VALUTAZIONE IMDb
7,0/10
4473
LA TUA VALUTAZIONE
Aggiungi una trama nella tua linguaAfter a newlywed's husband apparently dies in a plane crash, she discovers that her rival for his affections is pregnant with his child.After a newlywed's husband apparently dies in a plane crash, she discovers that her rival for his affections is pregnant with his child.After a newlywed's husband apparently dies in a plane crash, she discovers that her rival for his affections is pregnant with his child.
- Vincitore di 1 Oscar
- 2 vittorie totali
J. Farrell MacDonald
- Dr. Ferguson
- (as J. Farrell Macdonald)
Olin Howland
- Ed - Arizona Ranch Hand
- (scene tagliate)
Georgia Caine
- Mrs. Pine
- (non citato nei titoli originali)
Marguerite Chapman
- Enthusiastic Film Fan in Trailer
- (non citato nei titoli originali)
Richard Clayton
- Page Boy
- (non citato nei titoli originali)
Trama
Lo sapevi?
- QuizBette Davis and Mary Astor thought the original script was not very good. They ended up doing massive rewrites on the script themselves.
- BlooperThe cake that Violet and Jefferson take to the party changes size from the time it leaves the kitchen to its arrival in the dining area. It leaves the kitchen very tall and arrives considerably shorter.
- Citazioni
Sandra Kovac: I'm not one of you anemic creatures who can get nourishment from a lettuce leaf - I'm a musician, I'm an artist! I have zest and appetite - and I like food!
- ConnessioniFeatured in AFI Life Achievement Award: A Tribute to Bette Davis (1977)
- Colonne sonorePiano Concerto No.1 in B flat minor, Op. 23
(1888) (uncredited)
Music by Pyotr Ilyich Tchaikovsky
Sandra Kovac's signature concert piece.
Excerpts played over opening credits
Variations played often as background music
Recensione in evidenza
The Great Lie (1941)
This is really a fabulous mixture of great movie themes, and it pulls it together to make its own amazing statement about fidelity and love. And class. And pre-war America, seemingly isolated but actually trapped by world events.
Within ten minutes there is first an echo of My Man Godfrey (George Brent in this case making a more mainstream Powell) and then a swoop down for a taste of Gone with the Wind or even closer, Jezebel (the plantation south, even though it's 1940 or so). Then it's a melodrama straight up, and tragedy, and even if the plot is improbable, you go with it and get swept away.
Brent plays Pete, a man caught between two women, both of money, but one cosmopolitan and used to being in charge, and one a lively, warm woman living a more earthy life. At the start it seems Pete is married to the urbane one, a concert pianist, Sandra, played with typical poise and ice by Mary Astor (compare this to her more famous role in The Maltese Falcon from the same year). She's a professional woman, in charge of her life, and, lately, Pete's. She wants independence and culture, and man with his feet on the ground.
But Brent's country girl, an ex-love (and true love, it seems) Maggie is played to perfection by Bette Davis. The music here, and the support cast is African American, which makes for a more heart warming, and wrenching, background. He pays a visit to Maggie the day after his wedding (for reasons that slowly clarify) and the dynamic is set. And the twists begin. We have a contemporary drama between recognizable stereotypes as World War II looms for the U.S.
Early on, Sandra asks Pete after his visit to Maggie, "Did you get it?" He says, "What?" Sexual innuendo intact, the Hays code chaffing, she clarifies, "The air?" What a great simple example of how movies so often played brilliantly with innuendo because the code wouldn't allow a straighter interplay.
Director Edmund Goulding is not as well known as some of his contemporaries, but he has a few masterpieces in his lot, including the Bette Davis Dark Victory and the later Razor's Edge. For me, The Great Lie is maybe short of perfect--the plot does intrude on our sense of suspending disbelief--but it's really fast, moving, well written, and well directed. No question.
This is really a fabulous mixture of great movie themes, and it pulls it together to make its own amazing statement about fidelity and love. And class. And pre-war America, seemingly isolated but actually trapped by world events.
Within ten minutes there is first an echo of My Man Godfrey (George Brent in this case making a more mainstream Powell) and then a swoop down for a taste of Gone with the Wind or even closer, Jezebel (the plantation south, even though it's 1940 or so). Then it's a melodrama straight up, and tragedy, and even if the plot is improbable, you go with it and get swept away.
Brent plays Pete, a man caught between two women, both of money, but one cosmopolitan and used to being in charge, and one a lively, warm woman living a more earthy life. At the start it seems Pete is married to the urbane one, a concert pianist, Sandra, played with typical poise and ice by Mary Astor (compare this to her more famous role in The Maltese Falcon from the same year). She's a professional woman, in charge of her life, and, lately, Pete's. She wants independence and culture, and man with his feet on the ground.
But Brent's country girl, an ex-love (and true love, it seems) Maggie is played to perfection by Bette Davis. The music here, and the support cast is African American, which makes for a more heart warming, and wrenching, background. He pays a visit to Maggie the day after his wedding (for reasons that slowly clarify) and the dynamic is set. And the twists begin. We have a contemporary drama between recognizable stereotypes as World War II looms for the U.S.
Early on, Sandra asks Pete after his visit to Maggie, "Did you get it?" He says, "What?" Sexual innuendo intact, the Hays code chaffing, she clarifies, "The air?" What a great simple example of how movies so often played brilliantly with innuendo because the code wouldn't allow a straighter interplay.
Director Edmund Goulding is not as well known as some of his contemporaries, but he has a few masterpieces in his lot, including the Bette Davis Dark Victory and the later Razor's Edge. For me, The Great Lie is maybe short of perfect--the plot does intrude on our sense of suspending disbelief--but it's really fast, moving, well written, and well directed. No question.
- secondtake
- 25 feb 2010
- Permalink
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Dettagli
Botteghino
- Budget
- 689.000 USD (previsto)
- Tempo di esecuzione1 ora 48 minuti
- Colore
- Proporzioni
- 1.37 : 1
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By what name was La grande menzogna (1941) officially released in India in English?
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