CALIFICACIÓN DE IMDb
6.1/10
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TU CALIFICACIÓN
El sheriff de un pueblo y patrón habitual de un prostíbulo histórico lucha por mantenerlo en funcionamiento cuando un reportero de televisión lo califica de casa de juegos del diablo.El sheriff de un pueblo y patrón habitual de un prostíbulo histórico lucha por mantenerlo en funcionamiento cuando un reportero de televisión lo califica de casa de juegos del diablo.El sheriff de un pueblo y patrón habitual de un prostíbulo histórico lucha por mantenerlo en funcionamiento cuando un reportero de televisión lo califica de casa de juegos del diablo.
- Nominado a 1 premio Óscar
- 3 nominaciones en total
Noah Beery Jr.
- Edsel
- (as Noah Beery)
Argumento
¿Sabías que…?
- TriviaWhile filming the ending scene, Burt Reynolds got a double hernia from picking up Dolly Parton. He often joked to Dolly that he'd think of her every time he got a pang of pain.
- ErroresWhen Miss Mona and the girls are singing the rules of the house, one of the rules is "no tattoos, because brands belong on cattle", but one of the girls clearly has a tattoo on her shoulder blade.
- Versiones alternativasWhen this movie was first released in theatres, and on its first ABC TV airing, it featured Burt Reynolds singing a song (the song is in the scene immediately following his confrontation with Miss Mona, in which he orders her to shut down the Chicken Ranch). In the video release, and in the current TV version, that sequence has been removed. In the new version, Burt is seen briefly in a "contemplation" link sequence. The tune (written by Dolly Parton) which Burt originally sang on the movie was used in Dolly's "Rhinestone" movie. She wrote totally new words to the music and titled the song "God Won't Get You" (also a single release for Parton on RCA).
- ConexionesFeatured in The Best Little Special in Texas (1982)
Opinión destacada
The pure part of this film is Dolly's voice, with its warble, its touch of yodel, its complete inability to resists little trills, mordents, all the musical embellishments that are mirrored in her visual presence, her couture. And since the sumptuous breasts are maybe even a bit too much here--with many gown changes in the big numbers--that is all the more striking that it is still the singing that stands out. Jim Nabors, for example, takes some time to seem bearable to me, but finally the whole context works; but the movie seems like it is going to be horrible till Dolly's first phrase in the "Pissant Country Place" song.
Carol Hall's "Rock Candy Christmas" is a good number, but putting Dolly's "I Will Always Love You" was the smartest thing done musically here; in no way is the subsequent Whitney Houston version comparable in either sincerity or just naturalness of lovely sound--she uses little ornaments, too, but changes them as if to be original; all you really notice is that she didn't use the ones Dolly had already made perfect, as if they were as firm and fixed as the melody line itself. It was a considerably smarter thing than using "My Man" in 'Funny Girl', when "The Music that Makes Me Dance" would have made the show keep its original musical integrity; and leaving out the Ziegfeld Follies type numbers "Cornet Man" and "Rat-tat-tat" depleted this film, leaving it only great in moments ('Don't Rain on My Parade' is really the only great one.)
Burt Reynolds is a charmer as the sheriff and his and Dolly's affection for each other is sweet and moving. All of their scenes together work because they fully enjoy them, enjoy each other.
Certain big production numbers--the Aggies football players dancing in the locker room, then when they get to the Chicken Ranch, for example--seem to be low imitations of old Agnes de Mille choreography in 'Oklahoma', full of old-fashioned "cowboy high spirits" (one cannot keep from enjoying how non-cowboy most of the dancers must surely be) that have nothing new in them and merely seem mechanical.
It's a better Dolly Parton movie--though certainly not great--as a whole than 'Nine to Five', but nothing has ever quite surpassed the poetic genius of that picture's title song, in which Dolly has captured so basic a part of most people's daily life that you can hardly believe that the song is actually there to question its very validity, which it does with no qualms at all.
"Workin' nine to five, what a way to make a livin'... and later: "You would think that I would deserve a fat promotion... They just use your mind, and they never give you credit, It's enough to drive you crazy if you let it."
The real artist that she is peers through all the fluff from time to time, perhaps getting it through the fluff is the way it is proved.
Carol Hall's "Rock Candy Christmas" is a good number, but putting Dolly's "I Will Always Love You" was the smartest thing done musically here; in no way is the subsequent Whitney Houston version comparable in either sincerity or just naturalness of lovely sound--she uses little ornaments, too, but changes them as if to be original; all you really notice is that she didn't use the ones Dolly had already made perfect, as if they were as firm and fixed as the melody line itself. It was a considerably smarter thing than using "My Man" in 'Funny Girl', when "The Music that Makes Me Dance" would have made the show keep its original musical integrity; and leaving out the Ziegfeld Follies type numbers "Cornet Man" and "Rat-tat-tat" depleted this film, leaving it only great in moments ('Don't Rain on My Parade' is really the only great one.)
Burt Reynolds is a charmer as the sheriff and his and Dolly's affection for each other is sweet and moving. All of their scenes together work because they fully enjoy them, enjoy each other.
Certain big production numbers--the Aggies football players dancing in the locker room, then when they get to the Chicken Ranch, for example--seem to be low imitations of old Agnes de Mille choreography in 'Oklahoma', full of old-fashioned "cowboy high spirits" (one cannot keep from enjoying how non-cowboy most of the dancers must surely be) that have nothing new in them and merely seem mechanical.
It's a better Dolly Parton movie--though certainly not great--as a whole than 'Nine to Five', but nothing has ever quite surpassed the poetic genius of that picture's title song, in which Dolly has captured so basic a part of most people's daily life that you can hardly believe that the song is actually there to question its very validity, which it does with no qualms at all.
"Workin' nine to five, what a way to make a livin'... and later: "You would think that I would deserve a fat promotion... They just use your mind, and they never give you credit, It's enough to drive you crazy if you let it."
The real artist that she is peers through all the fluff from time to time, perhaps getting it through the fluff is the way it is proved.
- pmullinsj
- 10 abr 2004
- Enlace permanente
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- También se conoce como
- Das schönste Freudenhaus in Texas
- Locaciones de filmación
- Pflugerville, Texas, Estados Unidos(chicken ranch exteriors)
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Presupuesto
- USD 35,000,000 (estimado)
- Total en EE. UU. y Canadá
- USD 69,701,637
- Fin de semana de estreno en EE. UU. y Canadá
- USD 11,874,268
- 25 jul 1982
- Total a nivel mundial
- USD 69,701,637
- Tiempo de ejecución1 hora 54 minutos
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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By what name was The Best Little Whorehouse in Texas (1982) officially released in Canada in English?
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