Produced in the middle of 20th century, A Place in the Sun is using classical aspect ratios. The director is very good at utilizing the frames to display the relationships between the characters. When George first arrived at his uncle Mr. Eastman’s home, Mr. and Mrs. Eastman and their daughter sat down in a sofa, while their son stood up confronting him, implying the hostile and contempt towards him. The two spaces within frame describes the divide between the rich and the poor in last century America. The director also manages the shots between George wit Alice and George with Angela very differently. The extreme long shot of the lake scene when George and pregnant Alice are on a boat displays the sense of powerless. However, on the same lake that George and Angela dated, the director uses long shot to medium shot to show that when the couple is together, the surroundings become less important. The representations of the lake by changing the angles and patterns of the camera. When George and Alice are together, they are always at a distance. When George met Alice in the theatre, at the end of the movie, the frame includes two other couples besides them. A bored old couple and a young couple with temporarily intense passion. One implies the late life of the working class, while the other suggests their short and hopeless love. When they were walking back, a pedestrian walked across them, a policeman expelled them, and the heavy downpour forced them to stay together. Even in the kissing scene, the two bodies are not very close. Whereas with Angela, they are many close-ups such as dancing in the ballroom and driving in the car. Nevertheless, starting from the first time he saw Angela on the highway, these scenes are always not stable, not in a horizontal line, trying to show that their love is only a fragile dream for George. Also on the highway, the billboard is on top of George, the vertical line suggests that he looks up to the life of the capitalists, but he can never reach to the same status as them.
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