Leonora Eames marries Smith Ohlrig, a man worth millions. But her dream becomes a nightmare once she realizes her husband is sadistically hell-bent on keeping her prisoner. When she falls pregnant, she and one of her doctors, Larry Quinada, fall in love. What will happen to Leonora?
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Un excellent mélodrame porté par une héroïne très intéressante. Les ellipses aident le récit à gagner en efficacité, en cruauté aussi. Le mari est un peu caricatural (une nouvelle fois, la psychanalyse permet de construire un peu trop rapidement le personnage, sans nuances), mais la femme et son patron offrent plusieurs scènes charmantes et déchirantes. Comme toujours, la mise en scène d'Ophuls est excellente.
Part of the noir kingdom, but also a vast, pulsating psychodrama, more Sirk than Chandler, where an everywoman is pushed into a position of sexuality, then, er, caught in a reality (call it mid-century America) where all she can choose is which sort of man will possess and define her. Layered, subversive, and over-the-top enough in its visual design that the melodrama feels natural. All the themes of Ophuls' career.
Money can't buy you love. My first Ophuls. I was captivated all the way through, classic Hollywood, very clever use of film language. For some reason I kept thinking about Trump as a 3 year old boy when this movie came out as I watched it, strange...
A naive car hop and would be model marries one of the richest men in America, but soon leaves him to make it on her own as a doctor's receptionist. Shot with masterful command of light and shadow by Lee Garmes, and silken camera moves by Max Ophüls, it's boldly performed by Barbara Bel Geddes, Robert Ryan and James Mason. Written by Arthur Laurents, the tycoon is Ophüls' damning first hand portrait of Howard Hughes.
Très bon mélodrame qui dresse le portrait juste et difficile de la condition féminine fin des années 40 aux Etats Unis. La thématique est rare après l'ère pré-code et Ophuls maitrise parfaitement son sujet. C'est fin et les acteurs sont tous magnifiques. Merci Mubi pour cette rareté!
6/10. Contains the most tastelessly cheerful treatment of perinatal death you may ever witness on film. Had to rewatch the surreal ending next day to believe I saw this. There is romantic Mason's casual prognosis in the ambulance, and then there's the scene in the clinic: "Er, premature birth, baby dying." Cut. Bel Geddes... smiles. (And she never even looked pregnant.) Quite incredible. || Camerawork virtuosic.