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Cercasi avventura

Titolo originale: Bulldog Drummond
  • 1929
  • Passed
  • 1h 30min
VALUTAZIONE IMDb
6,3/10
1423
LA TUA VALUTAZIONE
Joan Bennett and Ronald Colman in Cercasi avventura (1929)
CrimineDrammaMisteroRomanticismoThriller

Aggiungi una trama nella tua linguaA bored WWI veteran helps out a young woman whose uncle is being held hostage by embezzlers.A bored WWI veteran helps out a young woman whose uncle is being held hostage by embezzlers.A bored WWI veteran helps out a young woman whose uncle is being held hostage by embezzlers.

  • Regia
    • F. Richard Jones
  • Sceneggiatura
    • Herman C. McNeile
    • Sidney Howard
  • Star
    • Ronald Colman
    • Claud Allister
    • Lawrence Grant
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,3/10
    1423
    LA TUA VALUTAZIONE
    • Regia
      • F. Richard Jones
    • Sceneggiatura
      • Herman C. McNeile
      • Sidney Howard
    • Star
      • Ronald Colman
      • Claud Allister
      • Lawrence Grant
    • 38Recensioni degli utenti
    • 21Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 2 Oscar
      • 5 vittorie e 2 candidature totali

    Foto19

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    Interpreti principali14

    Modifica
    Ronald Colman
    Ronald Colman
    • Hugh Drummond
    Claud Allister
    Claud Allister
    • Algy
    • (as Claude Allister)
    Lawrence Grant
    Lawrence Grant
    • Dr. Lakington
    Montagu Love
    Montagu Love
    • Peterson
    Wilson Benge
    Wilson Benge
    • Danny
    Joan Bennett
    Joan Bennett
    • Phyllis
    Lilyan Tashman
    Lilyan Tashman
    • Irma
    Charles Sellon
    Charles Sellon
    • Travers
    Adolph Milar
    • Marcovitch
    Tetsu Komai
    • Chong
    Gertrude Short
    Gertrude Short
    • Barmaid
    Donald Novis
    Donald Novis
    • Country Boy
    Bill Johnson
    • Little Boy
    • (non citato nei titoli originali)
    Tom Ricketts
    Tom Ricketts
    • Colonel in Club
    • (non citato nei titoli originali)
    • Regia
      • F. Richard Jones
    • Sceneggiatura
      • Herman C. McNeile
      • Sidney Howard
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti38

    6,31.4K
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    Recensioni in evidenza

    7theowinthrop

    A Hero For 1920s Britain

    When the first "Bulldog Drummond" stories came out in the 1920s, Great Britain was trying to come to grips with an anomaly: it had been one of the main allied victors in the Great War but the country did not feel like it won anything. It felt it had sacrificed too much.

    Britain in 1914 had ruled the waves. It had a small (but apparently competent) standing army. It had a history of democracy that was stable and unmatched by any of the major continental powers of Europe. It had a very highly industrial economy and was commercially quite important on the globe. Finally, it's empire stretched around the world that the boast that "the sun never set on the British Empire" was true - it was also the world's largest empire.

    In truth Britain's empire was actually wearing away. Though the British technically won the Boer War Boer Leaders ended up running South Africa. Ireland was getting hotter. The Germans helped stimulate the Easter Rebellion with arms. The British Navy did control the seas but the u-boats almost beat Britain during the war. The naval battles were marred by a total German triumph under Von Spee in the Pacific (Coronel)and the lopsided British ship and men losses at their "victory" at Jutland. Finally, Germany and the U.S. had outstripped British commerce and industrial output by 1914.

    With the huge losses of a generation of men, and no tangible gains, Britain was in for a serious period of reactionary feelings and even race baiting. Anti-Semitism (always under the surface) reemerged in the 1920s, mostly due to the rise of Bolshevism in Russia after the 1917 revolutions. The political landscape did not reduce this hysteria. Lloyd George was booted out of the Prime Minister's seat forever in 1922. His successor, Andrew Bonar Law, died after nine months in office. Stanley Baldwin was not fully ready to be Prime Minister in 1923, and would blow his administration by a public hissy fit. His rival, James Ramsay MacDonald, would be the first Labor Prime Minister. But he'd been an outspoken pacifist in the war, and he was suspect of Bolshevistic sympathies (he actually had none). In the 1924 General Election a forged letter (supposedly from Gregory Zinovieff, the head of the Russian Comintern) urged MacDonald's election as an agent of the Russians. Baldwin regained office with a large majority.

    It is this background that explains the popularity of "Bulldog Drummond". With governmental drift and doldrums, a declining economy, a feeling of loss of face on the international scene, and a feeling of loss due to immense death toll, the search for easy answers, easy suspects, easy enemies was ready for Sapper's poison. So the public cheered Col. Hugh "Bulldog" Drummond as he created a fascistic group of ex soldiers (like the German Freikorps) to "control" the internal enemy (i.e., Bolsheviks, Jews, Irish). I might add this was not totally made up. Lloyd George gave the go ahead while Prime Minister to create a paramilitary group in Ireland, the "Black and Tans", to combat the Irish revolutionaries. This group was finally decimated by Michael Collins' men on "Bloody Sunday" in 1921.

    That Samuel Goldwyn, a Jewish American film producer, produced BULLDOG DRUMMOND, is highly ironic. But it illustrates the care Goldwyn brought to his projects. He had been producing the silent film hits that Ronald Colman appeared in in the late 1920s. Goldwyn wanted Colman to make the transition to sound carefully, and not fall on his face like Colman's rival John Gilbert. Instead of "Darling, I love you!" in HIS GLORIOUS NIGHT, Goldwyn found an exciting adventure part for Colman, which allowed him to display his wonderful, gentleman's speaking voice. As an introduction for a talking Colman, BULLDOG DRUMMOND could not be beaten.

    The role had everything to show Colman's versatility. There was his humor, shown at the beginning when he is dismayed at the ridiculously boring men's club he belongs to (full of old fogies). There was his romantic side, with the youthful Joan Bennett. There is his confrontations with the sinister Lawrence Grant (Dr. Lakington) and Grant's two assistants Montague Love and Lilyan Tashman (Carl Peterson and Irma), and his handling of his impossibly stupid friend Algy (Claude Allister). As a "coming out" role for talkies, BULLDOG DRUMMOND did the trick, winning Colman the audience he feared talking films would cost him.

    In terms of plot it creaks, with incredible coincidences and twists that allow plot points to fall apart for the creation of new plot points. Still the cast is game, and the script surprises us. Lakington, briefly having Drummond tied up, is speaking to him pretty closely. Colman turns his face from Grant, who accuses him of being more cowardly than he'd admit. Colman rejects this excuse. Then why turn your face away, demands Grant. "Haven't your best friends told you?", says Colman, leaving Grant turning crimson at the thought of halitosis. A later bit of business, allowing Love and Tashman to escape is also unexpected. Yes, it is an antique, but it is a charming one. And as it has none of Sapper's racist crap in it, it is highly recommended.
    7evanston_dad

    Shows Why Ronald Colman Was a Movie Star

    I recently watched a few early talking pictures back to back, one of them "Coquette" starring Mary Pickford and the other "Bulldog Drummond." I watched "Coquette" first and thought it was pretty representative of how terrible early talkies were. Atrocious acting, static direction, incomprehensible sound recording. But I was willing to go a little easy on it because of the limitations that existed for movies from that time period. But then I watched "Bulldog Drummond" and thought, no, it was possible to make good sound films in 1929.

    "Bulldog Drummond" isn't a classic by any means, but as films from that time period goes, it's pretty easy for a modern day audience to watch. The direction and camera work are fluid; they don't have that feeling so many movies from this time period do that the camera was planted in one spot and never moved. The sound is well recorded and the dialogue easy to hear. But mostly, I was struck by how much better the acting was. This film shows why an actor like Ronald Colman went on to have a robust career in sound films while actresses like Mary Pickford did not.

    Colman snagged an Oscar nomination for his performance in this film, which might seem like an oddity by today's standards, but given the competition at the time he seems to be acting in a completely different medium from so many of his contemporaries. William Cameron Menzies also received a nomination for the film's fun art direction, which runs the gamut from cozy country cottages to mad scientist laboratories.

    I know this film launched a whole series, and while the original didn't leave me really inspired to watch the others, I had a good time with it.

    Grade: A-
    8bkoganbing

    An Auspicious Debut

    Bulldog Drummond is best known for being the debut of Ronald Colman in sound pictures. It was one auspicious debut to say the least.

    A whole lot is written about the stars who could not make the transition to sound, mainly because for one reason or another their voices did not match the screen persona they created. The other reason is that many tended to overact in the way they had to in silent films to put across their feelings.

    But there are several examples of those players who voices completely matched their screen personalities so much so that I can't envision them in silent films. Stan Laurel and Oliver Hardy and W.C. Fields in comedy were so much better in sound I can't see how they did it silent films. Gary Cooper was another, his Montana drawl perfectly fit his screen image. William Powell's years of stage training and that perfect diction helped him bridge the transition.

    But Ronald Colman was something unique. The greatest voice in the history of cinema, a man you could listen and be enthralled by him reciting your local yellow pages. His perfect Oxford English was so right for his character of English adventurer Bulldog Drummond.

    This was the first Drummond film and the part was to be played by several other actors including Colman again. But this film seems to have set the format out. Drummond, a veteran of the World War, was your typical upper middle class English gent who's just plain bored by a rather useless life. He takes out an advertisement basically putting himself out in the way Edward Woodward did sixty years later in the television series The Equalizer. Of course he gets several replies back, but Colman responds to a note from American Joan Bennett.

    It seems that Bennett's uncle, an American millionaire, is being held captive by Lilyan Tashman and her associates in a disguised asylum where they have him drugged and gradually turning over his fortune.

    Bennett is a sweet young thing, but the role with real bite in it is Lilyan Tashman doing the kind of part Gale Sondergaard did later on. Tashman kind of has a thing for Colman, mainly because he's a man who doesn't fall for her charms as chief assistant Montagu Love has. No pun intended, but Montagu's practically her love slave.

    Bulldog Drummond would have rated higher with me, but I simply could not stand Claud Allister's portrayal of Algy, Drummond's tag along friend from his club who's the quintessence of every silly sot of an Englishman every done on screen. I mean he's worse than useless, he's counterproductive. Colman should have let Tashman and her goons have him.

    Noted radio singer Donald Novis sang a couple of songs in a country inn where a lot of the story takes place. Novis had a great lyric tenor and starred on Broadway and radio as well as making a few films. He's best know for playing the lead role on Broadway in Rodgers&Hart's Jumbo and introducing the song The Most Beautiful Girl in the World. This was Novis's screen debut, but sad to say he never had much of a film career.

    For those fans of Ronald Colman, Anglophiles around the world who see in him the best embodiment of the UK national character.
    7Bunuel1976

    BULLDOG DRUMMOND (F. Richard Jones, 1929) ***

    This started off yet another series devoted to the exploits of a literary detective figure (though he is actually an ex-British military officer); even if the films themselves never reached particular heights and, following the first two entries starring Ronald Colman (both, incidentally, included in the "Wonders In The Dark" poll), fell definitely into the B-movie league, this initial outing did yield two Oscar nominations for Best Actor and Best Art Direction (William Cameron Menzies)!

    Despite being 85 years old and thus understandably stagey in treatment, the film survives quite nicely as pure entertainment (save for the frequent singing by a young man at an inn, summarily booted out when the villains turn up!), and can even be seen to have left its mark on culture (the presence of both a mad doctor and a femme fatale among its cast of characters). It is only the attitudes that have dated: Drummond's constant cheerfulness and over-confidence (we never really feel he is in danger throughout, also because there is a chivalric sense of mutual respect between hero and antagonist – though he does dispose violently and gratuitously of the slow-talking scientist, albeit offscreen); the latter, then, is an archaic gangster type; Drummond is assisted by silly ass Claud Allister's Algy (who, annoyingly, repeatedly asks for the afore-mentioned vamp's telephone number as if it were the most natural thing to do under the circumstances, or that she would ever even deign to give him the time of day!) and a butler; Drummond's romantic attachment to the heroine is likewise merely an obligatory convention (though 38 at the time, Colman always seemed to look middle- aged – which makes him that more unsuited to blonde Joan Bennett, not yet out of her teens and still a decade away from her 1940s heyday!). Curiously enough, though this tale is depicted as being Drummond's baptism of fire in the sleuthing business, the villainess already calls him by his "Bulldog" nickname!

    Being a Samuel Goldwyn production, the film is slickly-handled (Gregg Toland was one of the cinematographers) and, as I said, includes a number of welcome elements that would eventually find their utmost expression in other popular genres (horror, noir and espionage thrillers – the latter in the deployment of a criminal organization, even if their objective here involves nothing more earth-shattering than the simple extortion of money!).
    8preppy-3

    Very good early talkie

    VERY early talkie from 1929. It stars Ronald Colman as a wealthy WW1 veteran--Hugh "Bulldog" Drummond. He sets out to help people in trouble. He gets a letter from the mysterious Phyllis (Joan Bennett) who believes her father is being held against his will and tortured in a nursing home. She wants Bulldog to rescue him. He agrees and is helped by his faithful valet and annoying best friend Algy (Claud Allister).

    Most early talkies are boring stiff affairs but not this one. It moves quickly, is lots of fun, has exciting action sequences and has a great Oscar-nominated performance by Colman. The sound recording is good and the video is as good as can be expected from a 1929 film. The only negative about this is Allister as Algy. He plays his role WAY over the top and comes across as annoying and unfunny. Halfway through I wanted that guy gone! Him aside though this is an enjoyable and fun early talkie.

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    Trama

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    • Quiz
      The first (and only) sound film for former Mack Sennett director F. Richard Jones. His command of sound and action with this film was very well received, and he looked set for a bright future. Sadly, Jones succumbed to the tuberculosis epidemic that was running rampant at the time. He was only 37.
    • Blooper
      The players in the opening credits are set out in the form of a theatre programme. However, notwithstanding the film takes place in England, the spelling on the programme is the American 'program'. However, while the film is portrayed as taking place in England, it was produced in the U.S.; thus, the Americanized spelling of "program" in the credits is not inconsistent.
    • Citazioni

      Hugh 'Bulldog' Drummond: Danny, pack my bag. Pyjamas, toothbrush and a gun.

      Danny: Please sir. Don't you really think sir? Yes sir.

      Hugh 'Bulldog' Drummond: On second thought, never mind the pyjamas. Just the toothbrush and the gun.

    • Curiosità sui crediti
      The cast listing resembles a play program with six listed names/roles on each of two pages. Both pages have "Program Continued" at the top of the list and "Program Continued On Following Page" at the bottom.
    • Versioni alternative
      When first released in France, the film was presented in a talkie version in English with French subtitles and in a silent version.
    • Connessioni
      Followed by Temple Tower (1930)
    • Colonne sonore
      (I Says To Myself Says I) There's The One For Me
      (uncredited)

      Written by Harry Akst and Jack Yellen

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    Dettagli

    Modifica
    • Data di uscita
      • 2 maggio 1929 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Bulldog Drummond
    • Luoghi delle riprese
      • South Bank, Lambeth, Londra, Inghilterra, Regno Unito(opening scene)
    • Azienda produttrice
      • The Samuel Goldwyn Company
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 550.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      • 1h 30min(90 min)
    • Colore
      • Black and White
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.20 : 1

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