PUNTUACIÓN EN IMDb
7,5/10
15 mil
TU PUNTUACIÓN
En la víspera del comienzo de la segunda guerra mundial, un joven reportero estadounidense intenta exponer a agentes enemigos en Londres.En la víspera del comienzo de la segunda guerra mundial, un joven reportero estadounidense intenta exponer a agentes enemigos en Londres.En la víspera del comienzo de la segunda guerra mundial, un joven reportero estadounidense intenta exponer a agentes enemigos en Londres.
- Nominado para 7 premios Óscar
- 1 premio y 9 nominaciones en total
Elizabeth Inglis
- Adele Ainsworth
- (as Elizabeth Earl)
Victor Sen Yung
- Ong Chi Seng
- (as Sen Yung)
Zita Baca
- Undetermined Role
- (sin acreditar)
Brooks Benedict
- Party Guest
- (sin acreditar)
William A. Boardway
- Trial Spectator
- (sin acreditar)
David Bruce
- Undetermined Role
- (sin acreditar)
James Carlisle
- Attorney
- (sin acreditar)
George Ford
- Party Guest
- (sin acreditar)
Argumento
¿Sabías que...?
- CuriosidadesThe first scene that William Wyler filmed was the famous opening shot in which Leslie shoots Geoffrey Hammond. This sequence, which lasted two minutes on screen, took an entire day to film, and that was before even a single word of dialogue was spoken. The studio expected him to shoot at a rate of 3-4 script pages a day, but the opening shot reflected a mere paragraph on page one.
- PifiasThe motor vehicles throughout are all left-hand drive. In Singapore traffic drives on the left, and all vehicles there are right-hand drive.
- Versiones alternativasAlso shown in computer colorized version.
- ConexionesEdited into ¿Quién teme a Virginia Woolf? (1966)
Reseña destacada
With a fine cast, an atmospheric setting, and a tight, tension-packed plot, this is a memorable adaptation of the Somerset Maugham story. Both the story and the film are well-constructed, and indeed both are also aptly titled, in that "The Letter" is what drives the characters and most of the action.
The opening sequence starts out with a languid look at the rubber plantation, immediately establishing the atmosphere, and then suddenly grabs your attention with the shooting. From then on, most of the suspense is psychological, and the scenario is very well-crafted, wringing everything it can out of the setup.
The cast is led by Bette Davis, who gives a vivid performance in the kind of role that she seemed born to play. Herbert Marshall is also excellent as the husband, using little mannerisms and gestures to complement his lines, as he convincingly portrays his earnest, naive character.
The supporting cast has many good moments of their own. James Stephenson's performance is essential to making the movie work so well. His portrayal of the anguished lawyer could not have been surpassed, as he flawlessly shows his outward restraint and inner torment. Victor Sen Yung also performs well - his oily character is perhaps somewhat uncomfortable to watch, but he is essential to the plot, and Yung plays him to good effect. Gale Sondergaard has very few lines, but she establishes an imposing presence all the same.
The British colonial setting, with its clubby atmosphere, its social inequalities, its opportunities, and its contrasting cultures, is done well, and even the tropical heat is believably rendered. Light and darkness are also used well - in addition to the frequent shots of the moon, the slats on so many of the windows not only make for attractive scenery, but at times they are also used creatively, as they let just a little bit of light shine on characters who themselves might not want too much light to come into their lives.
Everything adds up to a memorable melodrama with many strong features, well worth seeing both for the cast and for the story.
The opening sequence starts out with a languid look at the rubber plantation, immediately establishing the atmosphere, and then suddenly grabs your attention with the shooting. From then on, most of the suspense is psychological, and the scenario is very well-crafted, wringing everything it can out of the setup.
The cast is led by Bette Davis, who gives a vivid performance in the kind of role that she seemed born to play. Herbert Marshall is also excellent as the husband, using little mannerisms and gestures to complement his lines, as he convincingly portrays his earnest, naive character.
The supporting cast has many good moments of their own. James Stephenson's performance is essential to making the movie work so well. His portrayal of the anguished lawyer could not have been surpassed, as he flawlessly shows his outward restraint and inner torment. Victor Sen Yung also performs well - his oily character is perhaps somewhat uncomfortable to watch, but he is essential to the plot, and Yung plays him to good effect. Gale Sondergaard has very few lines, but she establishes an imposing presence all the same.
The British colonial setting, with its clubby atmosphere, its social inequalities, its opportunities, and its contrasting cultures, is done well, and even the tropical heat is believably rendered. Light and darkness are also used well - in addition to the frequent shots of the moon, the slats on so many of the windows not only make for attractive scenery, but at times they are also used creatively, as they let just a little bit of light shine on characters who themselves might not want too much light to come into their lives.
Everything adds up to a memorable melodrama with many strong features, well worth seeing both for the cast and for the story.
- Snow Leopard
- 16 feb 2005
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Detalles
Taquilla
- Recaudación en todo el mundo
- 16.455 US$
- Duración1 hora 35 minutos
- Color
- Relación de aspecto
- 1.37 : 1
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By what name was La carta (1940) officially released in India in English?
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