happy datings com - Who is montgomery clift dating

For instance, he was aware that screenwriters and directors often wanted to make the hero perfect; Clift wanted to make the character human, complicated, and not always admirable. Brando saw Clift as his only major competition, and Dean saw him as a model, an ideal to emulate.

Clift is often spoken of in context as a “gay actor” or in conjunction with Marlon Brando and James Dean. Unlike those performers, Clift’s best work has not become dated.

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Paradoxically, at the point when he worked with unsupportive or openly hostile homophobic producers and directors, the drugs and drinking sustained him as much as they destroyed him.

You write about the fan magazines of the 1950s that frequently used sexually suggestive headlines such as “Who Is Monty Kidding?

When audiences think they know something about an actor’s personal sexuality it becomes available as a touchstone to spectators watching a performance but is never mandatory.

People judging a performance often appreciate it most the more it varies from what we think we know about the performer — casting against type, nice people playing psychos, beautiful actresses playing ugly.

How do you think Clift would have fared personally and professionally if he began his career today, with the intrusion of the Internet and paparazzi?

The intrusion of the media today is offset by the openness of some gay performers — though not romantic leading men just yet.

Lawrence discusses with I was most impressed by Clift’s canny understanding of his own image.

Many biographers depict him as refusing to participate in the Hollywood star system, but that didn’t mean he was ignorant of it.

Ironically, even the scandal rags did not want any “truth” firmly established because that would rob them of the chance to repeatedly tantalize readers with the next promised exposé.

Biographical information suggests that people who worked with Clift always “knew” in exact proportion to what they wanted to know. Everyone minimized the complexity of Clift’s emotional relationships — with men, older women, young women — in order to maintain the image of the actor that appealed to them most.

If we think of Clift as an actor, then his persuasiveness as a romantic lead opposite Taylor, Olivia de Havilland, or Jennifer Jones increases our appreciation of his skill as he seems to become inseparable from the role. As new generations are introduced to Clift and Hudson, they often react to the performers without knowing any biographical information about them.

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