The "American dream." Many of the WWII GIs and their wives thought they were living it. It was the goal. A place of respect in society. Materialism. Love. It was all promised…Or so they thought. The flaws in the dream were gradually exposed throughout the '50s and especially into the '60s. One of the first to do so was the great filmmaker, George Stevens, a WWII vet himself (he shot some of the most important war footage ever recorded, the liberation of Paris and the Nazi camp in Dachau). Using Theodore Dreiser's 1925 novel, An American Tragedy, as a springboard, Stevens showed the horror of the ambitious dreamer (it was also made into a rarely mentioned film by Josef von Sternberg in 1931).

What is now considered Stevens' so-called American Trilogy begins with A Place In The Sun and then goes on to include his greatest masterpiece, Shane, and then James Dean’s final film, the overlong Giant. He would follow up the cycle with the touching, but stagy, The Diary Of Anne Frank, in ’59. Unfortunately his disastrous biblical epic, The Greatest Story Ever Told, in ’65 would more or less send him into early retirement as a director (he would pop out once more, five years later, for the Warren Beatty snoozer, The Only Game In Town).

A Place In The Sun, in retrospect, is the perfect peek into the dark side of America in 1951. George Eastman (Montgomery Clift), a modest, steady young man, accepts a job from his rich uncle at a factory. He gets involved with a mousy co-worker, Alice (Shelley Winters), eventually knocking her up, a major inconvenience when he meets and falls for the boss’s wealthy, fast lane daughter Angela (Elizabeth Taylor at her most stunning). The two have an intense chemistry for each other. George gets a taste of the lifestyles of the rich and famous, but he is stuck with his whiny pregnant girlfriend who is basically blackmailing him into marriage. George will do whatever it takes to get rid of Alice so he can get his share of what he thinks the world owes him.