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The new sensitivity
MONTGOMERY CLIFT
Clift plays the Adventurer in The Heiress with Olivia De Havilland.
Clift came to films in 1948, when he made The Search, Fred Zinnemann's movingly simple story of the plight of Europe's war orphans. In the same year he made Red River, Howard Hawkes's bruising, gritty Western; and it might be said that in Clift's epochal brawl with John Wayne the new Hollywood man fought it out with the old. Significantly, it ended in a draw, but Clift was a star from that point on.
Star status had been a long time coming, for he had begun his acting career in 1935, at fifteen, as a stage juvenile and had appeared thereafter in a number of rather distinguished plays, including There Shall Be No Night and The Skin of Our Teeth. As reticent as his screen character, and as enigmatic,
Clift has frequently turned down roles because, he says, he wants to be an actor not a star. "I don't have a big urge to act. I can't play something I'm not interested in. If I'm not interested, how can I expect the audience to be."
Unlike Brando, he makes no claim to being a method actor, and he says he works strictly on instinct. "An actor," he has said, "must share experiences familiar to the audience. Otherwise you're making faces in a vacuum." It is hard to know, specifically, what experiences he has shared with the younger generation who made him their own in the fifties, but he does project, with rare fidelity, their inner tensions, the result of rebelliousness suppressed.
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