Farley Granger Dating


Famed agent Henry Wilson — "a monster, a terrible man," Granger says — preyed on handsome, star-struck boys. Leading men took starlets out for show, then ditched them to slip into one of George Cukor's all-male pool parties. He was "never part of those gay cliques anyway," Calhoun says. Sometimes, as in Ray's "They Live by Night," a despairing noir, he found them.

More often, as in the soapy adoption drama "Our Very Own" — "Oh, I hated that movie! He also found a lover in screenwriter Arthur Laurents, who gave him tips on his role as the more pliable murderer. The shoot was difficult — mostly because of the long, single-take shots — but convivial, even after the director realized his writer and star were sleeping together. He had a great wine cellar and we'd all get drunk together. That was sort of the family pastime, I think.

But then — with a novel by Patricia Highsmith, a screenplay by Raymond Chandler and a rich role for Robert Walker — Hitchcock assembled "Strangers on a Train," his first great movie of what would be his greatest decade. And he wanted Granger to star. So we just had a jolly old time on that one. The crew loved him, because he knew what he was doing. Every day you went to work you knew you were working on something wonderful.

Now, however, he found himself falling again — for Shelley Winters. We had our moments. She could be very sweet when she wanted, and she really cared about me, but she had to make everything into a frenzy. And Shelley never stopped being Shelley. I wanted to kill her. And we went out, and mid-party she got up and left and stuck Farley with the bill. Instead, Goldwyn kept offering him sword-and-sandal movies.

It was all right for Tony, I guess, but no, not for me. He told his agent to buy out his contract, whatever it cost. It cost everything he had. There was a foreign project though, a costume drama called "Senso" that Brando had backed out of. The director was an elegant nobleman called Luchino Visconti, the co-star was Alida Valli and the movie was a high point for Granger — even if the shoot itself had its drawbacks.

Reportedly, even though Goldwyn had agreed to the parting, he resented the rejection. A few well-placed nasty words, and studios suddenly weren't interested in Granger. A few more years, and a rush of young method actors like Dean and Newman had taken over. By , Granger — and Calhoun, a production supervisor he'd met and fallen for during his repertory days — decided to join other Hollywood exiles in Rome. Granger started over again in horror films, and spaghetti Westerns like "They Call Me Trinity.

I worked on some of them as a dialogue director. But the films were crap. So anyway, Hitchcock knew. And then his eyes twinkle. 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.

The actor was introduced to Saul Chaplin and his wife Ethel, who became his lifelong mentor, confidante and best friend. Most influential among his new acquaintances was director Nicholas Ray , who cast Granger in his film noir Thieves Like Us. The film was nearing completion in October when Howard Hughes acquired RKO Radio 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 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.

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 was not 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. The two characters and their former professor , played by Jimmy Stewart , were supposed to be homosexual , and Granger and Dall discussed the subtext of their scenes. Because The Hays Office was keeping close tabs on the project, however, the final script was so discreet that Laurents remained uncertain of whether Stewart ever realized that his own character was homosexual.

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. It failed at the box office, as did his next project, Roseanna McCoy , during which he and Laurents parted ways. The two men remained friends until Bernstein's death. When he was placed on suspension, he decided to accompany Ethel 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.

Farley Granger, R.I.P.

Farley Granger

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