24.6.10
Fotos personales
Estas excepcionales fotos, inéditas en Internet, debieron pertencer al álbum personal de Montgomery Clift. No hay ninguna información que las acompañe: ni fechas ni nombres de los que aparecen. No tengo la menor idea de quién es el hombre y los niños. Se me ha ocurrido que pudiera ser su cuñado (marido de su hermana) Robert McGinnis y los niños rubitos serían sobrinos de Monty.
20.6.10
The Big Lift.- foto del rodaje (1)
Esta foto corresponde al rodaje de The Big Lift (Sitiados, 1950). Pertenece a la web Mptv como se ve en el logo que tiene. Monty aparece entre las ruinas de Berlín y el otro hombre está sin identificar, parece muy joven para ser el director George Seaton.Para ver más fotos del rodaje, ver este post.
19.6.10
Antes y después
La primera foto es una foto personal tomada el 27 de enero de , la seginda es un fotogramas de Judgment at Nuremberg. 18.6.10
Retrato (30)
Con este retrato del año 2003 han querido darle a la imagen de Monty un aire pop. El resultado no está mal, pero podría haber salido un cuadro más chulo.Siempre me he preguntado por qué Andy Warhopl no utilizó la imagen d Montgomery Clift.
16.6.10
Raintree County.- sesión de peluquería y maquillaje (fotos del rodaje)
Como ya he comentado varias veces, Raintree County (El árbol de la vida, 1957) fue uno de los rodajes más fotografiados de Montgomery Clift. Suponía un incordio para el propio Monty pero nos ha dejado testimonios fotográficos como este. Algo tan simple como el momento de la caracterización de los actores pero que los espectadores nunca veían.
Una vez más, se muestra la enorme complicidad entre Monty y Liz.
Una vez más, se muestra la enorme complicidad entre Monty y Liz.
Elizabeth Taylor and Montgomery Clift in the make-up room. Photos by Bob Willoughby
10.6.10
Artículo de The New York Times
El periódico The New York Times me ha servido como una excelente hemeroteca para rastrear críticas cinematográficas de los estrenos de las películas de Montgomery Clif. Es decir, artículos de prensa escritos en el mismo momento del estreno.
En esta ocasión me he encontrado con este artículo-reseña que recoge la biografía y la filmografía del actor. No lleva fecha ni autoría.
En esta ocasión me he encontrado con este artículo-reseña que recoge la biografía y la filmografía del actor. No lleva fecha ni autoría.
Montgomery Clift
Alternate Name: Edward Montgomery Clift
Actor
Gender: Male
Born: October 17, 1920
Died: July 23, 1966
Birthplace: Omaha, Nebraska, USA
Gender: Male
Born: October 17, 1920
Died: July 23, 1966
Birthplace: Omaha, Nebraska, USA
About This Person
From All Movie Guide: Along with Marlon Brando, Montgomery Clift typified the emergence of a new breed of Hollywood star: Prodigiously talented, intense, and defiantly non-conformist, he refused to play by the usual rules of celebrity, actively shunning the spotlight and working solely according to his own whims and desires. A handsome and gifted actor, he channeled the pain and torment so rampant in his private life into his screen and stage roles, delivering remarkably poignant and sensitive performances which influenced generations of actors to come. Born October 17, 1920, in Omaha, NE, Clift began performing in summer stock at the age of 14 in a production of Fly Away Home. Within seven months, the play was running on Broadway, and throughout the remainder of his teen years he remained a fixture on the New York stage. Next, in 1935, was Cole Porter's Jubilee. In 1940, Clift also appeared with the Lunts in There Shall Be No Night, and in 1942 performed in The Skin of Our Teeth. His work in the Lillian Hellman smash The Searching Wind brought any number of offers from Hollywood, but he rejected them to appear in The Foxhole in the Parlor; finally, after earning acclaim for Tennessee Williams' You Touched Me, Clift agreed to make his film debut in the classic 1948 Howard Hawks Western Red River.
Full Biography
From All Movie Guide: Along with Marlon Brando, Montgomery Clift typified the emergence of a new breed of Hollywood star: Prodigiously talented, intense, and defiantly non-conformist, he refused to play by the usual rules of celebrity, actively shunning the spotlight and working solely according to his own whims and desires. A handsome and gifted actor, he channeled the pain and torment so rampant in his private life into his screen and stage roles, delivering remarkably poignant and sensitive performances which influenced generations of actors to come. Born October 17, 1920, in Omaha, NE, Clift began performing in summer stock at the age of 14 in a production of Fly Away Home. Within seven months, the play was running on Broadway, and throughout the remainder of his teen years he remained a fixture on the New York stage. Next, in 1935, was Cole Porter's Jubilee. In 1940, Clift also appeared with the Lunts in There Shall Be No Night, and in 1942 performed in The Skin of Our Teeth. His work in the Lillian Hellman smash The Searching Wind brought any number of offers from Hollywood, but he rejected them to appear in The Foxhole in the Parlor; finally, after earning acclaim for Tennessee Williams' You Touched Me, Clift agreed to make his film debut in the classic 1948 Howard Hawks Western Red River.
From the outset, Clift refused to play the studio game: He did not sign any long-term contracts and chose to work only on projects which intrigued him, like Red River. However, the film was so long in post-production that screen audiences instead got their first glimpse of him in Fred Zinneman's The Search, where unanimous praise for his sensitive, unsentimental, and Oscar-nominated performance made Clift among the hottest commodities in the business. He agreed to appear in three films for Paramount (only completing two): The first was William Wyler's 1949 adaptation of Henry James' The Heiress, with Billy Wilder's Sunset Boulevard scheduled to follow. At the last minute, Clift backed out of the project, however, to star in 20th Century Fox's 1950 war drama The Big Lift. Upon returning to Paramount, he starred in George Stevens' classic A Place in the Sun, earning a second Academy Award nomination for his performance opposite Elizabeth Taylor, who became his real-life confidante. Clift then disappeared from view for two years, coaxed out of self-imposed exile by Alfred Hitchcock to star in the 1953 thriller I Confess.
For Zinnemann, Clift next starred in the war epic From Here to Eternity; the film was the biggest success of his career, earning him another Best Actor bid (one of the movie's 13 total nominations; it took home eight, including Best Picture). After headlining Vittorio De Sica's Stazione Termini, Clift returned to Broadway to appear in The Seagull; in order to commit to the project, he needed to turn down any number of screen offers, including On the Waterfront and East of Eden. In total, he was away from cinema for four years, not resurfacing prior to the 1957 smash Raintree County; its success re-established him among Hollywood's most popular stars, but offscreen Clift's life was troubled. Tragedy struck when a horrific auto accident left him critically injured. He gradually recovered, but his face was left scarred and partially paralyzed. Still, Clift continued performing, delivering performances informed by even greater depth and pathos than before. His first project in the wake of the accident was 1958's The Young Lions, his first and only collaboration with Marlon Brando.
In 1959, Clift next reunited with Taylor for Suddenly, Last Summer, then starred in Elia Kazan's Wild River. In 1961, he co-starred in The Misfits (the final completed film from another Hollywood tragedy, Marilyn Monroe), then delivered a stunning cameo as a witness in the Stanley Kramer courtroom drama Judgment at Nuremburg. He then starred as Freud for director John Huston. The film was a box-office disaster, suffering a lengthy delay in production when Clift was forced to undergo surgery to remove cataracts from both eyes. He later sued Universal to recover his 200,000-dollar fee for the project; the studio countersued for close to 700,000 dollars, alleging his excessive drinking had doomed the picture's success. The matter was settled out of court, but it crippled Clift's reputation, and because of this, and his increasing health problems, he did not work for another four years until director Raoul Levy offered him the lead in the 1966 thriller Lautlose Waffen. At the insistence of star Elizabeth Taylor, he was then offered a supporting role in Reflections of a Golden Eye, but before filming began, he died of a heart attack at his New York City home on July 23, 1966. He was just 45 years old. ~ Jason Ankeny, Rovi
Education
Institution - Dalton School
Location - New York, New York
Year range - 1936
Location - New York, New York
Year range - 1936
Institution - Actors Studio
Year range - 1947
Year range - 1947
Filmography
Red River (1948)
Role: Matthew Garth
Nomination
Best Supporting Actor - 1961 Academy of Motion Picture Arts and Scie
Best Performance by an Actor in a Supporting Role in a Motion Pic - 1961 Hollywood Foreign Press Association
Best Actor - 1953 Academy of Motion Picture Arts and Scie
Best Actor - 1951 Academy of Motion Picture Arts and ScieBest Performance by an Actor in a Supporting Role in a Motion Pic - 1961 Hollywood Foreign Press Association
Best Actor - 1953 Academy of Motion Picture Arts and Scie
Best Actor - 1948 Academy of Motion Picture Arts and Scie
9.6.10
5.6.10
12 veces Monty
Estas fotos del típico fotomatón muestran al Monty más espontáneo y ocurrente. Y como siempre, muy sexy.
2.6.10
Motion Picture.- 1950
Portada de la revista Motion Picture de 1950. Desconozco de qué mes y cuál era el reportaje que ofrecía sobre Monty. En la portada aparece Ava Gardner.1.6.10
Foto del mes (32)
Créditos de la película Wild River (1960)En junio de 1960 se estrenaba Wild River (Río Salvaje). Este mes se cumple, por tanto, el 50º aniversario de su estreno. Una película que no recibió la atención que merecía este personalísimo y querido proyecto de Elia Kazan. Monty le agradeció que contara con él y es uno de sus rodajes más sobrios. Su interpretación de un lirismo nunca visto hasta entonces en un hombre junto a la mujer fuerte encarnada por Lee Remick conforman una melancólica historia de amor.
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