moral issue, how should he get rid of this nuisance who will hinder his life ambition, his career and his mostly intense passion? then he schemes to drown her in some lake as some unknown victim...could george be able to pull this task off??? as usual, the production romanticizes the story by savoring taylor's role as a debutante socialitte who is an indifferent snob in the original, and the script beautifies her as a prime gently innocent woman firstly in love with a poor lad. when it comes to the part of monty clift, this movie does do justice to the inward conflicts of the protagonist who is ashamed of his prole background and tangled with mental chaos of "to be or not to be"....at the scene he's on the boat with shirley winters in the lake, his pupils are foggily dazed with various complexity, you could sense hatred, animosity shimmered upon his transparent pupils, but a sudden ease of mercy strikes, the gaze of his eyes get softened right away. thru various scenes, the audience feels the empathy of diverse emotions thru monty's effectively expressive eyes relentlessly, then you shall witness the essence of good actings. despite the romanticism of taylor and clift, this flick still vents the core of the protagonist's disorientated thoughts thanks to monty's performance, such as his aspiration to climb toward the top by staring into the company advertisement and the expensive convertible of taylor's. basically the original novel attempts to render a sort of existentialistic bewilderment when the protagonist approaches the death sentence still without a sense of salved comprehesion toward his god nor a bit mercy granted by the rich girl whom he thught he loved, at last he suffers from the angst of estray life right toward his demise. but in the flick, everything's relieved due to the baptism of love and his finally enlightened atonement: the last image flashes to monty's mind is taylor's contour as she kisses him while he's looming toward the gas chamber. but this flick is still worthy of acclaim for its daring attitude to tackle the taboo of pre-marital pregancy and possibly concocted abortion at moralistic 50s with maccthyism. but what intruded the censor to forbid this flick and require some edited revison for release? the long ignited kiss of taylor and clift. ha.
- dietmountaindew, Tuesday, January 22, 2008