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Présentation: L'Inconnu du Nord-Express (Strangers on a Train) est un film américain réalisé par Alfred Hitchcock, sorti en 1951. Ce film met en vedette Farley ranger, le canon de l'époque auprès des femmes et des hommes. M. ranger n'a jamais caché sa bisexualité allant jusqu'à fréquenter les plus grandes stars d'Hollywood et des vedettes de la mode ou de la télévision de l'époque. Farley Granger a montré la voie à l,acceptation de l'homosexualité masculine dans les années 50 en vivant ouvertement ses aventures amoureuses connues de tous. Comme il le déclare lui-même, il n'est jamais sorti du placard parce qu'il n'y est jamais entré. (Textes spécifiques sur le film et l'acteur: Wikipedia)

Farley Granger, un des hommes les plus beaux du cinéma classique, muse de Hitchcock, est toujours vivant en 2009 et fait régulièrement la promotion de son autobiographie.

Le film vendusour étiquette Warner propose deux versions du film, l'américaine et la britannique. les deux version différent dans les accents des personnages de soutien, deux perspectives d'un même film qu'il fait plaisir à voir et à comparer. Un succès et la fin du film est très troublante, un classique à posséder absolument.

À propos du film: Un champion de tennis rencontre dans un train un inconnu qui lui propose un marché bien spécial : il supprime sa femme envahissante si celui-ci se charge d’éliminer son propre père afin d’obtenir son héritage. Le joueur de tennis, pensant avoir affaire à un fou, laisse passer le marché et finit par l’oublier. Quelque temps plus tard, sa femme est assassinée…

Farley Granger est découvert à l'âge de dix-huit ans par le producteur Samuel Goldwyn, qui l'introduit dans le cinéma dans le film The North Star, de Lewis Milestone, en 1943. L'année suivante, pour le même réalisateur, il joue aussi dans The Purple Heart, puis il rentre dans la marine.
Après la guerre, il obtient le premier rôle dans Les Amants de la nuit, de Nicholas Ray, 1948, la même année, Alfred Hitchcock lui donne le rôle de Philip Charles dans La Corde, aux côtés de James Stewart et John Dall. Ayant fait un contrat de cinq ans avec la MGM, il fait son entrée dans la production avec Enchantment, de Irving Reis... toujours en 1948... En 1949, le film Roseanna McCoy aurait dû concrétiser le lancement de l'acteur dans le septième art, cependant le box-office se révélera décevant. Au cours de l'année 1950, il joue dans La Rue de la mort, d'Anthony Mann, tandis que la MGM cherche des rôles pour lancer finalement sa carrière. Our Very Own de David Miller ainsi que Edge of Doom de Mark Robson (tous les deux en 1950), ces films firent partie du projet de la MGM en l'issue de Farley Granger... mais échouèrent également.

L’Inconnu du Nord-Express (1951)
1951 marque cependant le zénith de sa carrière, Alfred Hitchcock volant à sa rescousse, lui donne en effet le rôle du joueur de tennis Guy Haines, se retrouvant à la merci de L’Inconnu du Nord-Express. Malgré les éloges faits au film, Alfred Hitchcock ne manquera pas de lui faire part de son avis, affirmant que le film aurait pu être rendu plus véridique avec un meilleur acteur. Dans les années successives, il joue avec Shelley Winters dans Behave Yourself! de George Beck, également en 1951. Ainsi que pour Henry Hathaway en 1952 dans La Sarabande des pantins, et - toujours la même année - dans Hans Christian Andersen de Charles Vidor, un des derniers films qu'il fera pour la MGM L'année suivante, donnant la réplique à Pier Angeli, il joue dans Histoire de trois amours, pour Vincente Minnelli. En 1954, Luchino Visconti lui donne le rôle du Lieutenant Franz Mahler dans Senso, sa première interprétation européenne, accordée par la MGM; son contrat avec la production devant échoir en 1955. Interprétation qui sera considérée par la suite comme la meilleure de sa carrière. L'année suivante, il joue encore dans The Girl in the Red Velvet Swing, de Richard Fleischer. Cette même année marque un arrêt de quinze ans à sa carrière cinématographique, en effet il s'éclipse; préférant le théâtre en affirmant qu'il se sentait plus libre sur la scène que sur un plateau de cinéma. En 1957, il joue dans la pièce The Carefree Tree, à Broadway et détient en 1968 un rôle pour le téléfilm Laura, aux côtés de Lee Radziwill. En 1970, il tourne pour une production italienne Lo chiamavano Trinità d'Enzo Barboni (E. B. Clucher). Puis en 1979, il revient sur scène avec A Month in the Country et The Streets of New York, toutes deux des productions de Broadway.
Malgré l'achat d'une résidence à Rome lors de sa rencontre avec Luchino Visconti, l'acteur réside aujourd'hui à New York.

Strangers on a Train is a film released in 1951 by Warner Bros. It was directed by Alfred Hitchcock. The film stars Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll, Kasey Rogers (credited as Laura Elliott), and Patricia Hitchcock.
The film was based on the novel of the same name by Patricia Highsmith, who also wrote The Talented Mr. Ripley. Detective novelist Raymond Chandler wrote an early draft of the screenplay, despite his having considered the story implausible.
This movie is ranked number 109 on IMDB's "Top 250 Films of All-Time" and is number 32 on AFI's 100 Years... 100 Thrills.

Amateur tennis star Guy Haines (Farley Granger) wants to divorce his vulgar and unfaithful small-town wife, Miriam (Kasey Rogers), in order to be able to marry the woman he loves, the elegant, beautiful, and rich Anne Morton (Ruth Roman), the daughter of a senator.
Guy Haines's wife Miriam, however, is not at all interested in divorce: she is having plenty of affairs, has become pregnant by one of her numerous lovers, and is perfectly happy to carry on exploiting her husband indefinitely.
In the opening scenes, Guy Haines chances to meet the charming, rich, clever, but psychopathic Bruno Anthony (Robert Walker) on a train. Bruno recognizes Guy and knows something of his marital problems from gossip items in the newspapers.
Bruno proceeds to tell Guy his "amusing" idea about how to commit the perfect murder: two people who hardly know one another at all "exchange" murders; that way, neither one would have a motive, and each could arrange to have a perfect alibi for the time when the murder was committed. It would be, as Bruno describes his plan to Guy, "crisscross".
Bruno goes on to explain that for example, he, Bruno, could kill Guy's wife Miriam, and in exchange, Guy could kill Bruno's unpleasantly authoritarian father, and then both of them would be free to do whatever they wanted. Guy, at once irritated with Bruno's presumption of intimacy and amused by what he assumes to be a facetious suggestion, humors Bruno that his theory is "okay" and leaves, but Bruno imagines that they have in fact made a bargain with one another.
In his hurry to get away from Bruno, Guy accidentally leaves his gold cigarette lighter behind, and Bruno takes it. Bruno knows that the lighter was an intimate gift to Guy from Anne, and he has seen that it has a tennis logo and "From A to G" engraved on it.
Bruno gets tired of waiting for Guy to contact him in order to set up the appropriate timetable for the murders. Bruno unilaterally goes ahead with his half of the "plan", strangling Miriam on an island in a lake at an amusement park, while she is out on a date with two of her admirers. The audience sees the murder as it is reflected in Miriam's glasses, which have fallen to the ground when Bruno attacks her.
Once the murder is discovered, suspicion immediately falls on Guy, because he had an obvious motive. It turns out that Guy is unable to provide a solid alibi for the time of the crime. Bruno starts making increasingly more intrusive appearances in Guy's life, in order to forcibly remind Guy that Guy is now obliged to kill Bruno's father, according to the bargain that was supposedly struck on the train when they first met.
Finally the police close in on Guy as he chases after Bruno, at sunset in the lakeside amusement park. Bruno is about to "plant" Guy's cigarette case at the scene of the murder, so that the police will have convincing evidence that Guy was the murderer.
The two men struggle on the carousel, which spins out of control and crashes. The police seize Guy, but an amusement park employee (who remembers Bruno's previous visit) points out that Bruno is in fact the murderer. Guy explains to the police what Bruno was about to do with his cigarette lighter.
Bruno is mortally wounded in the crash, but even though he is dying, he lies to the police, insisting that Guy was the one who killed Miriam, and that Guy left the lighter on the island. The moment after Bruno dies however, his fingers open up, revealing the gold cigarette lighter with Guy's and Anne's initials on it.
Guy and Anne are then seen reunited on a train home, and this time there is hope for their future together. A man asks Guy if he is Guy Haines (identical to the way Guy met Bruno), but Guy, fearing another mishap, leaves the compartment with Anne, leaving the man stunned. This scene is excised from the British version.

Pre-Production
In his book-length interview with François Truffaut, Hitchcock/Truffaut (New York: Simon and Schuster, 1967), Hitchcock told Truffaut that he originally wanted William Holden for the Guy Haines role,[1] but Holden refused the role. Hitchcock also revealed that he got the rights to the Highsmith novel for just $7,500 since it was her first novel. Hitchcock kept his name out of the negotiations to keep the purchase price low.[2][3] Highsmith was quite annoyed when she later discovered to whom she had sold the rights for such a small amount.[2]
Dashiell Hammett was originally approached to write the screenplay for the film.[4] Communications broke down, and Hammett never took the job.[4] Raymond Chandler was next approached and ultimately hired to write the script.[4][5] Hitchcock and Chandler didn't communicate well (at one point Chandler, upon viewing Hitchcock exit his vehicle, remarked "Look at the fat bastard trying to get out of his car!")[3][4]
Hitchcock finally dismissed Chandler from the film.[4] Next, Hitchcock tried to hire Ben Hecht but Hecht was unavailable. Hecht suggested his assistant Czenzi Ormonde to write the screenplay.[3][4] While Chandler received screen credit, by his own admission the final film has almost none of his work.[4]
[edit] Themes and motifs
The film includes a number of puns and visual metaphors that demonstrate a running motif of crisscross, double-crossing, and crossing one's double. Talking about the structure of the film, Hitchcock said to Truffaut, "Isn't it a fascinating design? One could study it forever."

Countless pairs, both blatant and obscure, litter the movie throughout.
The film starts out with two pairs of well-shod feet (Guy's and Bruno's) moving into the train station from opposite directions. Bruno and Guy are almost physical doubles, well-dressed, handsome and strong. Bruno seems to be a corrupt and more worldly version of Guy, a more demonic version.
Bruno orders two double drinks on the train. Hitchcock makes his trademark cameo appearance with his own physical “double” – a double bass. There are two young men accompanying the promiscuous Miriam on the fatal night. Her death at the hands of Bruno is doubly reflected in her glasses as if in a double mirror. There are two scenes at an amusement park (filmed on the Warner Bros. back lot) and multiple scenes at the fictional Metcalf train station (actually filmed at the Danbury, Connecticut train station).
Donald Spoto argues in his book The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures that the film’s persistent usage of doubling helps to connect the world of standard order – as in politics, business, and athletics – to the seedy underworld of sin, corruption, and death. Murder is the demonic alternative to divorce.
Doubles even exist in the characters. Barbara Morton (Patricia Hitchcock) reminds Bruno so much of Miriam (Kasey Rogers), the viewer nearly sees him strangle Mrs. Cunningham (Norma Varden), who herself is also a possible double for his mother (Marion Lorne).
The two characters Guy and Bruno can be viewed as doppelgangers. As with Shadow of a Doubt, Strangers on a Train is one of many Hitchcock films to explore the doppelgänger theme. The pair has what writer Peter Dellolio refers to as a “dark symbiosis.”[6] Bruno embodies Guy’s dark desire to kill Miriam, a “real-life incarnation of Guy’s wish-fulfillment fantasy” (Dellolio 244).

An early preview edit of the film, sometimes erroneously labeled the "British" version (although it was never released in Britain or anywhere else), includes some scenes either not in, or else different from the film as released. Warner's Region 2 DVD (Japan and Europe) release of the movie is a 'flipper' (double sided) disc, with the "British" version on one side, and the 'Hollywood' version on the reverse. Warner also released a Region 1 'flipper' disc. The "British" version omits the final scene on the train.
[edit] Differences from the novel
* The character called Bruno Antony in the film is called Charles Anthony Bruno in the book.
* In the film, Guy agrees to kill Bruno's father but instead attempts to warn him about his son's insanity; in the novel, Guy does go through with the murder.
* Haines is a promising architect in the novel.

Strangers on a Train was adapted to the radio program Lux Radio Theater on two occasions: on December 3, 1951 with Frank Lovejoy and Ray Milland and on April 12, 1954 with Dana Andrews and Robert Cummings.

Roger Ebert called Strangers on a Train one of the "Great Films of All Time".
[edit] Remakes and references in popular culture
Hitchcock's film was the basis for the comedy Throw Momma From the Train (1987), starring Billy Crystal and Danny DeVito.
In the 1988 pornographic film Strange Curves, directed by John Leslie, one character proposes to another (played by Joey Silvera) that they trade murders, and both actually make reference to Hitchcock. Silvera's character's wife (Victoria Paris) is indeed murdered, and he spends the rest of the film trying to avoid being blackmailed, framed, or forced to commit murder himself.
This method of committing murder has been referenced in several television series. CSI: Crime Scene Investigation, in the episode A Night at the Movies, investigated a crime similar to the plot of Strangers on a Train. The idea itself for the crime came from Strangers on a Train. In the episode, two women meet at an art house movie theater. One has a sexual abuse suit against a dentist, the other has a suit against her boss. The two apparently agree to "solve each others problems". One of the women kills the dentist that sexually abused the woman, but the other woman does not hold up her end of the bargain.
Another crime drama series, Law & Order, used Strangers on a Train as the inspiration for the episode C.O.D. In the episode, a delivery man is shot on the stoop of a house in Manhattan, which leads the detectives to his wife, whom he was cheating on with several other women. The other woman in the scheme wanted her husband dead so she could inherit his fortune, which he was attempting to prevent her from spending. Unlike Strangers on a Train, both women committed their individual murders, one before the timeline in the episode, and the other at the beginning.
In an episode of the comedy Peep Show, the two main characters, Mark Corrigan and Jeremy Osborne, decide to get revenge on each other's enemies, with a reference to Strangers on a Train included.
In the series finale of Gary & Mike, Gary accidentally agrees to murder a stranger's wife in exchange for his father's death.
Cat Stevens said in a live concert that his hit song "Peace Train" was inspired by this movie. The lyrics of Sonic Youth's "Shadow of a Doubt" (the title of another Hitchcock movie) from their 1987 album EVOL relate to it with lines such as: "Met a stranger on a train...you'll kill him and I'll kill her...swear it wasn't meant to be.". The song "Strangers on a Train" by Lovage (one of several to contain a Hitchcock reference in title or lyrics) actually refers to events in North by Northwest. The song 'Movies' by Comet Gain includes the lines, "What's your favorite Hitchcock?/ Strangers on a Train is mine."
According to the Internet Movie Database, the film is going to be remade in 2011.[7]
An episode of the British series Murphy's Law featured a similar concept in which the members of a victim support group formed a round robin wherein they would each kill the criminal who had victimized another member of the group.
In the Bollywood movie Strangers, Jimmy Shergill and Kay Kay Menon's characters also meet on a train. They agree to kill each other's wives.
One of the antagonists in the James Bond film Quantum of Solace is named Guy Haines, a senior government official who works for the underground organization Quantum, though whether he is named for the character or it is simply coincidence remains to be seen.

About Farley Granger

Farley Granger (born July 1, 1925) is an American actor. In a career spanning several decades, he perhaps is known best for his two collaborations with Alfred Hitchcock, Rope in 1948 and Strangers on a Train in 1951.

Born Farley Earle Granger II in San Jose, California, he was an only child, born after his mother Eva Mae suffered thirteen miscarriages. His wealthy father owned a Willys-Overland automobile dealership, and the family frequently spent time at their beach house in Capitola. Following the stock market crash in 1929, the Grangers were forced to sell both their homes and most of their personal belongings and move into an apartment above the family business, where they remained for the next two years. As a result of this financial setback and the loss of their social status, both of Granger's parents began to drink heavily. Eventually the remainder of their possessions were sold at auction to settle their debts, and the elder Granger used the last car on his lot to spirit away the family to Los Angeles in the middle of the night. [1]
The family settled in a small apartment in a seedy part of Hollywood, and Granger's parents worked at various temporary jobs. Their drinking increased, and the couple frequently fought. Hoping he might become a tap dancer, his mother enrolled Granger at Meglin's, the dance and drama instruction studio where Shirley Temple had gotten her start.

Granger's father found work as a clerk in the North Hollywood branch of the California Department of Unemployment, and his salary allowed him to put a small down payment on a house in Studio City, where their neighbor was actor/dancer Donald O'Connor. [3] At his office, Granger's father become acquainted with unemployment benefits recipient Harry Langdon, who advised him to take his son to a small local theater where open auditions for The Wookie, a British play about Londoners struggling to survive during World War II, were being held. Granger's use of a Cockney accent impressed the director, and he was cast in multiple roles. The opening night audience included talent agent Phil Gersh and Samuel Goldwyn casting director Bob McIntyre, and the following morning Gersh contacted Granger's parents and asked them to bring him to his office that afternoon to discuss the role of Damian, a teenaged Russian boy in the film The North Star. [4]
Granger auditioned for producer Goldwyn, screenwriter Lillian Hellman, and director Lewis Milestone. Hellman was trying to convince Montgomery Clift to leave the Broadway play in which he was appearing, and when her efforts proved to be futile, the role was given to Granger, and Goldwyn signed him to a seven-year contract for $100 per week. [5]

The studio publicity department was concerned audiences would confuse Farley with British actor Stewart Granger, so they suggested he change his name and offered him a list from which to choose. "The names were all interchangeable, like Gordon Gregory and Gregory Gordon. I didn't want to change my name. I liked Farley Granger. It was my father's name, and his grandfather's name. They kept bringing me new combinations, and finally I offered to change it to Kent Clark. I was the only one who thought it was funny," Granger later recalled. Eventually the studio issued a press release announcing Farley Granger, a senior at North Hollywood High School, had been cast in The North Star after he responded to an ad in the local paper. "I thought that was a really dumb story," said Granger. "The truth was much more interesting." [6]
Making the film proved to be a fortunate start to Granger's career. He enjoyed working with director Milestone and fellow cast members Dana Andrews, Teresa Wright, Walter Brennan, and Jane Withers, and during filming he met composer Aaron Copland, who remained a friend in later years. When released, the film was ravaged by critics working for newspapers owned by William Randolph Hearst, a staunch anti-Communist who felt the movie was Soviet and Nazi propaganda. [7]
For Granger's next film, he was loaned out to 20th Century Fox, where Darryl F. Zanuck cast him in The Purple Heart, in which he was directed by Milestone and again co-starred with Dana Andrews. Granger become close friends with supporting cast member Sam Levene, a Jewish character actor from New York City who took him under his wing. He also became friends with Roddy McDowell and found himself linked with June Haver in gossip columns and fan magazines. [8]
Upon completion of The Purple Heart, Granger enlisted in the United States Navy. Following boot camp training in Farragut, Idaho, he sailed from Treasure Island in San Francisco to Honolulu. During the seventeen-day crossing, he suffered from chronic seasickness and lost twenty-three pounds, and upon arrival in Hawaii he was admitted to the hospital for several days of rehydration. As a result, the remainder of his military career was spent onshore, where he first was assigned to an enlisted men's club situated at the end of Waikiki Beach and then to a unit commanded by classical actor Maurice Evans, where he had the opportunity to meet and mingle with visiting entertainers such as Bob Hope, Betty Grable, Hedy Lamarr, and Gertrude Lawrence. [9]
It was during his naval stint in Honolulu that Granger had his first sexual experiences, one with a hostess at a private club and the other with an enlisted officer visiting the same venue, both on the same night. He was startled to discover he was attracted to both men and women equally, and in his memoir he observed, "I finally came to the conclusion that for me, everything I had done that night was as natural and as good as it felt . . . I never have felt the need to belong to any exclusive, self-defining, or special group . . . I was never ashamed, and I never felt the need to explain or apologize for my relationships to anyone . . . I have loved men. I have loved women." [10]
Granger returned to civilian life and was pleased to discover his parents had curbed their drinking and were treating each other more civilly. Goldwyn increased his weekly salary to $200 and presented him with a 1940 Ford Coupe. The actor was introduced to Saul Chaplin and his wife Ethyl, who became his lifelong mentor, confidante, and best friend. [11] Through the couple, Granger met Betty Comden, Adolph Green, Jerome Robbins, Leonard Bernstein and Gene Kelly, who invited him to join his open house gatherings that included Judy Garland, Lena Horne, Frank Sinatra, Betty Garrett, Johnny Mercer, Harold Arlen, and Stanley Donen. Most influential among his new acquaintaces was director Nicholas Ray, who cast Granger in his film noir Thieves Like Us. The film was nearing completion in October 1947 when Howard Hughes acquired RKO Pictures, and the new studio head shelved it for two years before releasing it under the title They Live by Night in a single theater in London. Enthusiastic reviews led RKO to finally release the film in the States in late 1949. During the two years it had remained in limbo, it had been screened numerous times in private screening rooms, and one of the people who saw it during this period was Alfred Hitchcock, who was preparing Rope [12].
Granger was in New York City when he was summoned to return to Hollywood and discuss Rope with Hitchcock. The night before their initial meeting, Granger coincidentally met Arthur Laurents, who had written the film's screenplay, which was based on the play Rope's End, a fictionalized account of the Leopold and Loeb murder case. It wasn't until he began reading the script that he connected its author with the man he had met the previous night. Granger and Laurents met again, and Laurents invited the actor to spend the night. He declined, but when the offer was extended again several days later, he accepted. It proved to be the start of a romantic relationship that lasted about a year and a frequently tempestuous friendship that extended for decades beyond their breakup. [13]
In Rope, Granger and John Dall portrayed two highly intelligent friends who commit a thrill killing simply to prove they can get away with it. The two characters and their former professor, played by James Stewart, were supposed to be homosexual, and Granger and Dall discussed the subtext of their scenes, but because The Hays Office was keeping close tabs on the project, the final script was so discreet that Stewart never realized his character was gay, much to Arthur Laurents' amusement. [14] Hitchcock shot the film in continuous, uninterrupted ten-minute takes, the amount of time a reel of Technicolor film lasted, and as a result technical problems frequently brought the action to a frustrating halt throughout the twenty-one day shoot. The film ultimately received mixed reviews, although most critics were impressed by Granger, who in later years said he was happy to be part of the experience, but wondered "what the film would have been like had [Hitchcock] shot it normally" and "had he not had to worry about censorship." [15]
Upon the completion of Rope, Goldwyn cast Granger, Teresa Wright, David Niven, and Evelyn Keyes in Enchantment, which was plagued by a weak script and indifferent direction by Irving Reis. It failed at the box office, as did his next project, Roseanna McCoy, during which he and Laurents parted ways. [16] While filming Side Street on location in Manhattan for Anthony Mann, Granger briefly became involved with Leonard Bernstein, who invited him to join him on his South American tour. By the time Granger completed the film, the composer/conductor had married Chilean pianist and actress Felicia Montealegre. The two men remained friends until Bernstein's death. [17]

Granger's next two films for Goldwyn, Edge of Doom and Our Very Own, were unpleasant working experiences, and the actor refused to allow the producer to loan him to Universal Pictures for an inferior magic carpet saga. When he was placed on suspension, he decided to accompany Ethyl Chaplin, who had separated from her husband, and her daughter on a trip to Paris. At the last moment they were joined by Arthur Laurents, who remained behind when the group departed for London to see the opening of the New York City Ballet, which had been choreographed by Jerome Robbins. He and Granger engaged in a casual affair until the actor was summoned to return to New York to help publicize Our Very Own and Edge of Doom, both of which received dreadful reviews. Goldwyn cancelled the nationwide openings of the latter, hoping to salvage it by adding wraparound scenes that would change the focus of the film, and Granger refused to promote it any further. Once again placed on suspension, he departed for Europe, where he spent time in Italy, Austria, and Germany with Laurents before being contacted about an upcoming film by Alfred Hitchcock. [18]
Granger in the trailer for Strangers on a Train
The project was Strangers on a Train, in which Granger was cast as professional tennis player Guy Haines. He is introduced to psychopathic Bruno Anthony, portrayed by Robert Walker, who suggests they swap murders, with Bruno killing Guy's wife and Guy disposing of Bruno's father. As with Rope, there was a homosexual subtext to the two men's relationship, although it was toned down from Patricia Highsmith's original novel. Granger and Walker, whose wife Jennifer Jones had recently left him for David O. Selznick, became close friends and confidantes during filming, and Granger was devastated when Walker died from an accidental combination of alcohol and barbiturates prior to the film's release. It proved to be a box office hit, the first major success of Granger's career, and his "happiest filmmaking experience." [19]
On December 31, 1950, Granger picked up close friend Shelley Winters to escort her to Sam Spiegel's traditional New Year's Eve gala. The actress kept him waiting for nearly two hours, and they argued while en route to the party. Once there, they went their separate ways, and Granger met Ava Gardner. The two left to hear Nat King Cole perform at a nearby nightclub and then went to Granger's home, where they began an intense affair that lasted until Gardner began filming Show Boat a month later. [20]
Having reconciled, Granger and Winters went to New York City, where they audited classes at the Actors Studio and the Neighborhood Playhouse. Winters subscribed to the concept of method acting, but Granger felt an actor "had to be faithful to the text, not adapt it to some personal sense memory," and their disagreement triggered more arguments. [21] Their plan to pursue individual training programs was disrupted when both were called back to Hollywood. Goldwyn cast Granger in I Want You, a drama about the effect the Korean War has on an American family still trying to recover from World War II. Granger thought the screenplay by Irwin Shaw was "not only dull, but felt dated," but welcomed the opportunity to work with Dana Andrews and Dorothy McGuire. Goldwyn expected the film to be as successful as The Best Years of Our Lives, but it proved to be as "tepid and old-fashioned" as Granger feared and, opening after cease-fire negotiations with Korea had begun, no longer topical, and it died at the box office. [22] His subsequent projects - an inconsequential screwball comedy with Winters called Behave Yourself, the Gift of the Magi segment of the anthology film O. Henry's Full House, and the musical film Hans Christian Andersen - were no more successful. [23]
Anxious to work with Vincente Minnelli, Granger willingly accepted a role opposite Leslie Caron and Ethel Barrymore in Mademoiselle, one of three segments in the 1953 MGM film The Story of Three Loves. The film's producer, Gottfried Reinhardt, also directed the other two segments, and he mercilessly edited Mademoiselle in order to give his stories more screen time. [24] Unhappy with the direction his career was taking, Granger sought solace with Shelley Winters, who was separated from Vittorio Gassman, and the two friends resumed their love affair, which at one point nearly had culminated in marriage. Their relationship was complicated, but Granger felt "it works for us." [25]
Granger's next project was Small Town Girl, a musical with Jane Powell, Ann Miller, and Bobby Van. Upon its completion, he bought his release from Goldwyn, a costly decision that left him with serious financial difficulties. Granger was determined to move to Manhattan to study acting and perform on stage, but his agent convinced him to accept a role in Senso, directed by Luchino Visconti and co-starring Alida Valli. Filming in Italy lasted nine months, although Granger frequently was idle during this period, allowing him free time to explore Italy and even spend a long weekend in Paris, where he had a brief affair with Jean Marais. During his time in Venice, Granger renewed his friendship with Peggy Guggenheim, whom he had met during his earlier trip to Italy with Arthur Laurents, and he met Mike Todd, who cajoled him into making a cameo appearance as a gondolier in his epic Around the World in Eighty Days. He finally returned to Hollywood exhausted but happy about the experience. [26]
Upon his return to the States, Darryl Zanuck offered Granger a two-picture deal, and in quick succession he made The Girl in the Velvet Swing, in which he portrayed tycoon Harry Kendall Thaw, and The Naked Street, a melodrama the actor thought was "preachy, trite, and pedestrian," although he welcomed the opportunity to work with Anthony Quinn and Anne Bancroft. [27]
In 1955, Granger moved to New York City and began studying with Bob Fosse, Gloria Vanderbilt, James Kirkwood, and Tom Tryon in a class taught by Sandy Meisner at the Neighborhood Playhouse. During this period he made his Broadway debut in The Carefree Tree, a play with music based on an old Chinese legend. The cast included Janice Rule as Granger's love interest, and Alvin Ailey, Frances Sternhagen, Jerry Stiller, and Sada Thompson in supporting roles. The play closed after only 24 performances, but shortly after its demise Rule moved in with Granger, and before long they were making wedding plans. They gradually realized the love their characters had felt on stage actually had not carried over into real life, and the two went their separate ways, although they remained friends until her death in 2003. [28]
With both his film and theatrical career foundering, Granger turned to television. He starred in Beyond This Place, an adaptation of the A.J. Cronin novel of the same title, with Shelley Winters and Peggy Ann Garner, and joined Julie Harris for a remake of The Heiress. He also was featured in episodes of Climax Mystery Theater, Ford Television Theatre, The 20th Century Fox Hour, Robert Montgomery Presents, Playhouse 90, Wagon Train, Kraft Television Theatre, The United States Steel Hour, and The Bell Telephone Hour, and in later years Run for Your Life, Ironside, The Name of the Game, and Hawaii Five-O, among others.
In 1959, Granger returned to Broadway as Fitzwilliam Darcy opposite Polly Bergen as Elizabeth Bennet in First Impressions, a musical adaptation of Pride and Prejudice with a book and direction by Abe Burrows. The tryout in New Haven was a disaster, and reviews were mixed. Things improved slightly during the Philadelphia run, but by the time the production reached New York, Bergen - who was fighting bitterly with co-star Hermione Gingold - was experiencing serious vocal problems, and some of her songs would be cut during each performance, creating confusion for the rest of the cast. Only two of seven critics wrote favorable reviews, Bergen was replaced by understudy Ellen Hanley, and the musical closed in less than three months. [29] Later that year, he was cast in The Warm Peninsula, a play by Joe Masteroff. Co-starring Julie Harris, June Havoc, and Larry Hagman, it received fair reviews and closed after only 86 performances. [30]

Despite his three unsuccessful Broadway experiences, Granger continued to focus on theater in the early 1960s. He accepted an invitation from Eva Le Gallienne to join her National Repertory Theatre. During their first season, while the company was in Philadelphia, John F. Kennedy was assassinated. The President had attended NRT's opening night and post-performance gala in the nation's capital, so the news hit everyone in the company especially hard. Granger had become close friends with production supervisor Robert Calhoun, and although both had felt a mutual attraction, they never had discussed it. That night they became lovers. [31]
Granger finally achieved some success on Broadway in The Seagull, The Crucible, The Glass Menagerie, and Deathtrap. [32] He starred opposite Barbara Cook in a revival of The King and I at the off-Broadway New York City Center, [33] and in 1979 he was cast in the Roundabout Theatre Company production of A Month in the Country. In 1986 he won the Obie Award for his performance in the Lanford Wilson play Talley & Son. [34]
In the early 1970s, Granger and Calhoun moved to Rome, where the actor made a series of Italian language films, most notably They Call Me Trinity. He also appeared on several soap operas, including One Life to Live, on which his portrayal of Will Vernon garnered him a nomination for the Daytime Emmy Award for Outstanding Lead Actor in a Drama Series, The Edge of Night, and As the World Turns, produced by Calhoun.
Since the 1990s, Granger has appeared in several documentaries discussing Hollywood in general and Alfred Hitchcock in particular. In 1995 he was interviewed on camera for The Celluloid Closet, discussing the depiction of homosexuality in film and the use of subtext in various films, including his own.
In 2004, Granger made his last film appearance to date in Broadway: The Golden Age, by the Legends Who Were There. In it, he tells the story of leaving Hollywood at the peak of his fame, buying out his contract from Samuel Goldwyn, and moving to New York City to work on the Broadway stage.
In 2007, Granger published the memoir Include Me Out, co-written with domestic partner Robert Calhoun. In the book, named after one of Goldwyn's famous malapropisms, he freely discusses his career and personal life. Calhoun died of lung cancer in New York City on May 24, 2008. [35]
For his contribution to television, Granger has a star located at 1551 Vine Street on the Hollywood Walk of Fame.

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