Dalbert Pringle For starters - I had always thought that actor Montgomery Clift was just another empty-headed, Hollywood "pretty-boy", and, basically, nothing more than that. But his portrayal in A Place In The Sun (APITS, for short) proved to me, beyond a shadow of a doubt, that he was really quite a gifted performer.In my opinion, it was definitely Clift's heartfelt portrayal as the tragic George Eastman character who gave APITS's story of social snobbery and murder its depth and its meaning. I'd say that it was Clift, alone, who carried this film over its many flaws and clichés to its riveting, melodramatic conclusion.Yes. Of course, it certainly did help APITS's overall success that the gorgeous, 19-year-old Elizabeth Taylor was cast as Angela Vickers, the sole focus of George's hopes, his dreams and his burning desire.But once poor George became hopelessly involved with pretty, young Angela, this viewer could easily understand what heady and emotional turmoil drove him at first to contemplate and then commit the ultimate "crime of passion".If you ask me - I think that even today, 66 years later, this depiction of the "American Tragedy" holds up surprisingly well. It's a film that has somehow managed to avoid that inevitable "dated" feeling which seems to plague so many pictures from that particular era.

brussels1900 A major film in its day that has not--in my opinion-- held up very well over the years---- stodgy, stagy and more than a little ponderous---and the trial near the end of the picture must have seemed ludicrous even to contemporary audiences. But, watch the breathtaking scenes between a stunningly beautiful 18 year old Elizabeth Taylor (before all the marriages and scandals) and an equally ravishing Montgomery Clift and see if you can resist its attraction regardless of your gender, sexual orientation or critical preferences. Although the film--as I have said---has aged poorly---watch the scene where Taylor runs into Clift for the first time shooting pool by himself in the billiard room of his rich uncle's house; watch the famous dance scene at a swank party and the record breaking in length kiss that follows---director George Steven's camera hovering as close to the actors as it can get without entering a bodily orifice--- and you can feel the heat shimmering off the screen. If you want--read a plot synopsis of the film so you will have an idea about what is going on and then fast forward through everything except when Liz and Monty come into view. You won't be disappointed. After writing this review I think it's time for me to take a cold shower.

grantss Brilliant drama. Was going to say "crime-drama" but it is much more than that. Starts out as a romance and general relationship drama and then evolves into something more and a whole letter better. Retains its sense of romance until the end, but throws in many topical issues along the way (validity, or otherwise, of the death penalty being one of them).Excellent plot. The way the movie evolves from a small town human drama to a crime drama and courtroom drama is incredible, and totally unpredictable. Even in the final scene you don't know how things are going to work out.Superb directing from George Stevens. Hitchcockian in some of his uses of camera angles, and Billy Wilder-like in his presentation of human lives and tragedy.The movie will be mostly remembered for the magnetic, sensitive performance from Montgomery Clift. Known for portraying deep, emotional characters, Clift doesn't disappoint here. Plus, here he shows a darker side too. Well deserved his Best Actor Oscar nomination and unlucky not to win.Shelley Winters also deserved her Best Actress nomination for her portrayal of Alice. Played the shy, sweet, unassuming, unpretentious character to perfection.No nomination for Elizabeth Taylor but she lights up the screen in every scene she is in. Stunningly beautiful.Interesting to see Raymond Burr as the District Attorney. Good work by him.A classic.

dougdoepke Outstanding example of Hollywood craftsmanship, attention to detail, and sheer romanticism. The film takes up two key themes in American life--- class and morality, treating each with uncommon care. Consider the opening scene of the indigent George (Clift) standing roadside while cars whiz past, much as life seems to be brushing him aside. Mocking him at the same time is a billboard with a provocative girl advertising the Good Life. No wonder he rushes to his rich uncle Eastman's mansion where he hopes to join the fast cars and the beautiful girl, if he dare to hope so.That scene of his entering the mansion's huge reception room is to me one of the movie's best. In his cheap, wrong color suit, George couldn't be more self-conscious. How will the rich Eastmans' receive him, in their fancy party clothes ready for a night on the town. In fact, they are oh, so, polite, while keeping a social distance. After all, he does come from the poor family branch, his mother giving her life over to religious pursuits instead of money. For his brief visit, at least he gets a job on an Eastman assembly line. The scene itself is beautifully staged and performed, while Clift is simply terrific here as the uncertain, poor relation, all deference and submission.For awhile it looks like the cars will continue to whiz by as he repeats the same deadening moves on the assembly line. But at least he has someone now to share time with. Alice (Winters) is a dowdy working girl across from him. Lonely, they soon get together. But now life gets complicated for George. Suddenly, one day, he's promoted to administration; at the same time, he's invited to a party at the mansion. Eagerly, he attends, this time dressed appropriately and ready to please, but he's still bypassed by other guests. Then, in another memorable scene, lightning again strikes in the form of the beauteous Angela (note the classy name), who suddenly enters his solitary billiards room where he has retreated, friendless. Can it be, as they banter, that she's taking a real fancy to him with all her upper class ways. An unmistakable glow begins to emerge on screen, and it's a tribute to both Taylor and Clift that their chemistry is both vivid and compelling in this key scene that sets the stage for what follows. Now, it seems, a whizzing car has stopped for him and all he has to do is get in. But back at the rooming house waiting for him is Alice. Not just a reminder of the roadside life he'd like to leave, she's pregnant and insisting on marriage. So, on one hand, he's got the frumpy, working class Alice, alone and pregnant, and on the other, a budding romance with the glitzy, upper class Angela, who's opened the door to the billboard life he could only dream of. What's George to do. Then, in a gutsy scene for the repressed 1950's, Alice is sent to a doctor (Wolfe) for what, by inference only, is an abortion. The writers do a clever job getting her purpose across without violating the Production Code's prohibition on such frank talk. Nonetheless, the doctor firmly refuses, leaving both George and Alice in a real pickle.With his religious background, George still has a conscience even if he's deeply in love with Angela and drawn to her materialistic world. Thus, the question is which direction he will go in-- will he do the morally right thing and marry Alice or will he succumb to the pull of a glamorous life with Angela. In short, which is stronger: moral duty or romantic love. In a moment of moral weakness, George plans to relieve his dilemma by drowning Alice in a lake, seemingly the only recourse left open to a life with Angela. But fate (the call of the loon) intervenes and Alice accidentally tips over the small boat they're in. Importantly, the camera withdraws at that point to a distance shot so that we cannot see exactly what happens next. But Alice ends up dead by drowning, just as George had planned when giving false names to the boat rental. However, having escaped, George is now torn by a sense of guilt even as he and Angela plan to marry, the whizzing car door now open wide. But, it's at that fateful point, the cops put various clues together and arrest George for murder. But is he really guilty. We can't be sure since we never saw the exact events. It seems not even George is sure. If nothing else, at this point George is trying to come to grips with what his intention was vs. what actually happened in the water. Could he have saved her as the DA contends at George's trial. She couldn't have been far away, then why didn't he. George seems unclear himself. In a melodramatic moment, the DA (Burr) claims George struck Alice with a paddle, thereby insuring her death. But that is clearly wrong since we know what happened in the boat. But the jury apparently buys it, otherwise how could they sentence him to first-degree murder. Thus, the car door closes on George forever.The question is-what is George really guilty of. Is it just the intention but not the act itself. Or is it the act in some ill-defined sense. The movie settles for being guilty of a wrong thought at a crucial moment. That may be blameworthy in some metaphysical sense, but certainly doesn't justify his execution. As things stand George's sentence stands as a miscarriage of justice. In that sense the movie turns out to be a tragedy, particularly for Alice whose only crime is being poor and frumpy. The moral, I guess, is that what may seem an up- spiral may actually be its ironical opposite.Anyway, it's a brilliantly sensitive, thought provoking movie, deserving of its many awards.