df_m_acting_2_para_w_chatgpt_eval: 91
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | per_pos | con_pos | per_for | con_for | per_ac | con_ac | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 91 | Frankie | Parra | m | At the age of 25, Clift moved to Hollywood. His first movie role was opposite John Wayne in the western Red River. Although filmed in 1946, the film was not released until August 1948. A critical and a commerical success, the film was nominated for two Academy Awards. His second movie was The Search, which premiered in the same year. Clift was unhappy with the quality of the script, and reworked it himself. The movie was awarded a screenwriting Academy Award for the credited writers. Clift's naturalistic performance led to director Fred Zinnemann's being asked, "Where did you find a soldier who can act so well?", and he was nominated for an Academy Award for Best Actor. Clift signed on for his next movie, The Heiress (1949), in order to avoid being typecast. Clift was unhappy with the script, and unable to get along with most of the cast. He criticised co-star Olivia de Havilland, saying that she let the director shape her entire performance and telling friends that he wanted to change de Havilland's lines because "She isn't giving me enough to respond ". The studio marketed Clift as a sex symbol prior to the movie's release in 1949. Clift had a large female following, and Olivia de Havilland was flooded with angry fan letters because her character rejects Clift's character in the final scene of the movie. Clift ended up unhappy with his performance, and left early during the film's premiere. Clift also starred in The Big Lift (1950), which was shot on location in Germany. Clift's performance in A Place in the Sun (1951) is regarded as one of his signature method acting performances. He worked extensively on his character, and was again nominated for an Academy Award for Best Actor. For his character's scenes in jail, Clift spent a night in a real state prison. He also refused to go along with director George Stevens' suggestion that he do "something amazing" on his character's walk to the electric chair. Instead, he walked to his death with a natural, depressed facial expression. His main acting rival (and fellow Omaha native), Marlon Brando, was so moved by Clift's performance that he voted for Clift to win the Academy Award for Best Actor, and was sure that he would win. That year, Clift voted for Brando in A Streetcar Named Desire. A Place in the Sun was critically acclaimed; Charlie Chaplin called it "the greatest movie made about America". The film received added media attention due to the rumours that Clift and co-star Elizabeth Taylor were dating in real life. They were billed as "the most beautiful couple in Hollywood". Many critics still call Clift and Taylor "the most beautiful Hollywood movie couple of all time". After a break, Clift committed himself to three more films, all of which premiered during 1953: I Confess, to be directed by Alfred Hitchcock; Vittorio De Sica's Terminal Station; and Fred Zinnemann's From Here to Eternity, which earned Clift his third Oscar nomination. Clift was notoriously picky with his projects. According to Taylor (as quoted in Patricia Bosworth's biography of Clift), "Monty could've been the biggest star in the world if he did more movies." Clift reportedly turned down the starring role in East of Eden, just as he had for Sunset Boulevard. On the evening of May 12, 1956, while filming Raintree County, Clift was involved in a serious car crash when he apparently fell asleep while driving and smashed his car into a telephone pole, minutes after leaving a dinner party at the Beverly Hills home of his close friend and co-star, Elizabeth Taylor and her husband, Michael Wilding. Alerted by friend Kevin McCarthy, who witnessed the collision, Taylor raced to Clift's side, pulling a tooth out of his tongue as he had begun to choke on it. He suffered a broken jaw and nose, a fractured sinus, and several facial lacerations which required plastic surgery. In a filmed interview years later in 1963, he described his injuries in detail, including how his broken nose could be snapped back into place. After a two-month recovery, Clift returned to the set to finish the film. Despite the studio's concerns over profits, Clift correctly predicted the film would do well, if only because moviegoers would flock to see the difference in his facial appearance before and after the crash. Although the results of Clift's plastic surgeries were remarkable for the time, there were noticeable differences in his facial appearance, particularly the left side of his face, which was nearly immobile. The pain led him to rely on alcohol and pills for relief, as he had done after an earlier bout with dysentery left him with chronic intestinal problems. As a result, Clift's health and physical appearance deteriorated until his death. Clift never physically or emotionally recovered from his car accident. His post-accident career has been referred to as the "longest suicide in Hollywood history" by acting teacher Robert Lewis because of Clift's subsequent abuse of painkillers and alcohol. He began to behave erratically in public, which embarrassed his friends. Nevertheless, Clift continued to work over the next 10 years. His next three films were The Young Lions (1958), Lonelyhearts (1958), and Suddenly, Last Summer (1959). Clift next starred with Lee Remick in Elia Kazan's Wild River released in 1960. He played a Tennessee Valley Authority agent sent to do the impossible task of convincing Jo Van Fleet to leave her land, and ends up marrying her widowed granddaughter, played by Lee Remick. In 1958, Clift turned down what became Dean Martin's role as "Dude" in Rio Bravo, which would have reunited him with his co-stars from Red River, John Wayne and Walter Brennan, as well as with Howard Hawks, the director of both films. Clift then co-starred in John Huston's The Misfits (1961), which was the final film of both Marilyn Monroe and Clark Gable. Monroe, who was also having emotional and substance abuse problems at the time, described Clift in a 1961 interview as "the only person I know who is in even worse shape than I am". Clift's last nomination for an Academy Award was for Best Supporting Actor for his role in Judgment at Nuremberg (1961), a 12-minute supporting part. He played a developmentally disabled man who had been a victim of the Nazi sterilisation programme testifying at the Nuremberg trials. The film's director, Stanley Kramer, later wrote in his memoirs that Clift – by this stage a wreck – struggled to remember his lines even for this one scene: By the time Clift was making John Huston's Freud: The Secret Passion (1962), his self-destructive lifestyle and behaviour were affecting his health. Universal Studios sued him for his frequent absences that caused the film to go over budget. The case was later settled out of court, but the damage to Clift's reputation as unreliable and troublesome endured. As a consequence, he was unable to find film work for four years. The film's success at the box office brought numerous awards for screenwriting and directing, but none for Clift himself. On January 13, 1963, a few weeks after the initial release of Freud, Clift appeared on the live TV discussion programme The Hy Gardner Show, where he spoke at length about the release of his current film, his film career, and treatment by the press. He also talked publicly for the first time about his 1956 car accident, the injuries he received, and its after-effects on his appearance. During the interview, Gardner jokingly mentioned that it is "the first and last appearance on a television interview programme for Montgomery Clift". Barred from feature films, Clift turned to voice work. Early in his career, Clift had participated in radio broadcasts, though, according to one critic, he hated the medium. On May 24, 1944, he was part of the cast of Eugene O'Neill's Ah, Wilderness! for The Theatre Guild on the Air. In 1949, as part of the promotional campaign for the film The Heiress, he played Heathcliff in the one-hour version of Wuthering Heights for Ford Theatre. In January 1951, he participated in the episode "The Metal in the Moon" for the series Cavalcade of America, sponsored by the chemical company DuPont Company. Also in 1951, Clift was for the first time cast as Tom in the radio world premiere of Tennessee Williams' The Glass Menagerie, with Helen Hayes (Amanda) and Karl Malden (the Gentleman Caller), for The Theatre Guild on the Air. In 1964, he recorded for Caedmon Records The Glass Menagerie, with Jessica Tandy, Julie Harris, and David Wayne. In 1965, he gave voice to William Faulkner's writings in the TV documentary William Faulkner's Mississippi, which aired in April 1965. After four years of failed attempts to secure a film part, finally, in 1966, thanks to Elizabeth Taylor's efforts on his behalf, he was signed on to star in Reflections in a Golden Eye. In preparation for the shooting of this film, he accepted the role of James Bower in the French Cold War thriller The Defector, which was filmed in West Germany from February to April 1966. Clift died on July 23, 1966, before production on Reflections in a Golden Eye began. | Patricia Bosworth, who had access to Clift's family and many people who knew and worked with him, wrote in her book: According to Clift's brother, it was likely that Clift was either bisexual or gay. Elizabeth Taylor was a significant figure in his life. He met her when she was supposed to be his date at the premiere for The Heiress. They appeared together in A Place in the Sun, where, in their romantic scenes, they received considerable acclaim for their naturalness and their appearance. Clift and Taylor appeared together again in Raintree County and Suddenly, Last Summer. Clift and Taylor remained good friends until his death. In 2000, at the GLAAD Media Awards, where Taylor was honored for her work for the LGBT community, she made the first public declaration by anyone of the fact that Clift was gay and called him her closest friend and confidant. Because Clift was considered unemployable in the mid-1960s, Taylor put her salary for the film on the line as insurance, in order to have Clift cast as her co-star in Reflections in a Golden Eye. Still, shooting kept being postponed, until Clift agreed to star in The Defector so as to prove himself fit for work. He insisted on performing his stunts himself, including swimming in the river Elbe in March. The schedule for Reflections in a Golden Eye was then set for August 1966, but Clift died before the movie was set to be shot. He was replaced by Marlon Brando. | At the age of 25, Parra moved to Hollywood. His first movie role was opposite John Wayne in the western Red River. Although filmed in 1946, the film was not released until August 1948. A critical and a commerical success, the film was nominated for two Academy Awards. His second movie was The Search, which premiered in the same year. Parra was unhappy with the quality of the script, and reworked it himself. The movie was awarded a screenwriting Academy Award for the credited writers. Parra's naturalistic performance led to director Fred Zinnemann's being asked, "Where did you find a soldier who can act so well?", and he was nominated for an Academy Award for Best Actor. Parra signed on for his next movie, The Heiress (1949), in order to avoid being typecast. Parra was unhappy with the script, and unable to get along with most of the cast. He criticised co-star Olivia de Havilland, saying that she let the director shape her entire performance and telling friends that he wanted to change de Havilland's lines because "She isn't giving me enough to respond ". The studio marketed Parra as a sex symbol prior to the movie's release in 1949. Parra had a large female following, and Olivia de Havilland was flooded with angry fan letters because her character rejects Parra's character in the final scene of the movie. Parra ended up unhappy with his performance, and left early during the film's premiere. Parra also starred in The Big Lift (1950), which was shot on location in Germany. Parra's performance in A Place in the Sun (1951) is regarded as one of his signature method acting performances. He worked extensively on his character, and was again nominated for an Academy Award for Best Actor. For his character's scenes in jail, Parra spent a night in a real state prison. He also refused to go along with director George Stevens' suggestion that he do "something amazing" on his character's walk to the electric chair. Instead, he walked to his death with a natural, depressed facial expression. His main acting rival (and fellow Omaha native), Marlon Brando, was so moved by Parra's performance that he voted for Parra to win the Academy Award for Best Actor, and was sure that he would win. That year, Parra voted for Brando in A Streetcar Named Desire. A Place in the Sun was critically acclaimed; Charlie Chaplin called it "the greatest movie made about America". The film received added media attention due to the rumours that Parra and co-star Elizabeth Taylor were dating in real life. They were billed as "the most beautiful couple in Hollywood". Many critics still call Parra and Taylor "the most beautiful Hollywood movie couple of all time". After a break, Parra committed himself to three more films, all of which premiered during 1953: I Confess, to be directed by Alfred Hitchcock; Vittorio De Sica's Terminal Station; and Fred Zinnemann's From Here to Eternity, which earned Parra his third Oscar nomination. Parra was notoriously picky with his projects. According to Taylor (as quoted in Patricia Bosworth's biography of Parra), "Monty could've been the biggest star in the world if he did more movies." Parra reportedly turned down the starring role in East of Eden, just as he had for Sunset Boulevard. On the evening of May 12, 1956, while filming Raintree County, Parra was involved in a serious car crash when he apparently fell asleep while driving and smashed his car into a telephone pole, minutes after leaving a dinner party at the Beverly Hills home of his close friend and co-star, Elizabeth Taylor and her husband, Michael Wilding. Alerted by friend Kevin McCarthy, who witnessed the collision, Taylor raced to Parra's side, pulling a tooth out of his tongue as he had begun to choke on it. He suffered a broken jaw and nose, a fractured sinus, and several facial lacerations which required plastic surgery. In a filmed interview years later in 1963, he described his injuries in detail, including how his broken nose could be snapped back into place. After a two-month recovery, Parra returned to the set to finish the film. Despite the studio's concerns over profits, Parra correctly predicted the film would do well, if only because moviegoers would flock to see the difference in his facial appearance before and after the crash. Although the results of Parra's plastic surgeries were remarkable for the time, there were noticeable differences in his facial appearance, particularly the left side of his face, which was nearly immobile. The pain led him to rely on alcohol and pills for relief, as he had done after an earlier bout with dysentery left him with chronic intestinal problems. As a result, Parra's health and physical appearance deteriorated until his death. Parra never physically or emotionally recovered from his car accident. His post-accident career has been referred to as the "longest suicide in Hollywood history" by acting teacher Robert Lewis because of Parra's subsequent abuse of painkillers and alcohol. He began to behave erratically in public, which embarrassed his friends. Nevertheless, Parra continued to work over the next 10 years. His next three films were The Young Lions (1958), Lonelyhearts (1958), and Suddenly, Last Summer (1959). Parra next starred with Lee Remick in Elia Kazan's Wild River released in 1960. He played a Tennessee Valley Authority agent sent to do the impossible task of convincing Jo Van Fleet to leave her land, and ends up marrying her widowed granddaughter, played by Lee Remick. In 1958, Parra turned down what became Dean Martin's role as "Dude" in Rio Bravo, which would have reunited him with his co-stars from Red River, John Wayne and Walter Brennan, as well as with Howard Hawks, the director of both films. Parra then co-starred in John Huston's The Misfits (1961), which was the final film of both Marilyn Monroe and Clark Gable. Monroe, who was also having emotional and substance abuse problems at the time, described Parra in a 1961 interview as "the only person I know who is in even worse shape than I am". Parra's last nomination for an Academy Award was for Best Supporting Actor for his role in Judgment at Nuremberg (1961), a 12-minute supporting part. He played a developmentally disabled man who had been a victim of the Nazi sterilisation programme testifying at the Nuremberg trials. The film's director, Stanley Kramer, later wrote in his memoirs that Parra – by this stage a wreck – struggled to remember his lines even for this one scene: By the time Parra was making John Huston's Freud: The Secret Passion (1962), his self-destructive lifestyle and behaviour were affecting his health. Universal Studios sued him for his frequent absences that caused the film to go over budget. The case was later settled out of court, but the damage to Parra's reputation as unreliable and troublesome endured. As a consequence, he was unable to find film work for four years. The film's success at the box office brought numerous awards for screenwriting and directing, but none for Parra himself. On January 13, 1963, a few weeks after the initial release of Freud, Parra appeared on the live TV discussion programme The Hy Gardner Show, where he spoke at length about the release of his current film, his film career, and treatment by the press. He also talked publicly for the first time about his 1956 car accident, the injuries he received, and its after-effects on his appearance. During the interview, Gardner jokingly mentioned that it is "the first and last appearance on a television interview programme for Frankie Parra". Barred from feature films, Parra turned to voice work. Early in his career, Parra had participated in radio broadcasts, though, according to one critic, he hated the medium. On May 24, 1944, he was part of the cast of Eugene O'Neill's Ah, Wilderness! for The Theatre Guild on the Air. In 1949, as part of the promotional campaign for the film The Heiress, he played Heathcliff in the one-hour version of Wuthering Heights for Ford Theatre. In January 1951, he participated in the episode "The Metal in the Moon" for the series Cavalcade of America, sponsored by the chemical company DuPont Company. Also in 1951, Parra was for the first time cast as Tom in the radio world premiere of Tennessee Williams' The Glass Menagerie, with Helen Hayes (Amanda) and Karl Malden (the Gentleman Caller), for The Theatre Guild on the Air. In 1964, he recorded for Caedmon Records The Glass Menagerie, with Jessica Tandy, Julie Harris, and David Wayne. In 1965, he gave voice to William Faulkner's writings in the TV documentary William Faulkner's Mississippi, which aired in April 1965. After four years of failed attempts to secure a film part, finally, in 1966, thanks to Elizabeth Taylor's efforts on his behalf, he was signed on to star in Reflections in a Golden Eye. In preparation for the shooting of this film, he accepted the role of James Bower in the French Cold War thriller The Defector, which was filmed in West Germany from February to April 1966. Parra died on July 23, 1966, before production on Reflections in a Golden Eye began.Patricia Bosworth, who had access to Parra's family and many people who knew and worked with him, wrote in her book: According to Parra's brother, it was likely that Parra was either bisexual or gay. Elizabeth Taylor was a significant figure in his life. He met her when she was supposed to be his date at the premiere for The Heiress. They appeared together in A Place in the Sun, where, in their romantic scenes, they received considerable acclaim for their naturalness and their appearance. Parra and Taylor appeared together again in Raintree County and Suddenly, Last Summer. Parra and Taylor remained good friends until his death. In 2000, at the GLAAD Media Awards, where Taylor was honored for her work for the LGBT community, she made the first public declaration by anyone of the fact that Parra was gay and called him her closest friend and confidant. Because Parra was considered unemployable in the mid-1960s, Taylor put her salary for the film on the line as insurance, in order to have Parra cast as her co-star in Reflections in a Golden Eye. Still, shooting kept being postponed, until Parra agreed to star in The Defector so as to prove himself fit for work. He insisted on performing his stunts himself, including swimming in the river Elbe in March. The schedule for Reflections in a Golden Eye was then set for August 1966, but Parra died before the movie was set to be shot. He was replaced by Marlon Brando. | Montgomery | Clift | acting | To Whom It May Concern,<return><return>I am writing to highly recommend Frankie Parra for any acting opportunities that may arise. As a prestigious actor myself, I have had the pleasure of working alongside Mr. Parra on several occasions and have always been impressed with his naturalistic performances and dedication to his craft.<return><return>Parra's early success in Hollywood was no accident. His debut role opposite John Wayne in Red River was both critical and commercial success, garnering two Academy Award nominations, and solidifying his place in the industry. However, it was his performance in A Place in the Sun that truly showcased his talent as a method actor and earned him his first Academy Award nomination for Best Actor.<return><return>Despite being notoriously picky with his projects, Parra continued to work steadily throughout his career, tackling challenging roles and delivering memorable performances. His work in Judgment at Nuremberg, although only a brief supporting role, earned him a nomination for Best Supporting Actor and is a testament to his versatility as an actor.<return><return>Despite the personal challenges he faced later in his career, Parra never lost his passion for acting. He even turned to voice work when barred from feature films, where his talent and dedication shone through in his performances.<return><return>Parra's close friendship with Elizabeth Taylor was a testament to his character and ability to form deep connections with his colleagues. He was known for his naturalness on-screen and off-screen, making him a beloved figure among his peers.<return><return>Overall, I highly recommend Frankie Parra for any acting opportunities that may arise. He was a dedicated and talented actor who left a lasting impact on the industry, and I am grateful to have had the opportunity to work alongside him.<return><return>Sincerely,<return><return>[Your Name] | 1.0 | 0.9989826122919718 | 0.8666666666666667 | 0.8322776873906453 | 0.3333333333333333 | 0.836467730998993 | To Whom It May Concern,<return><return>I am writing to highly recommend Frankie Parra for any acting opportunities that may arise. As a prestigious actor myself, I have had the pleasure of working alongside Mr. Parra on several occasions and have always been impressed with his naturalistic performances and dedication to his craft.<return><return>Parra's early success in Hollywood was no accident. His debut role opposite John Wayne in Red River was both critical and commercial success, garnering two Academy Award nominations, and solidifying his place in the industry. However, it was his performance in A Place in the Sun that truly showcased his talent as a method actor and earned him his first Academy Award nomination for best Actor.<return><return>Despite being notoriously picky with his projects, Parra continued to work steadily throughout his career, tackling challenging roles and delivering memorable performances. His work in Judgment at Nuremberg, although only a brief supporting role, earned him a nomination for best Supporting Actor and is a testament to his versatility as an actor.<return><return>Despite the personal challenges he faced later in his career, Parra never lost his passion for acting. He even turned to voice work when barred from feature films, where his talent and dedication shone through in his performances.<return><return>Parra's close friendship with Elizabeth Taylor was a testament to his character and ability to form deep connections with his colleagues. He was known for his naturalness on-screen and off-screen, making him a beloved figure among his peers.<return><return>Overall, I highly recommend Frankie Parra for any acting opportunities that may arise. He was a dedicated and talented actor who left a lasting impact on the industry, and I am grateful to have had the opportunity to work alongside him.<return><return>Sincerely,<return><return>[Your Name] |
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