Edward Montgomery Clift (October 17, 1920 – July 23, 1966) was an American actor. A four-time Academy Award nominee, he was known for his portrayal of "moody, sensitive young men", according to The New York Times.Obituary Variety, July 27, 1966.
He is best remembered for his roles in Howard Hawks's Red River (1948), George Stevens's A Place in the Sun (1951), Fred Zinnemann's From Here to Eternity (1953), Stanley Kramer's Judgment at Nuremberg (1961), and John Huston's The Misfits (1961).
Along with Marlon Brando and James Dean, Clift was considered one of the original method actors in Hollywood (though Clift distanced himself from the term); he was one of the first actors to be invited to study in the Actors Studio with Lee Strasberg and Elia Kazan.Capua, p. 49 Clift's decision to sign a contract only after his first two films were a success created "a power differential that would go on to structure the star–studio relationship for the next 40 years".
Early life
Edward Montgomery Clift was born on October 17, 1920, in Omaha, Nebraska, into a wealthy family. His father, William Brooks "Bill" Clift (1886–1964), was the vice-president of Omaha National Trust Company.LaGuardia, p. 6 His mother was Ethel Fogg "Sunny" Clift (née Anderson; 1888–1988). His parents were Quakers and met as students at Cornell University, marrying in 1914.LaGuardia, p. 5Casillo, p. 5 Clift had a twin sister, Roberta (who later went by "Ethel"), who survived him by 48 years, and an older brother, William Brooks Clift, Jr. (1919–1986), known as "Brooks", who had a son with actress Kim Stanley and was later married to political reporter Eleanor Clift. Clift had English and Scots Irish ancestry on his father's side, wealthy relatives who hailed from Chattanooga, Tennessee. His mother, Sunny, was adopted; she maintained that Clift's true maternal great-grandfathers were the US postmaster-general Montgomery Blair and Union commander Robert Anderson, a part of her lineage that was clarified to her (when she came of age) by Dr. Edward Montgomery, the family doctor who delivered her.Capua, p. 4Casillo, pp. 4–6 She spent the rest of her life trying to gain the recognition of her alleged relations.
Part of Clift's mother's effort was her determination that her children should be brought up in the style of aristocrats. Thus, as long as Clift's father was able to pay for it, he and his siblings were privately tutored, travelled extensively in America and Europe, became fluent in German and French, and led a protected life, sheltered from the destitution and communicable diseases that became legion following the First World War.Bosworth, chapters 1–4 At age 7, while aboard a European ship, a boy forced Clift's head underwater in the swimming pool for so long that a gland in his neck burst from his struggle to breathe; he had a long scar from the resulting infection and operation.Capua, pp. 6–7LaGuardia, p. 11 The Wall Street crash of 1929 and the Great Depression of the 1930s ruined Clift's father financially; Bill was forced to downsize and move to Chicago to take a new job while Sunny continued traveling with the children. In a 1957 issue of McCall's magazine, Clift quipped, "My childhood was hobgoblin, my parents traveled a lot...That's all I can remember."Capua, p. 9
Early theater career: 1934–1946 Clift had shown an interest in acting and theatrics as a child living in Switzerland and France but did not take the initiative to go out for a part in a local production until age 13, when his family was forced to downsize and relocate from Chicago to Sarasota, Florida. He had a small non-paying role.LaGuardia, pp. 11–12
Close to a year later the family moved again, settling in New York City. Clift debuted on Broadway at age 14 as Harmer Masters in the comedy Fly Away Home, which ran from January to July 1935 at the 48th Street Theatre. The New York World-Telegram noticed Clift's "amazing poise and dexterity" while producer Theo Bamberger commended him for what he called a "natural histrionic instinct."Capua, p. 11
Clift spent a short time at the Dalton School in Manhattan but struggled with traditional schooling.LaGuardia, p. 18 He continued to flourish onstage and appeared in works by Moss Hart and Cole Porter, Robert Sherwood, Lillian Hellman, Tennessee Williams, and Thornton Wilder, creating the part of Henry in the original production of The Skin of Our Teeth.Lawrence, Amy (2010). The Passion of Montgomery Clift, p. 13
Clift proved to be a successful young stage actor working with, among others, Dame May Whitty, Alla Nazimova, Mary Boland, Cornelia Otis Skinner, Fredric March, Tallulah Bankhead, Alfred Lunt, and Lynn Fontanne. In 1939, as a member of the cast of the 1939 Broadway production of Noël Coward's Hay Fever, Clift participated in one of the first television broadcasts in the United States. The Hay Fever performance was broadcast by NBC's New York television station W2XBS (the forerunner of WNBC) and was aired during the 1939 New York World's Fair.Lawrence 2010, p. 261 At age 20, he appeared in the Broadway production of There Shall Be No Night, a work that won the 1941 Pulitzer Prize for Drama.
Clift also participated in radio broadcasts early in his career, though, according to one critic, he hated the medium. On May 24, 1944, he was part of the cast of Eugene O'Neill's Ah, Wilderness! for The Theatre Guild on the Air.Edoneill.com
In 1949, as part of the promotional campaign for the film The Heiress, he played Heathcliff in the one-hour version of Wuthering Heights for Ford Theatre.Archive.org In January 1951, he participated in the episode "The Metal in the Moon" for the series Cavalcade of America, sponsored by the chemical company DuPont Company. Also in 1951, Clift was cast for the first time as Tom in the radio world premiere of Tennessee Williams' The Glass Menagerie, with Helen Hayes (Amanda) and Karl Malden (the Gentleman Caller), for The Theatre Guild on the Air.Archive.org
Clift did not serve during World War II, having been given 4-F status after suffering dysentery in 1942. Immediately following the end of the war in September 1945 (in what would be Clift's penultimate Broadway performance,) he starred in the stage adaptation of D.H. Lawrence's short story You Touched Me. He and actor Kevin McCarthy later wrote a screenplay for a film adaptation that was never made.LaGuardia, p. 92
By this time, Clift had developed what would come to be regarded as his signature acting style and biggest impact on the future of modern film acting, as told by biographer Robert LaGuardia:
Career Rise to film stardom: 1946–1956
At age 25, Clift's first Hollywood film role was opposite John Wayne in the Western film Red River; director Howard Hawks was impressed by his recent stage performance and was willing to sign him with no strings attached, which greatly appealed to Clift's sense of independence.LaGuardia, p. 58 Although filmed in 1946, the film was delayed release until August 1948. A critical and commercial success, the film was nominated for two Academy Awards.Red River (1948) - Awards
Clift's second film role (though it premiered first that same year) was The Search, which earned him his first nomination for an Academy Award for Best Actor. Clift's naturalistic performance led to director Fred Zinnemann's being asked, "Where did you find a soldier who can act so well?" Clift was unhappy with the quality of the script, and reworked it himself.Clift, 00:24:52 The film was awarded a screenwriting Academy Award for the credited writers.Awards Database – Montgomery Clift January 2, 2016 MGM distributed the film nationwide as magazines generated massive attention for Clift.
Paramount Pictures ended up offering him the best of any incoming studio offer (which he accepted): a three-film deal (down from the typical seven-year contract) that came with the freedom to turn down any script and any director, as well as the right for either himself or the studio to terminate the agreement at any time.
Every major Hollywood studio wanted to make a deal with Clift and was collectively shocked that a young actor could command such leverage after the release of a single film: "the death knell of the producers and the moguls, and the birth of Actor Power."LaGuardia, p. 74 Clift was on the cover of Life magazine by December 1948. Look magazine gave him its Achievement Award and called him "the most promising star on the Hollywood horizon."
Clift's first film for Paramount was The Heiress (1949). While director William Wyler notably had difficulty with his poor posture, co-star Olivia de Havilland expressed difficulty with his seriousness, saying that "Monty was painstaking and I liked that about him, but I had a sense that Monty was thinking almost entirely of himself and leaving me out of the scene."LaGuardia, p. 77
He tended to funnel most of his energy into intense rehearsals with acting coach Mira Rostova who accompanied him on set. Overall he ended up unhappy with his performance and left early during the film's premiere.
The following summer in 1949, Clift shot The Big Lift in Berlin. It was intended to be more of a semi-documentary, pro-America wartime film and less an acting vehicle,LaGuardia, p. 84 but was still a welcome opportunity for Clift to portray a U.S. soldier. Clift, having toured Europe before the war, was shocked by the 'unbelievable conditions' of rubble in Berlin.
Clift's next role as the drifter George Eastman in A Place in the Sun (1951) is regarded as one of his signature method acting performances. He worked extensively on his character, and was again nominated for an Academy Award for Best Actor. For his character's scenes in jail, Clift spent a night in a real state prison.
His main acting rival (and fellow Omaha native), Marlon Brando, was so moved by Clift's performance that he voted for Clift to win the Academy Award for Best Actor, sure that he would win, while Clift voted for Brando in A Streetcar Named Desire.Bosworth, p. 312
A Place in the Sun was critically acclaimed; Charlie Chaplin called it "the greatest movie made about America". The film received added media attention due to the rumors that Clift and co-star Elizabeth Taylor were dating in real life.
After a break, Clift committed himself to three more films, all of which premiered during 1953: I Confess to be directed by Alfred Hitchcock, Vittorio De Sica's Terminal Station, and Fred Zinnemann's From Here to Eternity, which earned Clift his third Academy Award nomination (the second of two nominations for films directed by Zinnemann). For the latter, Clift committed to building strength and endurance by jogging laps around Hollywood High School, learning boxing from Mushy Callahan and author James Jones, and how to imitate playing the bugle and reading sheet music from trumpeter Mannie Klein for the role of middleweight boxer and bugle-playing soldier Private Robert E. Lee Prewitt.LaGuardia, pp. 106–7 During the casting of From Here to Eternity, Harry Cohn opposed Clift for the part of Prewitt, opting for John Derek or Aldo Ray instead.LaGuardia, p. 105 However, Jones and Zinnemann preferred Clift and personally campaigned for him for the role.Bosworth, p. 248 Clift visited Jones several times at his homes in Arizona and Illinois and modeled the character after Jones himself.LaGuardia, p. 106 After seeing the film, Jones commended Clift for his portrayal of Prewitt. Clift supported and mentored Frank Sinatra in his role as Private Angelo Maggio.LaGuardia, p. 112Bosworth, p. 253 Sinatra later said, "I learned more about acting from him than I ever knew before".
Car crash