Goodbye, George

A Place in the Sun shows the tragic fall of a man who strived to gain everything in life: wealth, power, class, love, and ultimately, happiness. He worked hard; very hard in fact, since he had to work all the way up from the bottom of the corporate foodchain. A little misunderstanding jeopardises everything and in a heart-beat, the man is left with nothing. It shows us the fragile nature of objects around us, mirroring our very own human emotions.

To start with, George Eastman (Clift) is a not a well-off guy. His rich Uncle Charles (the owner of the family business (Herbert Heyes)) gives him one out of sympathy: he’s in charge of packaging swimsuits. It’s a repetitive and boring job but he appreciates it anyway. He meets a lovely girl called Alice (Winters). She’s not the prettiest of all dames but her personality wins him over. Which is why, despite the department policy of “no dating co-workers,” they start a secret relationship; but only for a short while. Realising what good work he’s been doing for the company, Charles gives him a promotion, a promotion that would introduce him to the high and fancy class whilst pulling him away from his love, Alice. Initially he believes that nothing will change but Alice doesn’t quite buy that. She’s a smart girl and thinks that he will be corrupted by the spoiled, upper-class money sharks. The more time he spends with them, the more suspicious she gets. She can’t help it; she just doesn’t trust him and those around him.

But it turns out that Alice is right to be concerned. George has met Angela (Taylor), the most beautiful aristocratic young girl who shows interest in him. So George is torn between two women. The woman he’s vowed to be faithful to, and the woman who seems perfect for him. It also confuses the audience. He really does love both of them. Alice is sweet and reliable but Angela is beautiful, guarantees wealth and gives him plenty of connections. But eventually, he starts falling for the flawless looks. He wants to ditch Alice and live the life he always dreamed of. Alice is appalled by his behaviour and tells him that she is in fact, pregnant. A scandal like that can ruin a man of such reputation. So when she threatens to reveal this little secret, he panics, and is desperate for a way out. Acting on an impulse, he decides that murder is the best option. But a tragic accident occurs that paints him as a cold-hearted criminal with no witnesses to prove otherwise.

Clift, no matter how many mistakes his character makes, is always the likable victim anyone can feel sorry for. His camera-friendly features work exceptionally well to suit someone who goes through drastic changes over the course of two hours. When he’s poor, he’s humble, willing to make sacrifices, and incredibly sincere. He evolves, sees the bigger world and the endless opportunities to gain something more out of life. He has a dream, a little far out of reach of course, but a dream nonetheless. Clift adds more and more intensity to his performance building to the climax, proving to everyone that he’s not just a pretty face. Just watch the close-up where George starts having second thoughts about killing his pregnant girlfriend. He’s wrecked with guilt and fear. Even throughout the long, sustained shot, Clift is fully engaged and never flinches, not for a second.

The two women surrounding George, providing two opposite lifestyles are perfectly cast. Taylor, from the moment she makes her first appearance, establishes herself as a striking character, a lively, energetic, fun-loving gal. She’s not manipulative as one might expect her to be – she has absolutely no knowledge of Alice. Even after the accident occurs, she stands by him, supporting him through the painful ordeal. She wasn’t involved in the relationship for the looks. She was after something deep and meaningful.

Winters plays Alice, the kind-hearted, quieter girl. She is also immensely lovable, although she does become too inquisitive for her own good. But how can anyone blame her? It’s no secret that George has been changing ever since he got the promotion. Alice may have come from a humble background but she’s far from blind. She notices that something is off and naturally, as a woman who wants to hold on to her man and the baby’s father, she tries everything to make him stay. Her desperation never appears malicious, but more heart-breaking, which Winters captures beautifully.

No true villain exists here, and no-one is ever fundamentally evil. The film has aged a little, and the shocking moments have less impact. George trying to convince Alice to get an abortion must have been an unthinkable request in the 50s, although today it’s a common occurrence. But the fantastic performances have withstood the test of time and still remain as impressive as ever. It’s a slow-burning melodrama with a fascinating love-triangle that doesn’t have a simple answer.