VALUTAZIONE IMDb
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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
I have watched many movies of the 1930's and I think I can make the following statement in clear conscience: the first 15 minutes of 1933's "Bed of Roses" is the dirtiest sequence of main stream film to grace the screen for the next 25 years! Wow, it is awesome. The great Constance Bennett, and her hooker partner Minnie, both just out of jail, need a ride to New Orleans. Minnie cozies up to a truck driver, asks for a ride, he says "what's your offer?" Then, a minute later, Bennett sidles up, and Minnie asks her, "can you drive?"! Implied yet relatively explicit is the suggestion that Minnie will be "paying off" the driver in the back of the truck! Wow! Then, once on the riverboat, the two girls are short of cash, so Minnie quite obviously whispers a rude offer into the steward's ear. He rejects the offer, but she doesn't mind - "nothing personal" she declaims. Judy Garland never behaved this way with Mickey Rooney over at MGM!
Folks, I am ever-grateful that the "Code" forced Hollywood to keep its movies very clean for 2 or 3 decades: the art of that period will never be surpassed again. But taking this path makes all those slightly naughty movies of the early 30's that much more fascinating and wonderful to see, like they got away with something, and we are the beneficiaries of that daring.
Another interesting decision the director makes is to take about 15 minutes worth of early action, which takes place on the Mississippi River, and have it all occur in a quite heavy fog. The hazy sheen in which the actors perform is noteworthy for how long this goes on for. Again, daring and interesting.
Constance Bennett is fantastically seductive, cynical, world-weary and manipulative. Joel McCrea is great being himself. And Samuel Hinds, one of my favorite minor character actors, with his perpetually silvery hair, is his usual fatherly best.
A great one from the early days, not to be missed, even if not one of the characters has a Louisiana accent.
Folks, I am ever-grateful that the "Code" forced Hollywood to keep its movies very clean for 2 or 3 decades: the art of that period will never be surpassed again. But taking this path makes all those slightly naughty movies of the early 30's that much more fascinating and wonderful to see, like they got away with something, and we are the beneficiaries of that daring.
Another interesting decision the director makes is to take about 15 minutes worth of early action, which takes place on the Mississippi River, and have it all occur in a quite heavy fog. The hazy sheen in which the actors perform is noteworthy for how long this goes on for. Again, daring and interesting.
Constance Bennett is fantastically seductive, cynical, world-weary and manipulative. Joel McCrea is great being himself. And Samuel Hinds, one of my favorite minor character actors, with his perpetually silvery hair, is his usual fatherly best.
A great one from the early days, not to be missed, even if not one of the characters has a Louisiana accent.
- audiemurph
- 27 gen 2013
- Permalink
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By what name was Bed of Roses (1933) officially released in India in English?
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