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montgomery clift
27.7.09
Cine Revue
Monty inédito (12)
Otra cuestión interesante es que está firmada por el propio Montgomery Clift. En esta foto se ve en detalle, la firma, que creo que es veraz.
23.7.09
Montgomey Clift Portraits
Montgomery Clift Portraits
por About MC
Este es el video que he preparado para hoy 23 de julio. Una amplia colección de fotos de Montgomery Clift a lo largo de su vida y carrera interpretativa. La he titulado precisamente Portraits porque todas tienen como común denominador que sólo aparece él. Hay fotos personales, foogramas y algunas han sido retocadas para no mostrar a nadie más. Encontraréis fotos muy poco conocidas, algunas ya las había puesto en el blog pero la mayoría estaban sin mostrar.
En Youtube he tenido problemas de copyright con el sonido y como no quiero cambiar de música (si se fijan cada foto sigue la letra de la canción), lo he subido en DailyMotion donde afortunadmente no he tenido problemas, aunque sea una web menos conocida.
Espero que os guste. Os dejo un enlace con la letra de la canción.
21.7.09
El estilo Clift
Lo que sería pronto conocido como "el Método" sirvió de cliché para una generación de actores que englobaría a Marlon Brando, James Dean, Paul Newman y el propio Clift, prolongándose en los 60 con Steve McQueen, Dustin Hoffman y Al Pacino.
El Método se basa en el método interpretativo de Stanislavski, actor y director teatral ruso cuyo sistema se basaba principalmente en el "método de las acciones físicas", que consiste básicamente en que el actor logre experimentar durante la representación de una obra, las mismas o semejantes emociones que tiene el personaje de la misma. Sería la forma más radical de "encarnar" un texto escrito. Por eso, se recurre a ejercicios que estimulan la imaginación, la capacidad de improvisación, la relajación muscular, la respuesta inmediata a una situación imprevista, la reproducción de emociones experimentadas en el pasado, etc.
Llevado a un extremo, el personaje quizás no sea un persona sino una animal o cualquier objeto. Uno de los ejercicios que suele pedirse en Escuelas Dramáticas es "sentirse como ..." y aquí entra múltiples posibilidades: una pelota, un árbol muerto, ...
Para la escena de ejecución de Un lugar en el so, Montgomery Clift visitó San Quintin y la noche anterior al rodaje durmió en una celda. El objetivo era "sentirse" como un preso. De ahí se deriva l preparación y ejerciación física. Aparentemente, Clift no tenía el perfil del soldado Prewitt como luchador de boxeo, por eso es la película donde la trasnformación física de Monty Clift es más evidente.
Actualmente hay quienes denostan aMontgomery Clift por su encasillamiento como actor de método. Planteo aquí la cuestión de si es un actor que, aparte de no ser un actor de masas ni comercialmente conocido, ¿puede tratarse de un actor que haya envjecido mal a los ojos de los epectadores de hoy día? No me refiero, claro está al más que notorio deterioro físico que sufrió sino a que aguno piensan que en su actuación acumulaba demasiados tics.
Otra cuestión que quiero plantear es la imagen de debilidad que proyectaba en la pantalla. Los personajes cliftianos, son torturados, sometidos a palizas, despreciados, incomprendidos o manipulados. Pero de todas las pruebas a las qu se vean sometidos salen incólumes y refozados.
20.7.09
Raintree County LP
Record Size: 12"
Duration: LP
Genere: Soundtrack & Theater
ARTIST: JOHNNY GREEN & The M-G-M ORCHESTRA
TITLE: RAINTREE COUNTY (Original Soundtrack)
LABEL: RCA VICTOR LOC-1038
CONDITION:Record: VG+ Cover: About VG or better (some wear,some tape, seam splits)See photo
TRACKS:PROLOGUE / NELL AND JOHNNY'S GRADUATION GIFTS / JOHNNY'S SEARCH FOR THE RAINTREE / FLASH PERKINS / JOHNNY AND SUSANNA'S FIRST MEETING / JULY PICNIC / BURNED-OUT MANSION;SUSANNA'S OBSESSION; LAMENT FOR HENRIETTA / FLASH JOINS UP; LITTLE JEEMIE IS BORN; NELL RETURNS / SUSANNA'S TRAGIC DECISION; HER DEATH; NELL, JOHNNY AND JEEMIE TOGETHER /
15.7.09
The Misfits.- fotos del rodaje (1): Monty sólo
13.7.09
Motion Picture.- jul 1949
12.7.09
James Jones Papers
Características:
Yale Universit Beinecke rare book and manuscript Library Yale Collection of American Literature.
JAMES JONES PAPERS
YCAL MSS 23
by Tina Evans
New Haven, Connecticut
April 1986Last Updated: February 1998
Extent Total Boxes: 43Other Storage Formats: oversizeLinear Feet: 18.75
Copyright � 2001 by the Yale University Library.
Acerca de su novela y Montgomery Cift, la información que nos llega es la siguiente:
Series I,Writings
"Fragments ofFrom Here to Eternity, (1951) are in Box 1, folders 1-18. In 1953From Here to Eternity was made into a movie and Jones was hired to write the screen treatment. He withdrew from the project because of disagreements with Harry Cohn of Columbia Pictures. The section Screenplays, Box 28, folders 340-43, contains a copy of his preliminary film treatment and notes".
Series II,Correspondence
"Although Jones did not rely upon literary agents, he did depend upon Ned Brown of MCA Artists Agency Ltd., to handle negotiations with Columbia Pictures concerningFrom Here to Eternity (Box 36, folders 526-29). Ned Brown arranged for Jones to do a preliminary screen treatment, but the project was later turned over to Dan Taradash. He remained friendly, however, with Brown and discussed the possibility of a dramatization of the stockade scene inFrom Here to Eternity, the choice of Montgomery Clift to play the part of Prewitt, and provided general news concerning the Handy Writing Colony. When the filming ofFrom Here to Eternity began, Brown arranged for Jones to work on a script for Norma Productions so that he could remain in Hollywood. There are also letters from Harry Cohn of Columbia Pictures detailing character development in the film and possible problems with the Army. In Box 34, folder 488 are two letters from Montgomery Clift.
A good deal can be learned about Jones's early life from his correspondence with family and friends. In Box 35, folders 512-19, are letters to and from brother George "Jeff" Jones. These letters began in 1939 when Jones first entered the Army and are full of details concerning military life, his classes at the University of Hawaii, and his attitude toward women. He would later draw upon these experiences to writeFrom Here to Eternity. Jones began writing both poetry and short stories during his enlistment and frequently discussed his work with Jeff, outlining his plans for a writing career early in 1943. There are no letters from the period between 1945 and 1949, although there are a few letters from 1950-51 in whichFrom Here to Eternity is discussed.
Correspondence with Aunt Mollie Haish dating back to 1926 can be found in Box 35, folders 499-502. Mollie Haish's letters provide a great deal of family news, particularly concerning Jones's younger sister Mary Ann. She also offered encouragement while he was writingFrom Here to Eternity.
Harry and Lowney Handy played a very important part in Jones's life from 1943 until 1957. Early in 1943, when he was AWOL, Lowney Handy interceded with the Army and helped to arrange an honorable discharge. More importantly, she recognized his potential as a writer. For fourteen years she and her husband supported Jones financially and emotionally. While he wrote "They Shall Inherit the Laughter" andFrom Here to Eternity, he traveled throughout the country in a jeep and trailer the Handys purchased for him. Harry Handy's correspondence, frequently addressed to both Jones and Lowney Handy, who often joined him in his travels, concerns insurance matters, home improvements, and money. Upon the completion ofFrom Here to Eternity, Jones returned to Illinois and assisted in the formation of the Handy Writing Colony in Marshall, Illinois. The letters from Lowney Handy cover the same subjects as those of her husband, although she also wrote in detail about other colony members such as Willard Lindsay and Don Sackrider. Jones corresponded with both Lindsay and Sackrider".
Para consultar todo el archivo ver aquí.
11.7.09
He was beautiful A Tribute to Montgomery Clift
De aquí a la eternidad.- Dvd
10.7.09
Stazione Termini Pressbook
Here is an original, studio-issued Movie Pressbook and a 4 page newspaper Herald to the 1954 film TAZIONE TERMINI starring JENNIFER JONES and MONTGOMERY CLIFT. Pressbooks were sent to movie theaters to help them promote the film. They were not intended for the public and are great collectibles. This one is 20 pages and measures 12x16. It contains photos, articles about the making of the film,plot synopsis, ad mas with taglines and images from the movie, cast and credits, publicity stuff and more.
4.7.09
Retrato (18)
En la web se incluye esta biografía de Montgomery Clif:
(English text)
Edward Montgomery Clift (October 17, 1920 – July 23, 1966) was an American film actor. He was known for his brooding, sensitive working-class character roles. He received four Academy Award nominations during his career.
Early life
Clift was born in Omaha, Nebraska, a son of William Brooks Clift, a vice-president of Omaha National Bank, and his wife, the former Ethel Fogg. Clift had a fraternal twin sister, Roberta (aka Ethel), and a brother, William Brooks Clift Jr (born 1918), who had an illegitimate son with actress Kim Stanley.The future actor's mother, who was reportedly adopted at the age of one year, nicknamed "Sunny", spent part of her life and her husband's money seeking to establish the Southern lineage that reportedly had been revealed to her at age 18 by the physician who delivered her, Dr. Edward Montgomery, after whom she named her younger son. According to Clift biographer Patricia Bosworth, Ethel was the illegitimate daughter of Woodbury Blair and Maria Anderson, whose marriage had been annulled before her birth and subsequent adoption. This would make her a granddaughter of Montgomery Blair, Postmaster General under President Abraham Lincoln, and a great-granddaughter of Francis Preston Blair, a journalist and adviser to President Andrew Jackson, and Levi Woodbury, an Associate Justice of the Supreme Court. None of these relationships, however, has been proven and remain speculative in the absence of documentation.As part of Sunny Clift's lifelong preparation for acceptance by her reported biological family (a goal never fully achieved), she raised Clift and his siblings as if they were aristocrats. Home-schooled by their mother as well as by private tutors in the United States and Europe, in spite of their father's fluctuating finances, they did not attend a regular school until they were in their teens. The adjustment was difficult, particularly for Montgomery. His performance as a student lagged behind that of his sister and brother. Clift was educated in French, German, and Italian.
Film career
Appearing on Broadway at the age of 13, Clift achieved success on the stage and starred there for 10 years before moving to Hollywood, debuting in 1948's Red River opposite John Wayne.Clift was nominated for an Academy Award for Best Actor that same year for The Search. His sensitive and intense quality gave him an image as the kind of person to be taken care of.His love scenes with Elizabeth Taylor in A Place in the Sun (1951) represented a new standard for romance in cinema. His roles in A Place in the Sun, the 1953 classic From Here to Eternity, and The Young Lions (1958) were career milestones.Clift and Marlon Brando, who was also born in Omaha, had reputations as Hollywood rivals because of their rapid rise to stardom and similar acting styles. Clift was one of James Dean's idols and he would sometimes call Clift "just to hear his voice".Clift reportedly turned down the starring roles in Sunset Boulevard and East of Eden. At one point he was receiving so many offers of roles that friends had to squeeze past stacks of them in order to walk up the stairs.
Car accident
On May 12, 1956, while filming Raintree County, he smashed his car into a telephone pole after leaving a party at the Beverly Hills home of his Raintree County co-star and close friend Elizabeth Taylor and her then-husband Michael Wilding. Alerted by friend Kevin McCarthy, who witnessed the accident, Taylor raced to Clift's side, manually pulling his tongue out of his throat, as he'd begun to choke on it. He suffered a broken jaw and nose, a fractured sinus, and several facial lacerations which required plastic surgery. In a filmed interview, he later described how his nose could be snapped back into place.After a long recovery, he returned to the set to finish the film. Against the movie studio's worries over profits, Clift rightly predicted the film would do well, if only because moviegoers would flock to see the difference in his facial appearance before and after the accident. The pain of the accident led him to rely on alcohol and pills for relief, as he had done after an earlier bout with dysentery left him with chronic intestinal problems. As a result, Clift's health and looks deteriorated considerably.
Post-accident career
His post-accident career has been referred to as the "longest suicide in Hollywood history" because of his alleged substance abuse. Clift continued to work over the next 10 years. His next three films were Lonelyhearts (1958), The Young Lions (1958) and Suddenly, Last Summer (1959). Clift starred with Lee Remick in Elia Kazan's Wild River in 1960. In 1958, he turned down what became Dean Martin's role in Rio Bravo, which would have reunited him with John Wayne.He then costarred in John Huston's The Misfits (1961), which turned out to be Marilyn Monroe and Clark Gable's last film. Monroe, who was also having emotional problems at the time, famously described Clift as "The only person I know who is in worse shape than I am." By the time Clift was making John Huston's Freud: The Secret Passion (1962) his destructive lifestyle was affecting his health. Universal sued him for his frequent absences that caused the film to go over budget. The case was later settled out of court; the film's success at the box office brought numerous awards for screenwriting and directing, but none for Clift himself. Some time after the initial release of the film Clift appeared on the The Hy Gardner Show where he spoke at length about the accident and its effects, his film career, and treatment by the press. During the interview Gardner mentions that it is the "first and last appearance on a television interview program for Montgomery Clift".Clift's last Oscar nomination was for best supporting actor for his role in Judgment at Nuremberg (1961), a 12-minute part. The film's director, Stanley Kramer, later wrote in his memoirs about how Clift—by this stage a wreck of a man—struggled to remember his lines even for this one scene:"Finally I said to him, "Just forget the damn lines Monty. Let's say you're on the witness stand. The prosecutor says something to you, then the defence attorney bitterly attacks you, and you have to reach for a word in the script. That's all right. Go ahead and reach for it. Whatever the word may be, it doesn't really matter. Just turn to (Spencer) Tracy on the bench whenever you feel the need, and ad lib something. It will be all right because it will convey the confusion in your character's mind." He seemed to calm down after this. He wasn't always close to the script, but whatever he said fitted in perfectly, and he came through with as good a performance as I had hoped."
Death
On July 22, 1966, Clift spent most of the day in his bedroom in his New York City townhouse, 217 East 61st Street. He and his live-in personal secretary, Lorenzo James, had not spoken much all day. At 1 a.m., Lorenzo went up to say goodnight. The Misfits was on TV that night, and Lorenzo asked Clift if he wanted to watch it. "Absolutely NOT!" was the reply. This turned out to be the last time Montgomery Clift spoke to anyone. At 6 a.m. the next morning, Lorenzo went to wake him but found the bedroom door locked. Unable to break it down, he ran down to the garden and climbed a ladder to the bedroom window. When he got inside, he found Clift dead. He was undressed, lying on his back in bed, with glasses on and fists clenched.Clift's body was taken to the city morgue at 520 First Avenue and autopsied. The autopsy report cited the cause of death as a heart attack brought on by "occlusive coronary artery disease". No evidence was found that suggested foul play or suicide. It is commonly believed that addiction was responsible for Clift's many health problems and his death. In addition to lingering effects of dysentery and chronic colitis, an underactive thyroid was later revealed. A condition that (among other things) lowers blood pressure, it may have caused Clift to appear drunk or drugged when he was sober. (A further health issue, though unrelated, was that Clift underwent cataract surgery in his later years; afterward he had to wear glasses.)Following a 15-minute ceremony at St. James Church attended by 150 guests including actresses Lauren Bacall and Nancy Walker, Clift was buried in the Quaker Cemetery, Prospect Park, Brooklyn, New York City. Elizabeth Taylor, who was in Paris, sent flowers, as did Roddy McDowall, Myrna Loy, and Lew Wasserman.
Relationships
Patricia Bosworth, who had access to Clift's family and many people who knew and worked with him, writes in her book, "Before the accident Monty had drifted into countless affairs with men and women. It suited his personality to have sex with a variety of partners. After the accident and his drug addiction became more serious, Monty was often impotent, and sex became less important to him anyway. His deepest commitments were emotional rather than sexual, and reserved for old friends; he was unflinchingly loyal to men like William "Bill" LeMassena and women like Elizabeth Taylor, Libby Holman, Nancy Walker and Ann Lincoln."
When he bought his Manhattan townhouse in 1960 at 217 East 61st Street and became involved in renovations, he reported to a close friend that he envisioned living there someday with a wife and children. According to another biography, Clift's last known lover was Claude Perrin, a Frenchman who eventually became the actor's personal assistant before their relationship ended in the mid 1960s.
3.7.09
Blog de Noel Alumit
2.7.09
Movie Life.- jul 1979
Issue Includes:
Christopher Plummer and Oliver Reed “male Call” (4 b/w pix). Barbara Hershey and Deborah Ann Valkenburgh “The wonderful world of women” (2 b/w pix). Lauren Bacall “her marriage to bogey and Robards and her affair with Sinatra” (3 b/w pix). Woody Allen “His films and his women” (large b/w pic + 1 b/w pic). Carrie Fisher, Terri Garr, Joan Hackett, and Carol Kane “Outrageous ladies of the stage and Screen” (large group pic + 1 b/w pic). The Clash “Hits the USA” (3 b/w pix). Roger Voudouris “On the inside track with Roger” (large b/w pic).
Montgomery Clift and Marlon Brando “Their Love Hate relationship” (3 b/w pix)
Liza Minnielli, Paul Newman, Joanne Woodward, and Robert Redford “What their handwriting reveals about them” (1 b/w pic of each). Natalie Wood “Married Three Times, what she’s learned about sex, love and Marriage” (large b/w pic). Jack Nicholson, Diane Keaton, Warren Beatty “Hollywood’s Newest Triangle” (3 b/w pix). Misc Pix throughout: Gilda Radner, Marilu Henner, Jack Nicholson, Catherine Deneuve, janet Leigh and Tippi Hedren, Alison Arngrim, Frankie Avalon, Meatloaf, Nicolette larson, Cher, Rudy Nureyev, Sophia Loren, John Belushi, Al Pacino.
La veterana revista de cine continuaba publicándose en los años 70 y cabe destacar cómo se habla ya de otras figuras de cine o d ela música como el grupo punk The Clash que cantó The Right Profile.
Movie Stars Parade (Jul 1949)
Harry Cramton Collection. Harry was a graphic artist, with a keen eye for beauty, who became a movie press agent i the early years of film. In 2006 he passed away in Toronto, Canadá. He was in his late 80'S althought nobody really knew hold the actually was. Harry was a avid collector of vintage Hollywood magazines. He loved the 1920's and 1930's era and ALWAYS DRESSED TO THE"HILT"ADORNED IN ATTIRE FROM THAT ERA.INCLUDING APPROPRIATE HATS,CANES AND COLORFUL MULTI PIECE SUITS COMPLETE WITH SUSPENDERS AND SHOES TO MATCH.THOUGH HE LIVED IN CANADA'S MOST PRETENTIOUS ART DISTRICT"YORKVILLE"HARRY WOULD TURN HEADS WHEREVER HE WENT IN PART BEACUSE OF HIS EXCESSIVE COLOGNE USE.HARRY CRAMPTON WAS EXTREMELY FRIENDLY TO ALL WHO KNEW HIM AND PASSIONATE ABOUT BOTH HIS COLLECTION AND HOLLYWOOD STARS.HIS UNIQUE SPECIALNESS IS MISSED BY HIS FRIENDS AND NEIGHBORS.HE WOULD BE HAPPY TO KNOW THAT HIS COLLECTION IS BEING SHARED WITH OTHER HOLLYWOOD COLLECTORS.WHERE THE ITEMS CAN BRING NEW LIFE AND BEAUTY TO THEIR COLLECTIONS,
Portada de la revista Movie Stars Parade, de julio de 1949, que incluye un reportaje suyo.
1.7.09
Foto del mes (21)
Estrenamos mes de Julio, que es como decir Mes de Montgomery Clift, aunque en este caso recordemos su triste muerte.
La foto del mes que he elegido creo que es la que mejor ilustra el "espíritu de Monty": su imagen joven, con la mirada hacia el cielo, reconcentrado y levemente melancólico, la contradición de su juventud con su tormento interior.
Su carrera comprende 17 títulos entre 1948 y 1966. Trabajó con los grandes directores (Hawks, Hitchcock, Stevens, Zinnemann, Kazan, Huston, Wyler) y las grandes estrellas (Lancaster, Marilyn Monroe, Katherine Hepburn, Brando, Wayne, Elizabeth Taylor especialmente) de entonces.
Su carrera comprende 17 títulos entre 1948 y 1966. Trabajó con los grandes directores (Hawks, Hitchcock, Stevens, Zinnemann, Kazan, Huston, Wyler) y las grandes estrellas (Lancaster, Marilyn Monroe, Katherine Hepburn, Brando, Wayne, Elizabeth Taylor especialmente) de entonces.
Say, where did I see this guy?
In red river?
Or a place in the sun?
Maybe the misfits?
Or from here to eternity?
Everybody say, is he all right?
And everybody say, whats he like?
Everybody say, he sure looks funny.
Thats...Montgomery Clift, honey!
New York, New York, New York, 42nd street
Hustlers rustle and pimps pimp the beat
Monty Clift is recognized at dawn
He aint got no shoes and his clothes are torn
I see a car smashed at night
Cut the applause and dim the light
Monty's face is broken on a wheel
Is he alive? can he still feel?
Everybody say, is he all right?
And everybody say, whats he like?
Everybody say, he sure looks funny.
Thats...Montgomery Clift, honey!
Nembutol numbs it all
But I prefer alcohol
He said go out and get me my old movie stills
Go out and get me another roll of pills
There I go again shaking, but I aint got the chills