VALUTAZIONE IMDb
7,7/10
19.886
LA TUA VALUTAZIONE
Quando un uomo in crisi di mezza età fa amicizia con una giovane donna, il suo fidanzato venale la convince a truffarlo dalla fortuna che credono erroneamente che possieda.Quando un uomo in crisi di mezza età fa amicizia con una giovane donna, il suo fidanzato venale la convince a truffarlo dalla fortuna che credono erroneamente che possieda.Quando un uomo in crisi di mezza età fa amicizia con una giovane donna, il suo fidanzato venale la convince a truffarlo dalla fortuna che credono erroneamente che possieda.
- Premi
- 3 candidature
Anita Sharp-Bolster
- Mrs. Michaels
- (as Anita Bolster)
Richard Abbott
- Critic at Gallery
- (non citato nei titoli originali)
John Barton
- Hurdy-Gurdy Man
- (non citato nei titoli originali)
Rodney Bell
- Barney
- (non citato nei titoli originali)
Ted Billings
- Vendor
- (non citato nei titoli originali)
Richard Cramer
- Principal Keeper
- (non citato nei titoli originali)
Dick Curtis
- Detective
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizTwelve paintings done for the film by John Decker were sent to the Museum of Modern Art in New York City for exhibition in March of 1946.
- BlooperThe story takes place in 1934, but all of Margaret Lindsay's and Joan Bennett's clothes, shoes, and hairstyles are strictly in the 1945 mode; fashions had changed considerably during the intervening eleven years. The featured taxicab is a late-1930s vintage, about three years too new.
- Citazioni
Adele Cross: Next thing you'll be painting women without clothes.
Christopher Cross: I never saw a woman without any clothes.
Adele Cross: I should hope not!
- Versioni alternativeAlso available in a computer colorized version.
- ConnessioniEdited into Michael Jackson's This Is It (2009)
Recensione in evidenza
I've seen LA CHIENNE, and although most of SCARLET STREET is a remake, the two are entirely different films. LA CHIENNE is virtually a comedy. In fact, it begins with an introduction by puppets (!), so we know we're not to take the plot very seriously. Renoir's film is light and fun, and is very interesting to watch for comparisons of 'moral standards' between France and Hollywood.
By now, you probably know the story. A sad little man gets involved with a prostitute and her pimp. Hollywood toned down the fact that Robinson and Bennett were involved in a sexual relationship, and the ending of the film had to live up to Hollywood's standards of 'morality'. I won't spoil it for those who haven't seen it yet, but needless to say, the endings between the two films differ in a major way.
What makes SCARLET STREET so outstanding in my opinion, is that given the repressed nature of the protagonist, the film works better because of the changes. You can better understand the pressures of what living as a human doormat has done to this man, and how coiled up he really is. Edward G. Robinson gives one of the best performances of his career, which is saying a lot! I know, there will always be those who will insist on seeing him as the cigar-chomping tough guy only, and won't accept him as anything else, but SCARLET STREET showcases his more subtle talents and his enormous range. Joan Bennett is pure charm and snake oil in this, and Dan Duryea out-weasels Richard Widmark in KISS OF DEATH [in fact, I'll bet good money that the weasel toons in WHO FRAMED ROGER RABBIT were based on Dan Duryea's character!]. Hollywood films will always falter in comparison to other country's films because the industry's fear of offending audiences always dulls the blade of truth. But, at least during the classic era of Hollywood, the talent usually made up for the story flaws. What do you get when you put Fritz Lang, Edward G. Robinson, Joan Bennett and Dan Duryea together? Magic!
By now, you probably know the story. A sad little man gets involved with a prostitute and her pimp. Hollywood toned down the fact that Robinson and Bennett were involved in a sexual relationship, and the ending of the film had to live up to Hollywood's standards of 'morality'. I won't spoil it for those who haven't seen it yet, but needless to say, the endings between the two films differ in a major way.
What makes SCARLET STREET so outstanding in my opinion, is that given the repressed nature of the protagonist, the film works better because of the changes. You can better understand the pressures of what living as a human doormat has done to this man, and how coiled up he really is. Edward G. Robinson gives one of the best performances of his career, which is saying a lot! I know, there will always be those who will insist on seeing him as the cigar-chomping tough guy only, and won't accept him as anything else, but SCARLET STREET showcases his more subtle talents and his enormous range. Joan Bennett is pure charm and snake oil in this, and Dan Duryea out-weasels Richard Widmark in KISS OF DEATH [in fact, I'll bet good money that the weasel toons in WHO FRAMED ROGER RABBIT were based on Dan Duryea's character!]. Hollywood films will always falter in comparison to other country's films because the industry's fear of offending audiences always dulls the blade of truth. But, at least during the classic era of Hollywood, the talent usually made up for the story flaws. What do you get when you put Fritz Lang, Edward G. Robinson, Joan Bennett and Dan Duryea together? Magic!
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Dettagli
Botteghino
- Budget
- 1.202.007 USD (previsto)
- Tempo di esecuzione1 ora 42 minuti
- Colore
- Proporzioni
- 1.37 : 1
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