An absolute waste of money

While it doesn't offer any answers, it both thrills and makes you think.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

"An American Tragedy" is a novel by Theodore Dreiser. It is a long complex novel, but in its essentials it boils down to this: boy meets girl, boy gets girl pregnant, boy meet another girl he likes better, boy kills the first girl, boy is executed for murder.They have names, of course: the boy is Clyde, the first girl is Roberta, and the second girl is Sondra. Now, Clyde doesn't actually kill Roberta. He planned to drown her and make it look like an accident. He gets her out into the middle of the lake in a rowboat, knowing she cannot swim. But then he thinks he cannot do it. But then he thinks he will. He might as well be picking petals off a daisy: "I kill her, I kill her not, I kill her, I kill her not." Anyway, she ends up falling overboard and drowns just as he was thinking, "I kill her not." Notwithstanding all the planning he put into this murder that he changed his mind on at the last minute but which had the same result anyway, his identity is discovered, he is tried for murder, convicted, and executed.The first film adaptation, released in 1931, has the same title as the novel, and the three principal characters have the same names. The second adaptation, made in 1951, has a title that is different from the novel, "A Place in the Sun," and the characters have different names. Don't ask me why. In most respects, the second adaptation is a much better movie. It was directed by George Stevens, starring Montgomery Clift as Clyde = George; Shelley Winters as Roberta = Alice; and Elizabeth Taylor as Sondra = Angela. (For the sake of consistency, I will continue to the use the names in the novel.)But in one respect, the first adaptation is better, and so much so in this respect that I prefer it to the second. In the movie "An American Tragedy," Roberta is played by Silvia Sidney. We readily believe in her naïve innocence. She seems like the Roberta of the novel, a woman we like and feel sorry for. As noted above, however, in "A Place in the Sun," Roberta is played by Shelley Winters. I don't know what Shelley Winters was like as a person, but her screen persona simply is not the sweet, innocent virgin for whom we are supposed to have sympathy because she was taken advantage of by a man. On the contrary, she seems suited for roles in which she is a hardboiled broad, as in "Alfie" (1966) or "Bloody Mama" (1970). As a result, when she is taken advantage of by a man in a movie, we are more likely to think she is dumb than naïve.Partly as a result of this difference, we are sad when Silvia Sidney's Roberta drowns. As for Shelley Winters' Roberta, however, we know we are supposed to feel sorry for her, and we do a little bit, but the fact is that we never really mind when Shelley Winters dies in a movie. For example, the fact that she drowns in "The Poseidon Adventure" (1972) does not spoil our sense that the movie has a happy ending. A third movie in which Shelley Winters drowns is "The Night of the Hunter" (1955), murdered by her newlywed psychopathic husband, played by Robert Mitchum. Now, Robert Mitchum's character, Harry Powell, is supposed to be as bad as they come, so you would think they would have allowed him to kill a more likable actress, like Jane Wyatt, for instance, so that we would really think Harry is evil. But they picked Shelley Winters to be his victim so that we would not spend the rest of the movie feeling sorry for her.In other words, if "A Place in the Sun" had starred an actress to play Roberta who would have been more believably innocent and whose death would have been more disturbing, then we would have been appropriately outraged that Clyde would have even thought about abandoning her, let alone make elaborate plans to murder her, just as we are when we read the novel. But with Shelley Winters playing the part, her death really seems to be no great loss, and we end up feeling sorrier for Clyde, played by the likable Montgomery Clift, than we do for Roberta.

George Steven's high-calibre drama, a six-times Oscar winner (including BEST DIRECTOR and SCREENPLAY), is a tellingly puissant moral lesson adapted from Theodore Dreiser's novel, AN American TRAGEDY, inspired by real event. A working-class young man George Eastman (Clift), comes to town to work for his industrialist uncle Charles Eastman (Heyes), strives to fight for a better future, but begins to bog down into a dilemma when his low-class girlfriend Alice Tripp (Winters) gets pregnant and puts pressure on an immediate marriage, whilst a gorgeous socialite Angela Vickers (Taylor), whom he secretly admires, surprisingly reciprocates her affections.Any advice to solve George's dilemma? Not hindsight wisdom, yet the truth is, if that (highly uncommon) scenario would happen to anybody, under such a tempting circumstances, a rosy future with the perfect woman a man could ever dream of, the idea of dispatching the poor Alice would lurk around pretty certainly to any morally deficient social climbers, so despite the horrific act (Alice's pregnancy has never been put into foreground to exacerbate the crusade against George during the trial), we audience tends to sympathise with him, plus, the film intentionally omits what happened after the boat was capsized, in the eyes of viewers, it is an emotionally perturbed Alice herself causes the capsize of the boat at the first place, only in the court, George tries to re-enact what was happening then, even his side of story is scarcely credible, there is tiny possibility that he is "innocent", and what's more disturbing is that, subconsciously, we do hope he is!That's where lies the strength of this slow-burner, as George could be anything but "innocent", simply because even if he had not done anything to harm Alice, just lets it happen when a landlubber like her was drowning to her death, is another form of murder. He has the perfect motive, and his not-doing is exactly the helping hand to facilitate Alice's death.Why then, our commiserations are more inclining to George than to Alice, first of all, it is Montgomery Clift's unrivalled and wonderfully consistent performance, a misfit being ricocheted onto a wrong echelon, who awkwardness is painfully visible. Just when he decides to accept the reality to stay where he belongs, a windfall sweeps off his feet, which ensues a turbulent battle of human frailties and moral senses underneath of his humble physique and perpetually preoccupied minds. Mr. Clift even masks any edgy aspects of George's personality, to make his actions even more ambivalent, either he is a ruthless schemer putting on a masterful front to play meek and try to evade punishment, or he is a tragic character, passively devoured by the twist of fate. And even up until the final scene, we can not tell which one is the real George Eastman, in my book, that's a top-drawer achievement for the thespian.Secondly, Ms. Winters' Alice, exists more than just the unfortunate prey, when a woman has to literally blackmail her boyfriend with pregnancy into marrying her, apart from blaming an unjust social environment towards women, the truth is, they will never reach a happy ending, Alice is miserable but equally as selfish as George, bovine and unglamorous, the flagrant contrast between her and Angela, is another excuse for George's road-of-no-return. A trifle of misogyny and female objectification can be discerned, but in Ms. Winters' defence, she delivers a palpably soul- pulverising coup-de-maître, notably in the scene with the doctor to insinuate an abortion, and her final in-your-face accusation and hyperbole on the boat.There is a 16-year-old Elizabeth Taylor, a child star transmogrifies to a fabulous screen goddess overnight, her voice is crispy and untainted, so is her off-screen rapport and affection to Mr. Clift, mirroring Angela's undying love for George, an avatar of perfection too good to be true in reality, extant on the silver celluloid only. It is her angelic face and seductive kiss remain in George's last moments, something worth dying for in its literal meaning. Oscar-winner, the limelight-stealing character actress Anne Revere has a small cameo as George's religious mother, whose film career ended abruptly after this due to being on the infamous "Hollywood blacklist", which prompted a nearly 20-years gap of absence in her filmography.Mr. Stevens takes great patience and pain to elicit striking endeavour from his cast, and his unpretentious method of channeling the narrative arc with a deft hand of juxtaposed editing, pays off handsomely in its end-product, especially considering how they could manage to sidestep the Hays Code while retain its dramatic pathos and inspire contemplation of its thorny subject matter, a Black-and-White classic truly worth its fame and praise.

It was a shame when it was announced the British actress, one of the last remaining actresses from the "golden age" of cinema, had died, I was certainly looking forward to seeing her young and beautiful in this film, listed in the book 1001 Movies You Must See Before You Die, from Oscar winning, and Golden Globe nominated director George Stevens (Swing Time, Gunga Din, Shane). Basically poor young man George Eastman (Oscar and Golden Globe nominated Montgomery Clift) arrives in a Chicago town, and while working in a hotel as a bellboy has a chance encounter with his wealthy industrialist uncle Charles Eastman (Herbert Heyes), he allows his nephew to visit whenever he is around, and despite the other Eastman family members seeing him as a bit on an outsider George is given a job in Charles's factory. George hopes to impress his uncle working hard, and while there he also starts dating poor and inexperienced fellow worker Alice Tripp (Golden Globe nominated Shelley Winters), she is dazed by him and doesn't really realise his family name being significant, and he does go up the corporate ladder, which include him allowed to suggest improvements to production, and his uncle impressed invites him to the family home for a social gathering. Since he arrived in town, George has been admired by "society girl" Angela Vickers (Dame Elizabeth Taylor), they finally meet at the party, and quickly fall in love, and escorting her propels him into the intoxicating and carefree high society lifestyle he had always been denied, and he stays with her even after Alice announces she is pregnant and expecting him to marry her, he even arranges an abortion which she does not go ahead with. George and Angela go to Loon Lake to seclude themselves and spend time together, he hears a tale of how a drowning occurred and a man's body was ever found, so he concocts a plan to get rid of Alice so he marry Angela, Alice meanwhile threatens to expose him and the pregnancy he caused while at a business event, so he leaves the family so he can deal with the situation. The next morning George and Alice try to get married at City Hall, but it is closed due to Labor Day, so he suggests they spend the day rowing on the lake, she has no suspicions of his plan, he acts visibly nervous before getting the boat, on the water Alice talks about dreams she has had of them being happy together with the child, he changes his mind about any murder plan, but she realises something is wrong, and standing up causes the boat to capsize, and she drowns while he swims to shore. Returning the Vickers lodge he is feeling tense and does not speak to anyone about what has happened, Alice's body is discovered in the water, her death is suspected as murder due to witness statements and abundant evidence, George is arrested just as he is granted permission to marry Angela by her father, although the drowning was accidental George's actions before and after the death condemn him. The District Attorney R. Frank Marlowe (Raymond Burr) acting as prosecution really grills him, and his denials are useless, in the end he is found guilty and sentenced to execution in the electric chair, George confesses he deserves it, as he wanted to kill her, so that makes just as guilty as much as if he had actually committed the crime. Also starring Anne Revere as Hannah Eastman, Keefe Brasselle as Earl Eastman, Lois Chartrand as Marsha, Fred Clark as Bellows, Shepperd Strudwick as Anthony 'Tony' Vickers and Frieda Inescort as Mrs. Ann Vickers. Clift as the young man rising in society, falling in love but brought back down again by an accident is really good, Winters is brilliant as the innocent and sympathetic other woman the leading man formerly had a relationship but unknowingly gets in his way, and young Taylor of course with lovely eyes, dark hair and big lips has never looked more beautiful, and is likable being the glamorous love interest. I don't know the origin of the film title, but the story is based on a novel called An American Tragedy, this is called one of the finest dramatic films of the 1950's, and that is definitely a suitable recommendations, it has impeccable imagery for a black and white picture, the acting and writing is great, I agree it may seem a little dated with it's love story ideas and being a little too drawn out, but it undoubtedly a gripping and splendid classic drama. It won the Oscars for Best Writing, Screenplay, Best Cinematography, Best Costume Design, Best Film Editing and Best Music for Franz Waxman, and it was nominated for Best Picture, and it won the Golden Globe for Best Motion Picture - Drama, and it was nominated for Best Cinematography. Dame Elizabeth Taylor was number 77 on The 100 Greatest Movie Stars, she was number 73 on The 100 Greatest Pop Culture Icon, she was number 7 on Britain's Finest Actresses, she was number 11 on The 50 Greatest British Actresses, she was number 13 on The 100 Greatest Sex Symbols, and she was number 7 on 100 Years, 100 Stars - Women, the film was number 92 on 100 Years, 100 Movies, and it was number 53 on 100 Years, 100 Passions. Very good!

Outstanding example of Hollywood craftsmanship, attention to detail, and sheer romanticism. The film takes up two key themes in American life--- class and morality, treating each with uncommon care. Consider the opening scene of the indigent George (Clift) standing roadside while cars whiz past, much as life seems to be brushing him aside. Mocking him at the same time is a billboard with a provocative girl advertising the Good Life. No wonder he rushes to his rich uncle Eastman's mansion where he hopes to join the fast cars and the beautiful girl, if he dare to hope so.That scene of his entering the mansion's huge reception room is to me one of the movie's best. In his cheap, wrong color suit, George couldn't be more self-conscious. How will the rich Eastmans' receive him, in their fancy party clothes ready for a night on the town. In fact, they are oh, so, polite, while keeping a social distance. After all, he does come from the poor family branch, his mother giving her life over to religious pursuits instead of money. For his brief visit, at least he gets a job on an Eastman assembly line. The scene itself is beautifully staged and performed, while Clift is simply terrific here as the uncertain, poor relation, all deference and submission.For awhile it looks like the cars will continue to whiz by as he repeats the same deadening moves on the assembly line. But at least he has someone now to share time with. Alice (Winters) is a dowdy working girl across from him. Lonely, they soon get together. But now life gets complicated for George. Suddenly, one day, he's promoted to administration; at the same time, he's invited to a party at the mansion. Eagerly, he attends, this time dressed appropriately and ready to please, but he's still bypassed by other guests. Then, in another memorable scene, lightning again strikes in the form of the beauteous Angela (note the classy name), who suddenly enters his solitary billiards room where he has retreated, friendless. Can it be, as they banter, that she's taking a real fancy to him with all her upper class ways. An unmistakable glow begins to emerge on screen, and it's a tribute to both Taylor and Clift that their chemistry is both vivid and compelling in this key scene that sets the stage for what follows. Now, it seems, a whizzing car has stopped for him and all he has to do is get in. But back at the rooming house waiting for him is Alice. Not just a reminder of the roadside life he'd like to leave, she's pregnant and insisting on marriage. So, on one hand, he's got the frumpy, working class Alice, alone and pregnant, and on the other, a budding romance with the glitzy, upper class Angela, who's opened the door to the billboard life he could only dream of. What's George to do. Then, in a gutsy scene for the repressed 1950's, Alice is sent to a doctor (Wolfe) for what, by inference only, is an abortion. The writers do a clever job getting her purpose across without violating the Production Code's prohibition on such frank talk. Nonetheless, the doctor firmly refuses, leaving both George and Alice in a real pickle.With his religious background, George still has a conscience even if he's deeply in love with Angela and drawn to her materialistic world. Thus, the question is which direction he will go in-- will he do the morally right thing and marry Alice or will he succumb to the pull of a glamorous life with Angela. In short, which is stronger: moral duty or romantic love. In a moment of moral weakness, George plans to relieve his dilemma by drowning Alice in a lake, seemingly the only recourse left open to a life with Angela. But fate (the call of the loon) intervenes and Alice accidentally tips over the small boat they're in. Importantly, the camera withdraws at that point to a distance shot so that we cannot see exactly what happens next. But Alice ends up dead by drowning, just as George had planned when giving false names to the boat rental. However, having escaped, George is now torn by a sense of guilt even as he and Angela plan to marry, the whizzing car door now open wide. But, it's at that fateful point, the cops put various clues together and arrest George for murder. But is he really guilty. We can't be sure since we never saw the exact events. It seems not even George is sure. If nothing else, at this point George is trying to come to grips with what his intention was vs. what actually happened in the water. Could he have saved her as the DA contends at George's trial. She couldn't have been far away, then why didn't he. George seems unclear himself. In a melodramatic moment, the DA (Burr) claims George struck Alice with a paddle, thereby insuring her death. But that is clearly wrong since we know what happened in the boat. But the jury apparently buys it, otherwise how could they sentence him to first-degree murder. Thus, the car door closes on George forever.The question is-what is George really guilty of. Is it just the intention but not the act itself. Or is it the act in some ill-defined sense. The movie settles for being guilty of a wrong thought at a crucial moment. That may be blameworthy in some metaphysical sense, but certainly doesn't justify his execution. As things stand George's sentence stands as a miscarriage of justice. In that sense the movie turns out to be a tragedy, particularly for Alice whose only crime is being poor and frumpy. The moral, I guess, is that what may seem an up- spiral may actually be its ironical opposite.Anyway, it's a brilliantly sensitive, thought provoking movie, deserving of its many awards.