The film Confession I Confess (1953) is an American Blu-ray edition of the cover
When the song and dance giant Vincent Minnelli (1903-1986) released The Band Wagon (1953), the song and dance film that could be compared to "Singer in the Rain" (1952) ended with only three nominations at the 26th Academy Awards and was "extremely reluctant" at the time.
In 1953, the two most popular "fried chickens" in Hollywood were Montgomery Clift (1920-1966) and Marilyn Monlyn Monroe (1926-1962).
Images of Montgomery Clift and Elizabeth Taylor Elizabeth Taylor in the film A Place in the Sun (1951).
Montgomery Creft and Elizabeth Taylor Elizabeth Taylor (1932-2011) were "pampered" by Hollywood since their collaboration on "Heart Like Iron/A Place in the Sun" (1951), while Elizabeth Taylor was actually not very good at that time, and after filming "Heart Like Iron", she only made "Ivanhoe" (1952) and "The Girl of the Jade Girl" for two years after the filming of "Lang Heart Like Iron" Who Had Everything (1953) these two films, to know that Hollywood's "Vanity Fair" is a very realistic and cruel place, seeing the "friendship" that Montgomery Creft and Elizabeth Taylor once "went viral" in China because of "Lang Heart Like Iron", my stomach hurts.
Pictured from left: Posters for the films Confession I Confess (1953), The Final Stop Stazione Termini (1953), and From Here to Eternity (1953).
In 1953, Montgomery Clift released three films in the United States, namely Confession I Confess (1953), Final Stop Stazione Termini (1953), and From Here to Eternity (1953), while Marilyn Monroe (1926-1962) had four films screened in the United States in 1952. In 1953 she continued to maintain a high frequency of "exposure", releasing films such as "Flying Waterfall Fury Niagara" (1953), "Gentleman Loves Beauty/Gentleman Loves Blonde" (1953) and "Willing to Marry a Millionaire/ How to Marry a Millionaire" (1953).
James Dean and Rock Hudson starred in stills from the film Has Anybody Seen My Gal? (1952).
James Dean (1931-1955) was locke Hudson Hudson (1925-1985), who met George Hudson (1925-1985) in Hollywood, who met douglas Sirk (1897-1987) as director Douglas Sirk's "Has Anybody Seen My Gal?" (1952), but james Dean was still a supporting actor at the time, and Locke Lee was the only supporting actor. Hudson is the male number one.
Locke Hedson and Montgomery Creft were neighbors, and James Dean wanted to get to know Montgomery Creft through Locke Hudson, but was rejected by Locke Hedson.
Montgomery Clift and Rock Hudson (right) are good friends in life, playing with each other
By the beginning of 1952, when Montgomery Clift and Marlon Brando (1924-2004) were "happy", because Montgomery Creft did not have much time to accompany Marlon Brando, James Dean "took advantage of the situation".
In a Japanese biography of Montgomery Creft, it was recorded that once Marlon Brando and James Dean "rejoiced", said that bald mouth, felt that Montgomery Creft was more "understanding", which made James Dean angry enough, called directly to Montgomery Creft's house, wanted to "break" with him, and the result was that people were busy and not at home.
Montgomery Clift Japanese Autobiographical Cover
As a result, this "passage" ended up saying that Montgomery Clift was "absent-minded" after receiving a call from James Dean, until after James Dean 's death', he and his friends talked about it together, crying bitterly, saying that he regretted not knowing James Dean.
You must know that James Dean was only in his early 20s at the time, flesh and blood, energetic, but unlike Locke Hedson and Montgomery Cliff, the two passives hiding, he was both offensive and defensive, and he could do whatever he wanted, maybe he really saw Montgomery Cliff, maybe he the guy and went up.
And why does Elizabeth Taylor always "speak ill of" Marilyn Monroe in public?
It was the only photo of Marilyn Monroe and Elizabeth Taylor Elizabeth Taylor
First, because Marilyn Monroe always suppressed her at that time, the studio also hoped that she would follow the route of Marilyn Monroe; second, at that time, her resources were too limited, making it difficult for her to get a good script; third, because Montgomery Creft - in fact, Montgomery Creft and Marilyn Monroe had a very good private friendship, not to mention that Montgomery Creft was a "women's friend" of Hollywood actresses at that time, which is now a "group favorite".
Since "Heart like Iron", Elizabeth Taylor and Montgomery Creft have been considered by critics and audiences to be Hollywood's "golden boys", and Elizabeth Taylor is also eager to consolidate her position by working with Montgomery Creft again.
At the premiere of the film The Misfits (1961), Marilyn Monroe Montgomery Montgomery Clift
The first was that he did not have a good script in his hand, and the second was that Montgomery Creft had a lot of scripts on his side, but Montgomery Creft really did not have time to take care of Elizabeth Taylor at that time, and his second cooperation was not until the "Warring States Lady/Raintree County" (1957) filmed in early 1957, and it was because of this cooperation that Montgomery Creft and Elizabeth Taylor became "girlfriends who talked about everything".
Alfred Hitchcock (1899–1980) and Farley Granger (1925–2011) were left with little idea of film ever since they worked on Strangers on a Train (1951).
Montgomery Clift's image in the film Confession I Confess (1953).
Emma Revel Alma Reville (1899–1982) told Alfred Hitchcock in March 1952 that screenwriter William Archibald (1917–1970) based on Henry James Henry James's (1843–1916) original book, Turn of the Screw, was well received in the New York theater scene.
Alfred Hitchcock took the advice of his wife, Emma Revere, and approached William Archibald to revise his script.
Considering that the villain in Confessions is a German exile who, as a church caretaker, commits murder for fear of being caught stealing, Alfred Hitchcock hopes to find someone else to write about the character's inner fears and german confessions.
Stills from the film Confession I Confess (1953), anne Baxter and Montgomery Clift
After seeing George Tabri's (1914–2007) new stage play Flight i to Egypt, which described the plight of European refugees, Alfred Hitchcock took the playwright back to Los Angeles, and when William Archibald's script arrived at the end of April, he arranged for George Tabri to rewrite the dialogue in the play. By this time, the original script (after numerous revisions) had long since changed beyond recognition.
There are also some unexpected difficulties waiting for them. The depiction of the main character—the man whose experiences in the war caused him to leave the girl he had fallen in love with and instead dedicate himself to the altar—was not vivid, and Alfred Hitchcock feared that if he could not find an actor who could arouse the sympathy of the audience, the role of the priest would become pale and old-fashioned, living like a martyr.
Montgomery Clift's image on the set of the film Confession I Confess (1953).
Between May and June, Alfred Hitchcock and Barbara Keon discussed the cast and prepared the splitbook, while Emma Revel listed the equipment needed to make the stunts. Every night, Alfred Hitchcock read the storyboard that day to Emma Revere.
The story of Confessions is about a foreign church keeper who kills a man and then confesses his sins to his wife and the priest who hired him. But in Alfred Hitchcock's typical style, the crime should involve more complex areas, as the murdered man once blackmailed the priest's ex (and now married) girlfriend.
Stills from the film Confession I Confess (1953).
As a result, the caretaker inadvertently kills someone for the priest, so the film involves multiple confessions —for crime, for love, for the silence of the past, for the repressed feelings— all of which are placed on the protagonist priest. Like the director himself, this frightened foreigner with a heart full of infertility is a man who is troubled by not finding his place, guilty of failing the trust of the priest, and ashamed of making his wife miserable.
In early July 1952, Alfred Hitchcock signed a contract with Montgomery Creft to play Father Logan, the protagonist of Confessions. Montgomery Clift was versatile and handsome, one of hollywood's most popular male movie stars of the time, but sometimes an unhappy, troublesome man.
Images of Anne Baxter and Montgomery Montgomery Clift in the film Confession I Confess (1953).
He was moody and somewhat neurotically overly dependent on alcohol and his former Soviet private performance director, Mila Rosetova. "Some of the actors made me feel uncomfortable," Alfred Hitchcock recalled, "and it was a little difficult to work with Montgomery Creft because he was an acting actor and a little neurotic." ”
Seeing this, it is estimated that some people will understand why Montgomery Creft and Marilyn Monroe have such a good relationship in private, because Marilyn Monroe also has a former Soviet private performance director Natasha Lytess, and privately his two pairs also communicate; in 1955, Marilyn Monroe replaced Natasha Letleigh replace Natasha Letleigh let her mentor's wife Paula Strasberg Paula Strasberg take over Natasha Ledesh's original work.
Stills from the film Confession I Confess (1953), Karl Malden
In the 1950s, the United States and the former Soviet Union were in a dangerous Cold War relationship, but it is worth noting that anyone who has a little ties to the tradition of moscow's art theater will be inexplicably admired by outsiders.
But on the Hollywood set, I basically hate this kind of worthless private performance director "commanding" on the set, which will make the pace of shooting always uncontrolled.
On July 24, Montgomery Clift and Alfred Hitchcock went to Jack Warner's office to meet the heroine. Anita Bujörk (1923-2012) had just been well received in Europe for her performance in Alf Sjöberg (1903-1980) in Miss Julie Fröken Julie (1951), but unfortunately she came to Hollywood with an illegitimate child and her lover.
Location of the film Confession I Confess (1953), Montgomery Clift (second from right) and the crew
Warner remembers the angry reaction of the American public over the private life of Ingrid Bergman (1915-1982) and insisted on changing the heroine immediately. It was only two weeks before they arrived in Quebec to shoot the location, and they had to immediately find an actress to replace her, so Alfred Hitchcock chose another famous movie star of the time: Anne Baxter (1923-1985), a blonde beauty he thought was a good fit.
Anne Baxter, the actress in Confessions, later recalled: "Alfred Hitchcock was very proud of what he did—transforming the actress into a way that met his aesthetic standards. He had a terrible two-sidedness, and he wanted everyone to see him as a calm, composed person, but he would also jump up at an alarming rate—like lightning bolts wrapped in a Buddha statue. This usually happens when he thinks about how to 'direct' the camera. He was less attentive to the actor's performance. ”
Stills from the film Confession I Confess (1953), Anne Baxter
What made the filming even more annoying was that if the acting director Mila Rostova from the former Soviet Union was not on set, Montgomery Keriffe would not act without her consent and guidance – the same as Marilyn Monroe on the set, and his behavior was often "criticized" in Hollywood.
Mira Rostova has never appeared on stage or acted in a film in the United States, but somehow Mira Rostova gives the impression that she has a profound view of the performing arts.
"She stood where the camera couldn't shoot, nodding her head in favor of or shaking her head in rejection of the performance," Recalls Anne Baxter, "and of course, it annoyed Alfred Hitchcock." ”
Anne Baxter's image from the film Confession I Confess (1953).
Karl Malden (1912-2009), who played Inspector General, agreed with Anne Baxter: "Montgomery Creft is completely dependent on Mira Rostova, and no one can understand why, and it makes everyone nervous all the time." ”
In the Japanese biography of Montgomery Creft, it is written that when Alfred Hitchcock was filming Confessions, Marlon Brando came to the set to visit Montgomery Creft.
At that time, Alfred Hitchcock only knew that the wild boy had filmed "Desire Streetcar Named Desire" (1951), but unexpectedly there was a "loud scolding" and even a "falling thing" sound in the lounge, and Marlon Brando came out of the lounge in a menacing manner and flew away. And Montgomery Clift didn't have the heart to continue shooting that day.
Marlon Brando in the film A Streetcar Named Desire (1951).
Barbara Kane later told Alfred Hitchcock that Marlon Brando and Montgomery Clift were "close together" and Montgomery Clift wanted Marlon Brando not to "associate" with other men.
This made Alfred Hitchcock curious about Montgomery Creft, and sometimes the annoying performance director Mira Rostova made "Moths" on set, and he didn't think much of it, he wanted to see how Montgomery Creft "coped" with these things.
Alfred Hitchcock, while not liking Montgomery Creft's way of acting and his drunkenness and over-reliance on acting direction, hated the star's supposedly introspective approach to his role and the tacit refusal to cooperate on set.
Stills from the film Confession I Confess (1953), Montgomery Clift and Karl Malden of Carl Malden
But at the same time, he became more and more interested in Montgomery Creft's private life, believing that the actor's mood was very different, and sometimes he also privately inquired about Montgomery Creft's "dealings" with other men.
Alfred Hitchcock used homosexuality as a plot side line in "Train Freaks"; now, seeing this gay and heterosexual male star in the filming, I can't help but be curious. Like some of the male actors in other films, some of them may be in the entertainment industry and like a bold and fashionable lifestyle, while others think it is their natural and real choice, unwilling to turn their backs on their will and live.
Stills from the film Confession I Confess (1953), Montgomery Clift
In Britain, Alfred Hitchcock was amazed at the homosexual tendencies of Henry Kendall (1897–1962), Charles Lawton Charles Laughton (1899–1962), John Gilguard John Gielgud (1904–2000), Dirk Bogarde (1921–1999), and others.
Now, he's discovering Montgomery Creft with Another German actor, O.E. Scott, in Confessions. The same is true of Hans O.E. Hasse (1903-1978) (who plays the caretaker of the killing). He neither expressed open contempt nor felt uncomfortable, he only saw endless pleasure in these two men.
Montgomery Clift was on the set of the film Confession I Confess (1953).
When Montgomery Clift took over the role of Alfred Hitchcock in Confessions, the script ended with the priest he played hanging and subsequently being acquitted. Hollywood censors insisted that the killing of the priest would anger Roman Catholics, so the film was forced to compromise and revise the ending. It's a pity — poor Catholics — Montgomery Creft was going to play Jesus for them, but they didn't understand, or as Dostoevsky said, they never cared about Jesus.
When the film of "Confession" came out, montgomery Creft's charm was once again lethal by the film. This time he played a well-meaning priest who was repeatedly framed by bad guys. His innocent and frightened expression broke the audience's heart.
Promotional photo for the film Confession I Confess (1953), Anne Baxter and Montgomery Clift
Although the good guys are relegated to innocence at the end, Montgomery Creft is ultimately unable to relive the dream of the heroine, As the audience hoped, in which he says that he will dedicate his life to the Lord. The handsome, noble and mysterious young priest always arouses people's reverie, and he does have unspeakable hidden pains in him. Montgomery Clift's depressed appearance in the film later became his classic look.
When Confessions was released on March 22, 1953, critics took a lukewarm attitude toward the film, but then we look at most of their negative reviews and we find that these reviews seem superficial and narrow. Half a century later, Alfred Hitchcock's fans saw the film as an important and satisfying work with a fair eye.
American stills poster for the film Confession I Confess (1953).
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