VALUTAZIONE IMDb
6,4/10
1124
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaDetermined to reform upon leaving prison, a former prostitute falls in love with a cotton-barge owner and must choose between him and her banker lover.Determined to reform upon leaving prison, a former prostitute falls in love with a cotton-barge owner and must choose between him and her banker lover.Determined to reform upon leaving prison, a former prostitute falls in love with a cotton-barge owner and must choose between him and her banker lover.
Samuel S. Hinds
- Father Doran
- (as Samuel Hinds)
Tom Herbert
- Salesman Ogelthorpe
- (as Tom Francis)
Wade Boteler
- River Boat Purser
- (non citato nei titoli originali)
Eddy Chandler
- River Boat Steward
- (non citato nei titoli originali)
Jane Darwell
- Mrs. Webster - Head Prison Matron
- (non citato nei titoli originali)
Arthur Hoyt
- Hoyt - Paige's Secretary
- (non citato nei titoli originali)
John Larkin
- Man Meeting Released Prisoner
- (non citato nei titoli originali)
Matt McHugh
- Mr. Jones
- (non citato nei titoli originali)
Robert Emmett O'Connor
- River Boat Captain Scroggins
- (non citato nei titoli originali)
Eileen Percy
- Woman
- (partecipazione non confermata)
- (non citato nei titoli originali)
George Reed
- Alice - Dan's Shipboard Cook
- (non citato nei titoli originali)
Mildred Washington
- Genevieve - Lorry's Maid
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizThe last of four films co-starring Constance Bennett and Joel McCrea, along with Passione di mamma (1931), The Common Law (1931), and Labbra proibite (1932).
- BlooperWhen Lorry is in her room on the steamboat, there is a fur coat on the top bunker resting up against the bedpost. On the following cuts, the orientation of the coat keeps changing. The matching hat on the top bunker also changes orientation.
- Citazioni
Mrs. Webster - Head Prison Matron: As Head Matron of his Institution, in all my experience, I have never come...
Lorry Evans: Save your wind, save your wind, you might want to go sailing sometime.
- Colonne sonoreYou're the Flower of My Heart, Sweet Adeline
(1903) (uncredited)
Music by Harry Armstrong
Lyric by Richard H. Gerard
Sung a cappella and offscreen by Matt McHugh and Pert Kelton
Recensione in evidenza
This is a superbly engrossing melodrama with a hard-hitting edge presented in an accessible, non-confrontational style.
Like a lot of early thirties pictures, the theme this deals with is the pitiful and frighteningly awful lack of opportunities young, poor women had back then. It's not as shocking as Loretta Young's SHE HAD TO SAY YES (actually an even better film) which left you with the jaw-dropping realisation of what times were really like but nevertheless it still destroys any false preconceptions that gold diggers or prostitutes did that out of choice.
In a challenging role, Constance makes her character difficult to like at the start. Her task is to try to get the get the audience on her side which she achieves effortlessly. She mainly played heiresses or glamorous romantic heroines so this was a bit of a departure for her but any worries that she'd not be able to convey a low-life, hard boiled amoral girl from the wrong side of the tracks were instantly dispelled. (She does a million times better at this than her sister did in the terrible ME AND MY GAL) I wonder if this character was a man would the audience be so easily swayed - but of course what made this person so unpleasant was specifically because she wasn't a man: she had had to survive in that brutal society in the only way she knew how.
Director Gregory la Cava never lets your attention slip for a minute, makes it lovely to look at and plays a lot with symbolism. It's interesting to compare how different Constance Bennett's character behaves depending on what sort of room she is in particularly in the prison cell or the ill-gotten opulent suite, her self-made prison cell.
Overall it's a fabulous insight into how life had to be lived in the early thirties. It's directed with energy and fun so although it's all serious stuff, it still feels funny. Constance Bennett is surprisingly brilliant, she gained her fame from her looks but this proves that she's wasn't just a pretty face. She carries this whole film herself so how good the rest of the cast are doesn't really matter - although you do get a little irritated by Pert Kelton's annoying Mae West impersonation.
Like a lot of early thirties pictures, the theme this deals with is the pitiful and frighteningly awful lack of opportunities young, poor women had back then. It's not as shocking as Loretta Young's SHE HAD TO SAY YES (actually an even better film) which left you with the jaw-dropping realisation of what times were really like but nevertheless it still destroys any false preconceptions that gold diggers or prostitutes did that out of choice.
In a challenging role, Constance makes her character difficult to like at the start. Her task is to try to get the get the audience on her side which she achieves effortlessly. She mainly played heiresses or glamorous romantic heroines so this was a bit of a departure for her but any worries that she'd not be able to convey a low-life, hard boiled amoral girl from the wrong side of the tracks were instantly dispelled. (She does a million times better at this than her sister did in the terrible ME AND MY GAL) I wonder if this character was a man would the audience be so easily swayed - but of course what made this person so unpleasant was specifically because she wasn't a man: she had had to survive in that brutal society in the only way she knew how.
Director Gregory la Cava never lets your attention slip for a minute, makes it lovely to look at and plays a lot with symbolism. It's interesting to compare how different Constance Bennett's character behaves depending on what sort of room she is in particularly in the prison cell or the ill-gotten opulent suite, her self-made prison cell.
Overall it's a fabulous insight into how life had to be lived in the early thirties. It's directed with energy and fun so although it's all serious stuff, it still feels funny. Constance Bennett is surprisingly brilliant, she gained her fame from her looks but this proves that she's wasn't just a pretty face. She carries this whole film herself so how good the rest of the cast are doesn't really matter - although you do get a little irritated by Pert Kelton's annoying Mae West impersonation.
- 1930s_Time_Machine
- 3 giu 2023
- Permalink
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
Dettagli
- Data di uscita
- Paese di origine
- Lingua
- Celebre anche come
- Letto di rose
- Luoghi delle riprese
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
- Tempo di esecuzione1 ora 7 minuti
- Colore
- Proporzioni
- 1.37 : 1
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti
Divario superiore
By what name was Bed of Roses (1933) officially released in India in English?
Rispondi