Biografia

Farley Granger

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Nascido(a) em
1 de julho de 1925 · San Jose, Califórnia, EUA
Falecido(a) em
27 de março de 2011 · Manhattan, Nova Iorque, Nova Iorque, EUA (morte natural)
Nome de nascimento
Farley Earle Granger II
Altura
1,83 m

Biografia

Família

Pais

Curiosidades

In his book "Original Story By: A Memoir of Broadway and Hollywood," playwright and screenwriter Arthur Laurents detailed his live-in relationship with Granger during the 1940s and '50s. Laurents and Granger were already romantically involved when Laurents wrote the screenplay for Festim Diabólico (1948), in which Granger co-starred.
On the audio commentary for Amarga Esperança (1948), he says that Alfred Hitchcock and Nicholas Ray were the best directors he ever worked with. In addition, his two favorite films of his own are Hitchcock's Pacto Sinistro (1951) and Ray's Amarga Esperança (1948).
(1944-45) Served in US Navy during WW II.
His longtime partner (since 1963), Robert Calhoun, collaborated with Farley on his 2007 memoir "Include Me Out: My Life from Goldwyn to Broadway".
One of the last of Samuel Goldwyn's contract players.

Citações

[about films] I love to see them. I just don't like to make them.
I have never felt the need to belong to any exclusive, self-defining or special group. I find it difficult to answer questions about "'gay life" in Hollywood when I was living and working there. There were, of course, gay cliques, but I had no close friends who belonged to any of them, and I had no desire to become involved with any of them . . . I was never ashamed, and I never felt the need to explain or apologize for my relationships to anyone.
I was very lucky when I first started. I had [Nicholas Ray] and before that Lewis Milestone, and I was a kid and very naive, with no training at all. They really took care of me. And then I began to get directors who weren't as good as [Ray and Milestone] were, and I soon realized I didn't know what the hell I was doing, and I'd better find out because I could no longer trust this sort of father symbol of the director anymore. In those days you were a movie star or you were a Broadway actor, and movie stars weren't considered actors. So I couldn't call myself an actor unless I worked in the theater for any length of time.
[on leaving the Samuel Goldwyn after Hans Christian Andersen (1952)] I finally bought my contract from him. Couldn't stand working for him anymore, and I just wanted to work in the theater for a bit. I didn't want to be a movie star. I didn't think it was my place in life. It took all the money I had in the world, and I had a wonderful agent then, Charles Feldman [Charles K. Feldman]. He got me in this movie in Italy. I was all set to come to New York and set up shop, but I did the [Luchino Visconti] movie [Sedução da Carne (1954)] out of necessity. I made an awful lot of money on that one since I had signed for just three months, and it dragged on for nine.