GRANGER, Farley 1925–

PERSONAL

Original name, Farley Earle Granger II; born July 1, 1925, in San Jose, CA; son of Farley Earle and Eva H. Granger. Education: Studied acting with Stella Adler and Sanford Meisner.

Career: Actor. Eva La Gallienne's National Repertory Theatre, member, 1960s; Circle Repertory Theatre, member; appeared in television commercials for Halo Shampoo, c. 1958; appeared in print ads for Jeris Hair Tonic, 1952, Camel Cigarettes, 1952, and Halo Shampoo, 1958 and 1959. Military service: U.S. Navy, 1944–46.

Member: Actors' Equity Association, Screen Actors Guild, American Federation of Television and Radio Artists.

Awards, Honors: Daytime Emmy Award, outstanding supporting actor in a daytime drama, 1977, for One Life to Live; Obie Award, 1986, for Talley & Son; Star on the Walk of Fame, television.

CREDITS

Film Appearances:

Damian, a young soldier, The North Star (also known as Armored Attack and North Star ), RKO, 1943.

Sergeant Howard Clinton, The Purple Heart, Twentieth Century–Fox, 1944.

Pilot Officer Pax Masterson, Enchantment, RKO, 1948.

Philip Morgan, Rope (also known as Alfred Hitchcock's Rope ), Warner Bros., 1948.

Arthur "Bowie" Bowers, They Live by Night (also known as The Twisted Road and Your Red Wagon ), RKO, 1949.

Johnse Hatfield, Roseanna McCoy, RKO, 1949.

Joe Norson, Side Street, Metro–Goldwyn–Mayer, 1949.

Chuck, Our Very Own, RKO, 1950.

Martin Lynn, Edge of Doom (also known as Stronger Than Fear ), RKO, 1950.

Jack Greer, I Want You, RKO, 1951.

Guy Haines, Strangers on a Train (also known as Strangers ), Warner Bros., 1951.

Bill Denny, Behave Yourself (also known as Behave Yourself! ), RKO, 1951.

Jim, "The Gift of the Magi," O. Henry's Full House (also known as Full House ), Twentieth Century–Fox, 1952.

Niels, Hans Christian Andersen, RKO, 1952.

Thomas Clayton Campbell, Jr., "Mademoiselle," The Story of Three Loves (also known as Equilibrium and Three Stories of Love ), Metro–Goldwyn–Mayer, 1953.

Rick Belrow Livingston, Small Town Girl, Metro–Goldwyn–Mayer, 1953.

Lieutenant Franz Mahler, Senso (also known as Senso the Serpent, The Wanton Contessa, Livia, and The Wanton Countess ), Lux Films, 1954.

Nicky Bradna, The Naked Street (also known as Naked Street and The Brass Ring ), United Artists, 1955.

Harry K. Thaw, The Girl in the Red Velvet Swing, Twentieth Century–Fox, 1955.

Rogue's Gallery, Paramount, 1967.

The Chief of Homicide, Pathe/Associated British, 1969.

La tela del ragno, 1970.

Spike, Qualcosa striscia nel buio (also known as Shadows in the Dark, Something Is Crawling in the Dark, and Something Creeping in the Dark ), 1971.

Major Harriman, Lo chiamavano Trinita (also known as They Call Me Trinity and My Name Is Trinity ), 1971.

Richard Stuart, Amuck (also known as Leather and Whips, Maniac, Maniac Mansion, Replica of a Crime, Replica di un delitto, Hot Bed of Sex, and Alla ricerca del piacere ), Group I, 1972.

La rossa dalla pelle che scotta (also known as The Red Headed Corpse and Sweet Spirits ), 1972.

Inspector Capuana, Rivelazioni di un maniaco sessuale al capo della squadra mobile (also known as Bad Girls, Confessions of a Sex Maniac, Penetrator, Revelations of a Sex Maniac to the Head of the Criminal Investigation Division, The Slasher, The Slasher Is a Sex Maniac, So Naked, So Dead, and So Sweet, So Dead ), William Mishkin, 1972.

Judge Niland, Lo chiamavano Mezzogiorno (also known as A Man Called Noon, The Man Called Noon, and Un hombre llamado Noon ), National General, 1973.

Computer programming director, The Serpent (also known as Night Flight from Moscow, Die Schlange, Il serpente, and Le serpent ), Avco–Embassy, 1973.

Evan Lyons, Arnold, Cinerama, 1973.

Infamia (also known as La moglie giovane ), Emaus Films/Metheus Film, 1974.

Mr. Polvesi, La polizia chiede aiuto (also known as The Police Request Help, Coed Murders, and What Have They Done to Your Daughters? ), 1975.

The Prisoner of Zenda, Universal, 1979.

Sheriff George Fraser, Rosemary's Killer (also known as The Graduation and The Prowler ), Sandhurst, 1981.

Douglas Andrews, Deathmask (also known as Unknown ), 1984.

The Ambassador, The Imagemaker, Castle Hill, 1986.

Pavel, Very Close Quarters, Cable Star, 1986.

(Uncredited) Extra, The Whoopee Boys, 1986.

(Uncredited; in archive footage) Guy Haines in Strangers on a Train, Throw Momma from the Train, 1987.

(Uncredited; in archive footage) Going Hollywood: The War Years, 1988.

Himself, The Celluloid Closet (also known as Celluloid Closet and Gefangen in der Traumfabrik ), Sony Pictures Classics, 1995.

(Uncredited; in archive footage) Luchino Visconti, Rai-Trade, 1999.

(Uncredited; in archive footage) In the Shadow of Hollywood (also known as A l'ombre d'Hollywood ), National Film Board of Canada, 2000.

Himself, "Rope " Unleashed (documentary), Universal, 2001.

Himself, Rescued from the Closet, Columbia TriStar Home Video, 2001.

Arthur Pomposello, The Next Big Thing, Castle Hill, 2001.

Himself, Broadway: The Golden Age, by the Legends Who Were There (also known as Broadway: The Golden Age ), 2003.

Also appeared in Brass Ring; The Co–Ed Murders; A Crime for a Crime; Kill Me, My Love; The Painter and the Red Head (also known as The Redhead with the Translucent Skin ); Planet Venus, Savage Lady; Summer Hurricane; The Syndicate; The Wonderful World of the Brothers Grimm.

Television Appearances; Series:

First Dr. Will Vernon, One Life to Live, ABC, 1976–1977.

Trent Archer, The Edge of the Night (also known as Edge of Night ), 1980.

Earl Mitchell, As the World Turns, CBS, 1986–1988.

Television Appearances; Miniseries:

Enos Sutton, Black Beauty, NBC, 1978.

Television Appearances; Movies:

Nealy, The Challengers, CBS, 1969.

David Ames, The Lives of Jenny Dolan, NBC, 1975.

Martin Caine, Widow, NBC, 1976.

Television Appearances; Specials:

Himself, Cancer Fund Film Notables Attend Glittering Benefits, 1951.

Himself, The 13th Annual Tony Awards, 1959.

Himself, The 18th Annual Tony Awards, 1965.

Shelby Carpenter, Laura, ABC, 1968.

Richard, "The Day Before Sunday," CBS Playhouse, 1970.

Himself, Night of 100 Stars, 1982.

Himself, The Thrill of Genius (also known as Hitchcock: Il brividio del genio ), 1985.

As the World Turns: 30th Anniversary, 1986.

(Uncredited; in archive footage) Fejezetek a film toerteneteboel: Az olasz neorealizmus, 1990.

(In archive footage) Hitchcock: Shadow of a Genius (documentary; also known as Dial H Hitchcock: The Genius Behind the Showman and Dial H for Hitchcock ), TCM, 1999.

Himself, Reputations: Alfred Hitchcock (documentary), BBC, 1999.

Himself, Shelley Winters: Full Disclosure (documentary), Arts and Entertainment, 2001.

Himself, Hitchcock: Alfred the Great (documentary; also known as Biography: Hitchcock—Alfred the Great ), 2001.

Goldwyn, PBS, 2001.

Himself, Visconti (documentary; also known as The Life and Times of Count Luchino Visconti ), BBC, 2002.

Television Appearances; Episodic:

Himself, Toast of the Town, 1953, 1955.

"Splendid with Swords," Schlitz Playhouse of Stars CBS, 1955.

"Incident in an Alley," The U.S. Steel Hour, ABC, later CBS, 1955.

"Caesar and Cleopatra," Producers' Showcase, NBC, 1956.

Fred, "Pistolero," Robert Montgomery Presents, NBC, 1956.

John Haywood, "Faceless Adversary," Climax!, CBS, 1956.

Harold Sizeman, "Sizeman and Son," Playhouse 90, CBS, 1956.

"Stand by to Dive," Ford Theater (also known as The Ford Television Theater ), ABC, 1956.

Steve Adams, "Men against Speed," The 20th Century– Fox Hour, CBS, 1956.

Himself, I've Got a Secret, 1956, 1957, 1959.

"Starfish," Kraft Television Theatre, NBC, 1956.

"The Clay Pigeon," Robert Montgomery Presents, NBC, 1957.

Philip, "The Bottle Imp," The U.S. Steel Hour, CBS, 1957.

"Circle of Fear," Kraft Television Theatre, NBC, 1957.

"Man in a Trance," Kraft Television Theatre, NBC, 1957.

"The Clouded Image," Playhouse 90, CBS, 1957.

Lieutenant Charles Avery, "The Charles Avery Story," Wagon Train, NBC, 1957.

Paul Burgess, "Beyond This Place," DuPont Show of the Month, CBS, 1957.

"Come to Me," Kraft Television Theater, NBC, 1957.

Francis, "The Hidden River," The U.S. Steel Hour, CBS, 1958.

Dr. Sigmund Freud, "The Wound Within," The U.S. Steel Hour, CBS, 1958.

"The Music of Romance," The Bell Telephone Hour, 1960.

"Arrowsmith," DuPont Show of the Month, CBS, 1960.

"The Inn of the Flying Dragon," Dow Hour of Great Mysteries, NBC, 1960.

"Born a Giant," Our American Heritage, NBC, 1960.

Rudlof Rassendy II/King Rudolf V, "The Prisoner of Zenda," DuPont Show of the Month, CBS, 1961.

Morris Townsend, "The Heiress," Family Classics, CBS, 1961.

Morgan Cain, "Nightmare," Bob Hope Presents the Chrysler Theater, NBC, 1966.

"The Shock of Recognition," Run for Your Life, NBC, 1966.

"Blind Man's Bluff," Bob Hope Presents the Chrysler Theater, NBC, 1967.

Mitch Kirby, "Eat, Drink and Be Buried," Ironside, NBC, 1967.

Jack Graham, "Hondo and the Apache Kid," Hondo, ABC, 1967.

Billet, "Supersonic Boom," Get Smart, NBC, 1967.

Curtis Anderson, "What Flowers Daisies Are," Outsider, NBC, 1968.

Hoagland Walters, "The Ordeal," Name of the Game, NBC, 1968.

Arnold, "One for the Money," Hawaii Five–O, CBS, 1969.

"The Loner," Medical Center, CBS, 1969.

"The Haunting of Penthouse D," The Wide World of Mystery, ABC, 1974.

Bert Carrington, "The Midas Touch," The Six Million Dollar Man, ABC, 1974.

O'Hare, "A Matter of Choice," Nakia, ABC, 1974.

Paul Quincy, "The Adventure of Auld Lang Syne," Ellery Queen, NBC, 1975.

"Scavenger's Paradise," Matt Helm, ABC, 1975.

"Million Dollar Baby," Medical Story, NBC, 1975.

Julian Klae, "The Klae Dynasty," The Invisible Man, NBC, 1975.

Charles Cummings, "Tell Her She's Great/Matchmaker, Matchmaker Times Two/The Baby Alarm," The Love Boat, ABC, 1980.

Doctor Roebuck, "Pain Killer," Tales from the Darkside, syndicated, 1984.

"Country Blues/A Matter of Taste/Frat Brothers Forever," The Love Boat, ABC, 1984.

Himself, Today, 1984.

(In archive footage) Guy Haines, "History of Railroads as Seen in the Movies," Today, NBC, 1985.

"Call Me Grandma," The Love Boat, ABC, 1985.

Jerome Ashcroft, "How to Make a Killing without Really Trying," Murder, She Wrote, CBS, 1989.

"Malcolm," Monsters, 1990.

(In archive footage) Sergeant Howard Clinton, "Review of War Films Past and Present," Today, NBC, 1990.

(In archive footage) Guy Haines, "A Look Into the Latest Hitchcock–like Psychological Tale of Murder and Obsession: The Talented Mr. Ripley," Weekend Today, NBC, 1999.

Jamie deRoy & Friends, Manhattan Neighborhood Network, 2002.

Also appeared in The Arthur Murray Party, ABC, Dumont, CBS, and NBC; Kojak, CBS and ABC; Masquerade Party, NBC, CBS, ABC, and syndicated; Schlitz Playhouse of Stars, CBS.

Stage Appearances:

The Carefree Tree, 1955.

Fitzwilliam Darcy, First Impressions, Alvin Theatre, New York City, 1959.

Jack Williams, The Warm Peninsula, Broadway production, 1959–1960.

The King and I, New York City Center, New York City, 1960.

Brigadoon, 1962–1963.

Konstantin Treplev, The Seagull, Belasco Theatre, New York City, 1964.

John Proctor, The Crucible, Belasco Theatre, 1964.

The son, The Glass Menagerie, Brooks Atkinson Theatre, New York City, 1965.

Kennedy's Children, Studebaker Theatre, IL, 1976.

Count Dracula, 1978.

The Torch–Bearers, McCarter Theatre, NJ, 1978.

A Month in the Country, McCarter Theatre, 1979.

Sidney Bruhl, Deathtrap, Music Box Theatre, New York City, 1981–1982.

Night of 100 Stars (also known as Night of One Hundred Stars ), Radio City Music Hall, New York City, 1982.

Prior, Outward Bound, Apple Corps Theatre, New York City, 1984.

Eldon, Talley & Son, Circle Repertory Theatre, New York City, 1985.

Semi–Monde, Lyric Theatre, London, 2001.

Also appeared in Advise and Consent, New York City; The Sound of Music; The Marriage Fool, Circle Repertory Company, New York City; The Streets of New York, New York City; Outward Bound; Ring Round the Moon; Hedda Gabler; She Stoops to Conquer; Liliom.

Radio Appearances:

"The North Star—Screen Guild Theater," Louella Parsons, 1948.

"Our Very Town," Lux Radio Theater, 1951.

Live from London, 1999.

OTHER SOURCES

Periodicals:

The Advocate, August 20, 1996, pp. 713–714.

GRANGER, Farley

Nationality: American. Born: Farley Earle II, San Jose, California, 1 July 1925 (one source says 1928). Military Service: U.S. Armed Forces, 1944–46. Career: Actor. member of Eva La Gallienne's National Repertory Theatre and Circle Repertory Theatre; appeared on episodes of the TV programs United States Steel Hour, 1953, Playhouse 90, 1956, Get Smart, 1965, Ellery Queen, 1975, Love Boat, 1977, and Murder, She Wrote, 1984; appeared on TV series As the World Turns as Earl Mitchell and on One Life to Live as Dr. Will Vernon, 1976–77. Awards: Daytime Emmy Award for Outstanding Supporting Actor in a Daytime Drama, for One Life to Live, 1977; Obie Award, for Talley & Son, 1986. Address: c/o Jay Julien, 1501 Broadway, New York, NY 10036; 15 W. 72nd Street, no. 25D, New York, NY 10023, U.S.A.

Films as Actor:

1943

The North Star (Milestone) (as Damian)

1944

The Purple Heart (Milestone) (as Sergeant Howard Clinton)

1948

Rope (Hitchcock) (as Phillip Morgan); Enchantment (Reis) (as Pilot Officer Pax Masterson)

1949

They Live by Night (Ray) (as Bowie); Roseanna McCoy (Reis) (as Johnse Hatfield)

1950

Side Street (Mann) (as Joe Norson); Edge of Doom (Robson, Vidor) (as Martin Lynn); Our Very Own (Miller) (as Chuck)

1951

Strangers on a Train (Hitchcock) (as Guy Haines); Behave Yourself! (Beck) (as Bill Denny); I Want You (Robson) (as Jack Greer)

1952

"The Gift of the Magi" segment of O. Henry's Full House (Full House) (King) (as Jim); Hans Christian Andersen (Vidor) (as Niels)

1953

"Mademoiselle" segment of The Story of Three Loves (Equilibrium) (Minnelli, Reinhardt) (as Thomas Campbell Jr.); Small Town Girl (Kardos) (as Rick Belrow Livingston)

1954

Senso (The Wanton Countess) (Visconti) (as Lieut. Franz Mahler)

1955

The Girl in the Red Velvet Swing (Fleischer) (as Harry K. Thaw); The Naked Street (The Mobster) (The Brass Ring) (Shane) (as Nicky Bradna)

1961

The Heiress (Daniels—TV)

1968

Rogues' Gallery (Horn)

1970

Qualcosa striscia nel buio (Shadows in the Dark) (Something Creeping in the Dark) (Colucci) (as Spike); The Challengers (Martinson—for TV) (as Nealy)

1971

Lo chiamavano Trinità (My Name is Trinity) (Barboni) (as Major Harriman)

1972

Alla ricerca del piacere (Maniac Mansion) (Leather and Whips) (Amuck) (Amadio); Lo chiamavano Mezzogiorno (The Man Called Noon) (Collinson) (as Judge Niland); Rivelazioni di un maniaco sessuale al capo della squadra mobile (The Slasher Is the Sex Maniac) (Confessions of a Sex Maniac) (So Sweet, So Dead) (So Naked, So Dead) (Slasher) (Bad Girls) (Montero); La Rossa dalla pelle che scotta (The Red Headed Corpse) (Russo); Le Serpent (The Serpent) (Verneuil) (as Computer Programming Director)

1973

Arnold (Fenady) (as Evan Lyons)

1974

Infamia (Moglie giovane, La) (d'Eramo); Polizia chiede aiuto, La (Coed Murders) (Dallamano)

1975

The Lives of Jenny Dolan (Jameson) (as David Ames)

1976

Widow (Thompson—for TV) (as Martin Caine)

1978

Black Beauty (Haller—mini, for TV) (as Enos Sutton)

1981

The Prowler (Rosemary's Killer) (Graduation) (Zito) (as Sheriff George Fraser)

1984

Deathmask (Friedman) (as Douglas Andrews)

1985

Hitchcock: il brividio del genio (The Thrill of Genius) (Bortolini, Mazenza—for TV)

1986

The Imagemaker (Weiner) (as The Ambassador); The Whoopee Boys (Byrum) (uncredited); Very Close Quarters (Rif) (as Pavel)

1995

The Celluloid Closet (Epstein and Friedman) (as Interviewee)

Publications

On GRANGER: books—

Agan, Patrick, Is That Who I Think It Is? Vol. 1, New York, 1975.

On GRANGER: articles—

Lilley, Jessie, "Granger on a Train," in Scarlet Street (Glen Rock, New Jersey), no. 21, Winter 1996.

Pela, Robert L., "Goldenboy," in The Advocate, 20 August 1996.

Even before emotive, sexually ambiguous male stars—Marlon Brando and James Dean chief among them—emerged into prominence and surprising popularity during a time of industry crisis in the 1950s, the classic Hollywood cinema of the previous decade often found itself deeply invested in presenting a variety of masculine styles or, perhaps more radically, in problematizing that most conventional of stereotypes, the strong, indisputably heterosexual man of action. Gregory Peck, for example, incredibly handsome if somewhat short on brawn and aggressiveness, often found himself cast successfully in a variety of roles that suited a somewhat feminized display of pathos: as the amnesiac needing the ministrations of a woman psychiatrist in Spellbound; as the conscience-stricken colonel enduring battle fatigue in Twelve O'Clock High; as the gentile of good faith pained by racial prejudice in Gentleman's Agreement. Peck is even riveting as Lewt, the gorgeously reptilian object of Jennifer Jones's excessive desire in Duel in the Sun. Similarly endowed with good looks and charisma, Farley Granger began his career in Hollywood much like Peck. Both were introduced to the public in wartime epics about Russia as youthful romantic and Slavic figures, Granger in North Star and Peck in Song of Russia. Peck, however, could project sufficient strength and resolve to play more conventionally masculine roles in such films as Pork Chop Hill and To Kill a Mockingbird. Granger's screen persona suggested neither confidence nor the power to lead, and thus he found himself limited to either subordinate roles as a romantic presence or, more interestingly, in parts that went beyond narrow masculine and heterosexual formulas.

In North Star, Granger's youthful partisan is transformed into an object of pity by the German grenade that blinds him, with the result that he spends the rest of the battle with the women, resupplying the men. The Purple Heart offered him another small part that tests his manhood. Part of a bomber crew captured and put on trial by vengeful Japanese, Granger is tortured like the other men, at least ostensibly. He returns from his "interrogation" unable to speak, but bearing no physical signs of mistreatment; surprised, his buddies are led to question whether he cooperated. Though it turns out that he did not, his "hysterical" wound, so unlike those suffered by his maimed comrades, marks him out as different. In Side Street, he plays an unsuccessful newly married man who finds himself unable to resist stealing a huge amount of money, which is already stolen property, when the opportunity unexpectedly presents itself; Granger becomes the archetypal noir protagonist, weak, ineffective, a prisoner of circumstance and his own lack of character. The Naked Street offered him a similar role as a petty criminal whose ill-planned robbery of an old man puts him on death row, from which he is extricated by a powerful gangster only through his own foolishness to wind up there again, this time to be executed for a crime he did not commit. In Nicholas Ray's They Live by Night, Granger's youthful robber is a complex mixture of venality and innocence, the perfect vehicle for Ray's sociocultural analysis of the criminal subculture. Strikingly, in The Story of Three Loves he convincingly portrays a young man, who is actually a boy whose "magic wish" brings him to life so that he can romance the woman who was infatuated him. These performances, which are often strikingly original, contrast with Granger's moreconventional work as a second male lead in such films as Our Very Own and I Want You. Eventually, Granger went into television as his film career petered out in the 1950s; other generations became familiar with him in middle and advanced middle age because of a long term part on a famous American soap opera. Before leaving film acting, however, he appeared in several films that exploited the sexual ambiguity or maladjustment his persona suggested. The Girl in the Red Velvet Swing offered him the opportunity, of which he took full advantage, to play one of the century's most famous sexual psychopaths, Harry K. Thaw. Granger passionately evokes Thaw's jealousy, perverse attractiveness, and unhealthy maternal attachment, serving as the perfect foil to Ray Milland's more contained but equally overwhelming obsession for a beautiful young girl. Visconti's Senso gave Granger the opportunity to play a character similarly driven and destroyed by desire.

Granger's most famous work, however, was done for Alfred Hitchcock, in two films of the late 1940s that, in different ways, probed, without naming it, the nature of homosexual attraction and its connection to vengeful violence. In Strangers on a Train, Granger is the cuckolded husband of a predatory woman, but cannot persuade her to grant him a divorce so that he can marry the more normal Ruth Roman. Approached by the somewhat swish Bruno Anthony on a train, Granger finds himself seduced by the plot of exchanged murders he proposes. Though his own wife is murdered as per the agreement that Granger neither accepts nor rejects, he is unwilling to go through with the killing that Bruno insists upon, but it is unclear if this is a decision motivated by a moral imperative or the desire for self-preservation. Granger's character is exonerated in the end only when the more powerful Anthony proves unable to finish implicating him in his wife's murder. The psycho-sexual developmental failure that characterizes both "strangers" is neatly symbolized by Hitchcock's staging of their final confrontation on an amusement park merry-go-round.

In Rope, a fictionalized re-telling of the Leopold/Loeb murder case, Granger plays the weaker partner of the young male pair of college students, influenced by Nietzsche, who plot and then carry out the thrill murder of a friend. The narrative traces the gradual disintegration of their resolve to flaunt the crime. A victim of his own fearfulness and guilty conscience, Granger's character eventually dissolves into a hysteria not unlike that from which his tortured airman suffers in The Purple Heart.

—R. Barton Palmer

Granger, Farley 1925–

(Farley Earle Granger, II)

PERSONAL:

Born July 1, 1925, in San Jose, CA; son of Farley Earle and Eva H. Granger; longtime companion of Robert Calhoun.

ADDRESSES:

Agent—Jay Julien, 1501 Broadway, New York, NY 10036.

CAREER:

Actor. Appeared in over forty films between 1943 and 1995, including North Star, Samuel Goldwyn, 1945; Rope, Warner Brothers, 1948; They Live by Night, RKO Radio Pictures, 1948; Side Street, Metro-Goldwyn-Mayer, 1950; and Strangers on a Train, Warner Brothers, 1951. Appeared on episodes of the TV programs United States Steel Hour, 1953; Playhouse 90, 1956; Get Smart, 1965; Ellery Queen, 1975; Love Boat, 1977; and Murder, She Wrote, 1984. Appeared on TV series As the World Turns and One Life to Live, 1976-77. Military service: U.S. Armed Forces, 1944-46.

MEMBER:

National Repertory Theatre, Circle Repertory Theatre.

AWARDS, HONORS:

Daytime Emmy Award for Outstanding Supporting Actor in a Daytime Drama, 1977, for One Life to Live; Obie Award, 1986, for Talley and Son; Artistic Achievement Award, Philadelphia International Gay and Lesbian Film Festival, 2007.

WRITINGS:

(With Robert Calhoun) Include Me Out: My Life from Goldwyn to Broadway, St. Martin's Press (New York, NY), 2007.

SIDELIGHTS:

Farley Granger is best known as a leading film actor and Broadway star with a career spanning over fifty years, from the 1940s to the 1990s. In 2007 he published his memoirs, written with his longtime partner, Robert Calhoun, titled Include Me Out: My Life from Goldwyn to Broadway. Granger's career began at the age of seventeen, when the great producer Samuel Goldwyn happened to watch Granger in a local theatre production of The Wookie. Granger was signed to a seven-year contact with Goldwyn, and went on to star in a number of films alongside leading ladies such as Ann Blyth, Shelley Winters, and Marilyn Monroe. Granger's relationship with Goldwyn eventually soured and he opted to settle out of his contract. Granger continued his acting career in films, such as the Italian masterpiece Senso; in television, with recurring roles in several daytime soap operas; and in theatre, in productions such as The Crucible and The Glass Menagerie.

In addition to recounting Granger's professional career, Include Me Out shares details from Granger's personal life, including what he describes as fluid sexuality, with relationships with both men and women. In an interview with Philadelphia Inquirer contributor Carrie Rickey, Granger stated his lifelong philosophy: "I've always been open to things." A critic for Kirkus Reviews described Include Me Out as "an engaging, colorful memoir," further adding: "Granger, who knows the dramatic when he sees it, fills his story with vivid moments from his career." Writing for Gay and Lesbian Review Worldwide, Michael Ehrhardt commented: "This is a memoir that will prove compulsive reading to old movie buffs as well as those who are fascinated by the inner workings of Hollywood." A Publishers Weekly reviewer noted that "Granger and Calhoun write with a stylish and iridescent flair."

BIOGRAPHICAL AND CRITICAL SOURCES:

PERIODICALS

Gay and Lesbian Review Worldwide, July 1, 2007, Michael Ehrhardt, "What Happened in Hollywood," review of Include Me Out: My Life from Goldwyn to Broadway, p. 36.

Kirkus Reviews, December 15, 2006, review of Include Me Out, p. 1255.

Philadelphia Inquirer, July 12, 2007, Carrie Rickey, "Stunner and Shunner," review of Include Me Out.

Publishers Weekly, January 1, 2007, review of Include Me Out, p. 47.

ONLINE

Farley Granger Home Page,http://www.farleygranger.net (September 30, 2007).