Who is montgomery clift dating

had on post-World War II movie audiences, Montgomery Clift is equally known today as one of Hollywood’s greatest casualties.A mysterious, sensitive antidote to the blandly handsome bobby-soxer idols of the day, Clift ushered in a new, naturalistic style of acting, years before Marlon Brando and James Dean, who both worshipped him. Clift was described by one biographer as “having a face of impenetrable beauty,” and Elizabeth Taylor, his close friend and frequent costar, claimed her heart stopped the first time she saw him.After a near-fatal auto accident in 1956 ravaged his perfect face, Clift, now addicted to alcohol, painkillers, and, by some accounts, tormented by his closeted homosexuality, began a downward spiral that would last until his death at 45 in 1966.Marilyn Monroe, Clift’s costar in 1961’s (University of California Press, .95) Dartmouth film professor Amy Lawrence performs an academic autopsy on the late actor’s legacy and challenges the myth of Clift as the tortured, self-destructive film star.Although the accident had a major effect on him psychologically and physically as well as having an effect on audiences and their reading of his performances in relation to the accident, I believe his alcoholism would have continued and that his career would have been much the same.His drinking affected his work on the set of which was shot in 1953, well before the accident.” How well known was the truth about Clift’s sexuality during that era?

In the latter part of his career, his drinking and drug taking were so dominant in his life that he couldn’t function without them.

The homophobia of the time, which intensified nationally just as Clift’s career was beginning in the late 1940s and early ’50s, certainly exerted pressure on Clift.

A serious relationship with choreographer Jerome Robbins in the ’40s threatened both their careers when Robbins was blackmailed into testifying before the House Un-American Activities Committee hearings regarding communists and other “subversives” in Washington and the entertainment community.

The freer sexuality of Brando or Dean, for instance, has not come to dominate their images.

How do you think Clift’s career would have progressed if he hadn’t been in the auto accident in 1956?

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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.

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