Cover

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pp. 1-1

Title Page, Copyright Page

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pp. 2-8

Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-x

A great number of people helped, supported, and inspired me while writing this book, and my debt to them is incalculable. First among all is Will Brown, who on a now-distant bus journey, from Leuchars Station to St. Andrews, suggested I should work on Montgomery Clift: I?ll be grateful to him for the rest of my life. Many other friends and ...

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Introduction

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pp. 1-10

...ual. Labeling is so self-limiting. We are what we do, not what we say we are.?1 Montgomery Clift challenged prescribed models of identity throughout his life and career; his legacy as a fi lm star stands out as a continuous, creative act of transgression, defying the cultural domi-nancy of sexual and gender ?normality.? Clift is a major fi gure in post-...

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1. Montgomery Clift and Queer Theory

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pp. 11-32

...valid and enlightening arguments; at the same time, it appears limited in scope, and often shortsighted in its analysis. Clift?s subversive func-tion was vastly more complex and spanned a much longer period of his career than is usually acknowledged. Critical analyses of his star per-sona and performances have been inadequate on three major points. ...

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2. Irruption in Hollywood: The Beautiful Boy

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pp. 33-76

... More than any other fi lm starring Montgomery Clift, Red River has attracted retrospective critical attention. Casting the twenty-six-year-old Clift against an especially brutish John Wayne, this epic west-ern depicts a classic yet deceptively simple tale of masculine struggle. Red River has been hailed as a key intervention in screen representations ...

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3. The Peak of Stardom: Desire, Multiplicity, Deviancy

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pp. 77-120

...fame. Worshipped by fans, hailed as one of Hollywood?s hottest prop-erties, and Oscar nominated twice, Clift starred in three high-profi le fi lms; while these roles further consolidated his image, they did so by crystallizing his essential multiplicity. A reluctant murderer in A Place in the Sun, a priest oppressed by secrets in I Confess, a tough yet vulner-...

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4. The 1956 Car Accident and a New Queerness

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pp. 121-174

...between 1953 and 1956; while shunning Hollywood, he chose instead to return to Broadway in 1954, producing and starring in a controver-sial version of Chekhov?s The Seagull. The fi lm that fi nally brought him back to the big screen was Raintree County, a sweeping Civil War drama in which he played the protagonist, John Shawnessy. The reasons why ...

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5. The Final Period: “Abnormality,” Asexuality, Asynchrony

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pp. 175-220

...gomery Clift) and Carol (Lee Remick) lying on the muddy ground af-ter a gang of thugs has assaulted them. Chuck has proved no match for the mob of hostile men and has been hopelessly beaten up; Carol, however, has aggressively and fearlessly attacked their enemies and has been fi nally knocked down. After a pause in which the two look uncer-...

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Epilogue

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pp. 221-224

...through the bleakest phase of his life. An outcast in Hollywood, where a growing reputation for mental instability sealed his uninsurable sta-tus, Clift was now unable to work as an actor. Although he recorded Tennessee Williams?s The Glass Menagerie for Caedmon Records, in 1964, and narrated a television documentary on William Faulkner in ...

Notes

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pp. 225-236

Filmography

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pp. 237-238

Bibliography

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pp. 239-242

Index

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pp. 243-248