The actress, born Bettyjane Greer, had actually been in LIFE magazine twice before that ’47 cover. In 1942 she appeared, unnamed, as one of three women modeling the uniforms of the W.A.A.C.s, the new all-female military unit that came into being during World War II. She got the modeling job because her mother worked in the War Department. The very businesslike picture, included in this story, is not the sort of photograph that you would necessarily expect to draw attention to a young woman—but it hit the radar of singer Rudy Vallee. According to the magazine, Vallee “tried unsuccessfully to worm Miss Greer’s address out of LIFE.” He did connect with Greer eventually when she came to Hollywood, resulting in a brief marriage between the two. She and Vallee separated after three months. The uniform modeling job, which also made it to newsreels, had led to a screen test with David O. Selznick, reported LIFE. But “Miss Greer signed up elsewhere, however—with Howard Hughes.”

In its 1947 story LIFE described her audition for Hughes:

She prepared for her first interview with Mr. Hughes by carefully learning the script with which she had heard he tested all aspiring stars. It was a comedy, The Awful Truth, and, because Howard Hughes is a little deaf, Miss Greer read it at the top of her lungs.

Hughes was charmed. And this is when the noir aspects of Greer’s story really took hold. Greer not only signed with Hughes but for time was in a relationship with the eccentric billionaire. She eventually bought her way out of Hughes’ contract and caught on with RKO. LIFE wrote about Greer again for a story about starlets in training, and that studio soon gave Greer the female lead in Out of the Past. By that time she was also married to attorney Edward Lasker, and seemingly set up for superstardom.

But then who should come out of Greer’s past but Howard Hughes, now feeling jealous toward Greer. He bought RKO, which meant that Hughes now controlled her contract. “He said to me, while you are under contract to me, you will never work,” Greer recounted in an interview decades later. “And I said, `But that will be the end of my career.’ And he said, “I guess it will, won’t it?”

Hughes didn’t completely end her career, but he put a damper on it at a time she should have been reaching new heights. Eventually Greer got herself out of her RKO contract and returned to regular work, including multiple appearances in the 1950s on The Ford Television Theatre. And she enjoyed a late-career revival in the 1980s, including an appearance in Against All Odds, the 1984 remake of Out of the Past that starred Jeff Bridges and featured Greer as the mother of the movie’s female lead, played by Rachel Ward. Greer also had a six-episode run on the prime-time soap opera Falcon Crest, and appeared in three episodes of the David Lynch television show Twin Peaks.

She died in 2001 of complications from cancer, just shy of her 77th birthday.

Jane Greer modeled the uniforms for the new WAAC units in LIFE, 1942.

Charles Steinheimer/Life Picture Collection/Shutterstock

This montage was the opening photo of a LIFE story on actress Jane Greer in a 1947 issue of LIFE; the caption said that she was “dreaming that she is pursued by the men she has been bumping off all day on the movie set.”

Peter Stackpole/Life Picture Collection/Shutterstock

Actress Jane Greer, 1947.

Peter Stackpole/Life Picture Collection/Shutterstock

Actress Jane Greer, 1947.

Peter Stackpole/Life Picture Collection/Shutterstock

Actress Jane Greer (C) performing in scene from the 1947 movie Out of the Past with actors Steve Brodie (left) and Robert Mitchum.

Peter Stackpole/Life Picture Collection/Shutterstock

Actress Jane Greer, 1947.

Peter Stackpole/Life Picture Collection/Shutterstock

Actress Jane Greer, 1947.

Peter Stackpole/Life Picture Collection/Shutterstock

Actress Jane Greer acting like drunken type, 1947.

Peter Stackpole/Life Picture Collection/Shutterstock

Jane Greer on set of The Company She Keeps, 1950.

Loomis Dean/Life Picture CollectionShutterstock

Jane Greer (left), with Jeff Bridges and Swoosie Kurtz, costars in the 1984 film Against All Odds, which was a remake of Greer’s 1947 classic Out of the Past.

DMI

The post Jane Greer: The Actress Whose Career Howard Hughes Tried to Quash appeared first on LIFE.

LIFE’s Paul Schutzer had trailed Christie, then just 25 years old, as she filmed her next high-profile film: Fahrenheit 451, directed by the French New Wave auteur François Truffaut. (For unknown reasons, the shot that editors selected for the April 29, 1966, cover was not by Schutzer, after all, but by Iranian photographer Hatami.)

Making the adaptation of Ray Bradbury’s dystopian novel was a huge undertaking for both the British actress and her French director: Christie was pulling double duty, cast in both the lead female roles, and Truffaut—who had built his name in 1959 with the seminal Les Quatre Cents Coups (The 400 Blows)—was taking a risk helming his first English-language film. (It would turn out to be his last.) Still, a sense of calm and respect ruled the set, according to notes filed by Paul Schutzer: “Truffaut seldom approaches her. He uses the formal ‘vous’ to Julie as he does with everyone. Everybody’s aware of his shyness and also aware of his potential warmth. It’s anticipation of this warmth that brings out the best in his team.”

As for Christie’s own work ethic and her attitude toward her craft: “I feel no difference between me acting and not acting,” she told LIFE. “There’s only one Christie. But I know I’m never more myself than when acting, because I put all of myself into it.”

“A mere three years ago,” LIFE wrote of Christie, “she was an unnoticed bit player, and she’s still pinned to a movie contract that calls for wages like those an old-time film goddess paid her second chauffeur. Julie represents a new spectrum of actresses the anti-goddesses but do not confuse her with just any jaunty gamine frugging on the dance floor of a discotheque. On screen, as the 2,700 movie pros who voted her the Oscar know, she burns with a nervous energy that lights up the house.”

At the time of the shoot, Christie was living with her boyfriend of about three years, an artist named Don Bessant. “I don’t suppose I’ll ever want anyone but Don, but marriage it’s like signing your life away,” she told LIFE. By 1967 the couple had split, and Christie was in a relationship with Warren Beatty, who would later remark that she was “the most beautiful and at the same time the most nervous person” he had ever known.

“For men, I don’t think it’s sexiness in me that appeals to them, but an air of abandonment,” Christie told LIFE. “Men don’t want responsibilities and neither do I.”

Despite her early misgivings about marriage, Christie did eventually marry—in 2008, she and her longtime partner, journalist Duncan Campbell, tied the knot.

“There’s still one important thing for me to do: learn,” Christie told LIFE in 1966. “I’ve got so little control over myself that adrenaline simply flows. I’m awkward, the type who always does things wrong.” But what may have felt wrong to her was all right in the eyes of her peers and critics: She was nominated for a BAFTA Award the British equivalent of an Oscar for her dual performance in Fahrenheit 451, and has been an Academy Award nominee twice in the decades since.

Not all of Paul Schutzer’s photos from 1966 moody gems showing the actress on and off the Fahrenheit 451 set made it to print. Now, LIFE.com brings to light these pictures of the film icon and thinking filmgoer’s sex symbol in her prime.

ulie Christie beside costar Oskar Werner in a scene from Farhenheit 451.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie took direction from Francois Truffaut on the Fahrenheit 451 set in London, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie in hair and makeup, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie with photographer Alfred Eisenstaedt, Paul Schutzer’s LIFE colleague.

Paul Schutzer/LIFE Pictures/Shutterstock

“I’m just in love with cinema,” Christie told LIFE. “In the theater no one in the house will forgive you if you break the spell. In cinema you can always go over something wrong—go deeper, dig further, stretch wider.”

Paul Schutzer/LIFE Pictures/Shutterstock

“I love and adore acting, but I hate the trimmings,” she told LIFE—but Christie became a fashion icon anyway, here representing that swinging-’60s look out of London.

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

“I’ve got something of a frustrated quiz kid in me,” Christie confessed to LIFE. “I never read enough. Novels simply don’t interest me. I like history because it’s based on facts.”

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie on set, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

“I arranged a fake lunch with the two of them,” LIFE photographer Schutzer wrote in his notes of creating this photo op between the very shy Truffaut (who spoke very little English) and his star Christie.

Paul Schutzer/LIFE Pictures/Shutterstock

Though she called it the “greatest place for a holiday,” Christie told LIFE back in ’66 that she had no desire to work in Hollywood: “I feel very strongly European.”

Paul Schutzer/LIFE Pictures/Shutterstock

Julie Christie, 1966.

Paul Schutzer/LIFE Pictures/Shutterstock

The post An ‘Air of Abandonment’: Photos of Julie Christie, 1966 appeared first on LIFE.

Here, LIFE.com presents a selection of photographs made by Bill Ray in 1963 a time in the 25-year-old Wood’s career when she had made the leap from actress to genuine movie star and, more importantly, to formidable Hollywood player. Many of the photos in this gallery were not originally published in LIFE, but appear in Ray’s book, My Life in Photography. 

For Ray, the most striking memory of the several weeks that he spent with Wood and her showbiz cohorts is, unsurprisingly, Wood herself or, more specifically, her singular beauty.

“She was divine,” Ray told LIFE.com. “Really. She was divine to look at, and to photograph. She had that wonderful face, a great body, those amazing eyes just a beautiful young woman, and a lot of fun to be around.”

For the Dec. 20, 1963, issue of LIFE that focused wholly on the movies, Ray scored the choice, high-profile feature on Wood, which was the only piece in the issue that was devoted to a single actor or actress. “This was big stuff,” he says today of the assignment. “You know, back then photographers were never part of the meetings where these sort of assignment decisions were made, so to get the call for something of this magnitude I was thrilled.”

Thrilled, but hardly cowed or overawed. After all, by the time the Natalie Wood shoot came his way, Ray was a seasoned professional, having covered JFK, Elvis Presley, John Wayne and other huge names and famous faces. What comes through in many of his photographs is the sense that here was a photographer who genuinely enjoyed his work, while his subject was a strong young woman who had been in the public eye for so long that having her every move documented was hardly anything new.

As LIFE reminded its readers in that special year-end double issue back in 1963, Natalie Wood was about as self-aware and self-confident an actress as one was likely to meet:

Natalie Wood was in a crowd watching a movie being filmed 21 years ago when the director asked her do a bit: drop an ice cream cone and cry. Then and there, 4-year-old Natalie showed she was born to be a star: she wept so convincingly that the movies hired her and ever since they have been thankful for the foresight. . . . [Movies] still cannot get along without the glamor that stars bring. And Natalie, the biggest young star around, now holds Hollywood in her hand. Her latest performance in her 35th film, ‘Love With a Proper Stranger,’ may win her an Oscar. [She did earn an Academy Award nomination for the role, but Patricia Neal took home the Oscar for her work in ‘Hud.’] Natalie has talent which she uses brilliantly, temperament which she can control, and a dark fresh loveliness that glows from the screen. All this earns her a million dollars a year, along with something that means even more to her the power and the glory that stardom brings.

“Natalie Wood,” observed a prominent Hollywood director, … “has a stranglehold on every young leading-lady part in town. If a role calls for a woman between 15 and 30, you automatically think of her.”

This is exactly what Natalie has worked 21 years to get. She has battled producers and top studio heads with unyielding ferocity to win the roles she wants. Today, before she will do a picture, she demands and gets total approval of script, director, leading man, all actors, everybody clear down to make-up and wardrobe people.

One last detail that Bill Ray recalls about his time with Natalie Wood, however, casts something of a pall across his otherwise sunny memories. At some point during those several weeks, he joined Wood and a number of other people on a boat ride to Catalina Island (see slide 16 in the gallery) the same island off the California coast near which Wood would drown in the fall of 1981. When Ray heard about her death, he was stunned: not only because he had always liked her and remembered the time he spent with her with such fondness, but because he had been struck during that boat ride in 1963 by how uncharacteristically out of sorts she seemed.

“It was obvious to me,” Ray told LIFE.com, “that Natalie did not like being out on the water at all. When I heard that she’d drowned, in basically the same place where we’d been all those years before, I wasn’t just sad although that was part of it. I was also very, very surprised.”

Five decades later, the mystery of Natalie Wood’s death endures. Bill Ray’s pictures, meanwhile, shed a clear, poignant light on a time when the star’s already impressive career felt boundless, and her life charmed. The future, it seemed then, was hers for the taking.

—story by Ben Cosgrove 

Natalie Wood, 1963

© Bill Ray

Wood was playing a game. Friends named something, she acted it out. Here is ‘slightly sensuous.'”

© Bill Ray

Natalie Wood, 1963

© Bill Ray

The woman who guided Natalie to stardom was her mother, the Russian-born Mrs. Maria Gurdin (center). Stern and shrewd, she scrutinized scripts, haggled over fees, snd dressed her child in prim clothes when competitors wore sexy ones.

© Bill Ray

Wood played billiards with actor Tony Curtis, 1963.

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Wood got a piggyback ride from producer Arthur Loew, Jr., who stopped when Paul Newman invited them to go go-cart racing, 1963.

© Bill Ray

Gowned in satin, bathed by spots, fussed over by attendants, Wood glowed with the glamor pf a Hollywood star.

© Bill Ray

Wood, a shrewd businesswoman, enjoyed presiding over her high-powered cabinet.

© Bill Ray

Wood’s big brown-black eyes grew larger with delight seeing costumes sketched by Edith Head for `Sex and the Single Girl’.

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

Natalie Wood, 1963

© Bill Ray

The post Natalie Wood: Portraits of a Legend appeared first on LIFE.

From her earliest days as an actress until late in her career when she had, against her will, been cast in the public eye as Hollywood’s ultimate Sex Goddess, Marilyn posed for LIFE magazine’s photographers. Here, LIFE.com presents a gallery of pictures—none of which ran in the magazine—by LIFE’s Ed Clark, a Tennessean with a profound talent for capturing the essence of people, both famous and obscure. His pictures of Marilyn offer a rare glimpse into the early days of an eventual pop-culture icon’s career, when a young actress was blissfully unaware of what the coming years would bring and was, it seems, just happy to be in “the industry” and getting noticed.

[Buy the LIFE book, Remembering Marilyn]

In a 1999 interview with Digital Journalist, Clark described how, in 1950, he received a call from a friend at 20th Century Fox about “a hot tomato” the studio had just signed: one Marilyn Monroe.

“She was almost unknown then, so I was able to spend a lot of time shooting her,” Clark recalled. After all, it was still early in her career, and she’d only just begun to gain attention: Three months before this shoot, she appeared as a crooked lawyer’s girlfriend in The Asphalt Jungle; two months later, she had a small role as an aspiring starlet in All About Eve.

“We’d go out to Griffith Park [in Los Angeles] and she’d read poetry. I sent several rolls to LIFE in New York, but they wired back, ‘Who the hell is Marilyn Monroe?'” (Three years later, Marilyn appeared on the cover of LIFE in a now-famous Clark photo, posing with her Gentlemen Prefer Blondes co-star, Jane Russell.)

Why LIFE never published the gold mine of photos seen in this gallery after Marilyn became a bona fide superstar, however, remains a mystery. The only clue: a brief note about the shoot in the LIFE archives, addressed to LIFE’s photo editor, indicating that “this take was over-developed and poorly printed.”

Whatever the reason, one thing remains perfectly clear: at 24 years old, in 1950, Marilyn Monroe was already something special.

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed Clark/Life Pictures/Shutterstock

Marilyn Monroe, 24, in Griffith Park, Los Angeles, 1950.

Ed ClarkLife Pictures/Shutterstock

The post Marilyn Monroe: Rare Early Photos, 1950 appeared first on LIFE.

In 1953, her biggest, brightest roles in Bus Stop, The Seven Year Itch, and the American Film Institute’s greatest American comedy of all time, Some Like It Hot were still ahead of her, as were her unlucky marriages to Joe DiMaggio and Arthur Miller and her increasingly lonely, desperate last years. But it’s worth noting that she really does not resemble a legend, an icon or an idol in these pictures. Instead, she looks like a beautiful young woman evidently at peace with herself and her place in the world.

All of that, of course, would soon change, and change for the worse.

But not yet, Eisensteadt’s portraits seem to say. Not yet.

Marilyn Monroe at home, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

A black-and-white contact sheet from Alfred Eisenstaedt’s 1953 photo shoot with Marilyn Monroe.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe posed casually at home, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe gazed into Alfred Eisenstaedt’s camera, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

A black-and white-contact sheet from Alfred Eisenstaedt’s 1953 photo shoot with Marilyn Monroe.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe gazed into Alfred Eisenstaedt’s camera, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe at home, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

A black-and-white contact sheet from Alfred Eisenstaedt’s 1953 photo shoot with Marilyn Monroe.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe at home, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

A black-and-white contact sheet from Alfred Eisenstaedt’s 1953 photo shoot with Marilyn Monroe.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe at home, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe at home, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

A black-and-white contact sheet from Alfred Eisenstaedt’s 1953 photo shoot with Marilyn Monroe.

Alfred Eisenstaedt/Life Pictures/Shutterstock

Marilyn Monroe, 1953.

Alfred Eisenstaedt/Life Pictures/Shutterstock

The post Marilyn Monroe at Home in Hollywood: Color Portraits, 1953 appeared first on LIFE.

By the time they shared the screen together for the first time, in the classic murder-romance-melodrama, A Place in the Sun (1951), both were bona fide box-office draws: Taylor had been onscreen since she was 10, and Clift a soulful, introverted Method actor who influenced countless others who came after him had already garnered the first of his four career Oscar nominations. (He never won an Academy Award, although most movie aficionados feel he deserved at least one, for his unforgettable turn as the tortured Robert E. Lee Prewitt in From Here to Eternity.)

Their unique bond so evident in these pictures made on the Paramount lot during filming of A Place in the Sun, and never published in LIFE, was occasionally deepened even further by disasters visited upon them both through the years. For example, in 1956 Taylor likely saved Clift’s life when, after he crashed his car leaving a party at her home, she raced to the wreck and literally pulled from his mouth broken teeth on which he had begun to choke.

(The Clash famously referenced that awful scene, which changed the course of Clift’s career and set him on a winding path of booze-and-painkiller-fueled decay, in the song “The Right Profile” from London Calling: “I see a car smashed at night. / Cut the applause and dim the light. / Monty’s face is broken on a wheel. / Is he alive? Can he still feel?”)

[Buy the LIFE book, Remembering Liz]

In its May 28, 1951, issue, meanwhile, LIFE magazine wrote of A Place in the Sun:

It is easy for an ambitious young man to get himself involved simultaneously with a simple-hearted girl who lives in a cheap boarding house and an extravagant rich girl who gives gay parties. In 1925 Theodore Dreiser [told such a tale in his] long, oppressively powerful novel, “An American Tragedy,” which in turn made only a fair movie in 1931. This year the young man . . . is the hero of a long, oppressively powerful movie called “A Place in the Sun.” Directed by George Stevens for Paramount, it gives three young actors [Shelley Winters brilliantly played the ‘poor girl’] the chance to give the most natural performances of their careers. Montgomery Clift as the confused, likable, rather stupid social climber; Shelley Winters as the dowdy working girl; Elizabeth Taylor as the dazzling rich girl. Until it sinks into a sentimental quagmire the end, the second movie excels first in being remarkably faithful to Dreiser’s tale of three pitiful youngsters and in telling the story with the same earnestness and breadth that have made the novel survive as a classic.

While they may not make old-timers forget the Greta Garbo-John Gilbert embraces of the ’20s, Miss Taylor and Mr. Clift lose no chance to show why they are considered two of the hottest juveniles in Hollywood. . . . In fact, after the lovers have been separated for good and the young man is in the death house [Clift’s character murders Winters’ after getting her pregnant], the face of the girl comes floating in via double exposure to give him a last unsubstantial peck before he goes out to be executed.

The film went on to win six Academy Awards, including Best Director and Best Screenplay, and is now hailed as a (flawed) classic. Clift and Taylor would star again in another 1950s film, the Civil War-era drama, Raintree County—the movie they were making when Clift almost died in the car wreck outside Taylor’s home—and would remain deeply attached to one another until Clift’s death, at the too-young age of 45, in New York City in 1966.

Liz Ronk edited this gallery for LIFE.com. Follow her on Twitter @lizabethronk.

Elizabeth Taylor (all of 17 years old) and Montgomery Clift posed together at Paramount Studios during a break in filming A Place in the Sun.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Contact sheets from LIFE photographer Peter Stackpole’s shoot on a Paramount lot with Elizabeth Taylor and Montgomery Clift in 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor and Montgomery Clift, Hollywood, 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor and Montgomery Clift, Hollywood, 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor and Montgomery Clift goofed around during a break in filming A Place in the Sun.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Contact sheet from LIFE photographer Peter Stackpole’s shoot with Elizabeth Taylor and Montgomery Clift in 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor at Paramount Studios, 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Contact sheet from LIFE photographer Peter Stackpole’s shoot on a Paramount lot with Elizabeth Taylor and Montgomery Clift in 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor and Montgomery Clift, Hollywood, 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor and Montgomery Clift, Hollywood, 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Contact sheet from LIFE photographer Peter Stackpole’s shoot on a Paramount lot with Elizabeth Taylor and Montgomery Clift in 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Elizabeth Taylor and Montgomery Clift, Hollywood, 1950.

Peter Stackpole The LIFE Picture Collection/Shutterstock

The post Taylor and Clift: Photos From the Set of ‘A Place in the Sun’ appeared first on LIFE.