Reżyseria:
George StevensZdjęcia:
William C. MellorMuzyka:
Franz WaxmanObsada:
Montgomery Clift, Elizabeth Taylor, Shelley Winters, Anne Revere, Keefe Brasselle, Fred Clark, Raymond Burr, Herbert Heyes, Shepperd Strudwick (więcej)VOD (1)
Opisy(1)
This social tragedy film, based on Theodore Dreiser's novel, stars Montgomery Clift, Elizabeth Taylor and Shelley Winters. Handsome George Eastman is guilty of just one thing: being born on the wrong side of the tracks. But this hard-working young man plans to improve his social standing. When he meets Angela Vickers, a beautiful society lass, love blossoms. But a long separation leaves George lonely and uncertain of their future. So he begins a clandestine affair with homespun, mill-worker Alice. Once George's relationship with Angela is rekindled, he'll have to figure out how to get rid of Alice? (oficjalny tekst dystrybutora)
(więcej)Recenzje (2)
A powerful drama about how falling in love and falling in love are simply different things. The first girl isn't the right one, but the second one, that's something different. Well, when it's Elizabeth Taylor... A dramatic story dominated by the naive and perhaps somewhat foolish character George, played by Montgomery Clift, proving he wasn't just a pretty face.
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A melodrama with very dark undertones and one of the best presented instances of frustration. Despite his deadly effort, George is unable to find fulfilment in his personal or professional life, and the American Dream, whose fulfilment he considers to be his obligation as an ambitious young man, turns into a series of stressful life choices, none of which turn out to be right. Or does he really love Angela as such and not just the unattainable lifestyle that she, as a woman from a higher social class, personifies in his eyes? The unanswered questions enable the protagonist to be perceived simultaneously as a culprit and as a victim of a society whose demands he wanted to satisfy at any cost. The melodramatic and noir levels are firmly intertwined. The film doesn’t switch to another genre at any particular moment; it only starts to accentuate it more. The composition of the shots, with space intentionally left empty and with appropriately placed objects, has a certain narrative value in and of itself, as it draws attention to the mental state of the characters and hints at what undertones will happen (the courtroom in the background before the fateful journey to the lake). The directing exhibits absolute control over every scene, thanks to which George Stevens was able to weave a more subversive message into the film through the mise-en-scéne than that which the script conveys (thus adding hints of other thwarted erotic desires to the Oedipal fixation on the mother). In addition to that, the film also offers an absolutely professional presentation of method acting and an emotional whirlwind that won’t let you catch your breath. 85%
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