Aggiungi una trama nella tua linguaCaroline falls for Paco while vacationing, planning to wed him unaware her husband Anthony still loves her. A pattern repeats from 2 years prior when she nearly married Paul before Anthony i... Leggi tuttoCaroline falls for Paco while vacationing, planning to wed him unaware her husband Anthony still loves her. A pattern repeats from 2 years prior when she nearly married Paul before Anthony intervened, but will this time be different?Caroline falls for Paco while vacationing, planning to wed him unaware her husband Anthony still loves her. A pattern repeats from 2 years prior when she nearly married Paul before Anthony intervened, but will this time be different?
- Regia
- Sceneggiatura
- Star
Kay Leslie
- Helen
- (as Katherine Leslie)
Brooks Benedict
- Croupier
- (voce)
- (non citato nei titoli originali)
Richard Carle
- Reverend Dr. Curtis
- (non citato nei titoli originali)
Feodor Chaliapin Jr.
- Sky Man
- (non citato nei titoli originali)
Monte Collins
- Counterman-Chef
- (non citato nei titoli originali)
James Conaty
- Alpine Charity Bazaar Guest
- (non citato nei titoli originali)
Janine Crispin
- Delta
- (non citato nei titoli originali)
Dudley Dickerson
- Bathroom Attendant
- (non citato nei titoli originali)
Jay Eaton
- Beach Club Waiter
- (non citato nei titoli originali)
Jim Farley
- Railroad Conductor
- (non citato nei titoli originali)
Recensioni in evidenza
Ronald Coleman's company, which produced this film for RKO, chose playwright John Van Druten to adapt a 1935 French farce by Henri Verneuill to film. Although on the surface, Colman would appear to be perfectly cast--suave, urbane, witty, charming-- something essential is missing. There is no sex in this sex comedy. Unlike the French, these sophisticated Americans don't seem to go the bed with one another, or even think about it. Instead, they take naps and drink a lot. Lubitsch, had he directed, might have found a way to add the missing attraction and tension, but the film's director, Lewis Milestone, excellent craftsman as he was, avoids it all together. Given the censorship restrictions of the time, perhaps this was an impossible project to begin with, untranslatable. There are some worthwhile moments, however, in this 1941 pre-Pearl Harbor glossy studio-bound film. Reginald Denny, for one, is far less cloying than usual, and has some wonderful moments with Colman. The rest of the cast, particularly Anna Lee, is first-rate.
With a few exceptions (such as THE STORY OF MANKIND), Ronald Colman could have appeared in almost any film and made it worth watching. His smooth and apparently effortless performances made many mediocre films (such as this one) well worth seeing. As usual, he's THE reason to see this movie.
MY LIFE WITH CAROLINE has a pretty shallow and impossible to believe plot. His wife is an apparently brainless idiot (Anna Lee) and falls in love at the drop of a hat with other men who pay attention to her. He husband, Colman, is either completely cold and indifferent to her (leaving her alone for months at a time) or he is an ardent manipulator and suitor--a strange combination to say the least. None of this really makes sense and the characters seem....dumb. However, even though the plot is mindless, if you suspend belief you CAN find a fun and enjoyable film underneath it all. But, if you want your films to make sense or have some semblance of realism, then this one is best skipped.
MY LIFE WITH CAROLINE has a pretty shallow and impossible to believe plot. His wife is an apparently brainless idiot (Anna Lee) and falls in love at the drop of a hat with other men who pay attention to her. He husband, Colman, is either completely cold and indifferent to her (leaving her alone for months at a time) or he is an ardent manipulator and suitor--a strange combination to say the least. None of this really makes sense and the characters seem....dumb. However, even though the plot is mindless, if you suspend belief you CAN find a fun and enjoyable film underneath it all. But, if you want your films to make sense or have some semblance of realism, then this one is best skipped.
I'm not an huge fan of farce - but Ronald Colman manages to pull it off quite successfully here - he must be in just about every scene! His wife "Caroline" (Anna Lee) falls for a wealthy gaucho "Paco" (Roland Lee) despite still having feelings for her husband. He, "Tony", on the other hand though outwardly indifferent to his wife not only still loves her, but has no intention of letting her head to the pampas - so he must thwart her cunning plan. This story is all over the shop - it makes little enough sense at the best of times; but there is oodles of chemistry between the two stars and, as usual, much of it's appeal comes down to Colman's marvellously underplayed facial expressions - and, for that matter, Lee's ability to play the ditzy, fickle wife with some aplomb too. There are some back stories to support/clutter up the scenarios, depending on your perspective and it's really not a very substantial film to watch, if I'm honest - but as a bit of escapism with some comedy and charisma, it's well worth 80 minutes of anyone's time.
... but I have started watching it about half a dozen times when it shows up on Turner Classic Movies, and this time I was determined to watch it to the end.
Caroline Mason (Anna Lee) is the wife of a successful publisher, Anthony Mason (Ronald Colman) whose work keeps him in New York. With lots of free time on her hands Caroline holidays in Idaho and Florida, and whenever she vacations, she seems to wind up in emotional affairs with men who have plenty of time on their hands to romance her, usually because they are independently wealthy, and the source of their wealth does not require their skill or attention. And both she and the other man in each case seem to be convinced they should be married.
Anthony shows up and, discovering these emotional affairs, is not angry or jealous. Instead, oddly enough, he is amused. He then goes about interfering with the affair in such a way that he hopes brings Caroline back to him, or at least keeps her with him. He loses or destroys notes she has written him asking for a divorce because both she and the other man are too cowardly to face him on it, he asks Caroline's pastor to call on her to ping her conscience, and he pops up or disrupts the would be couple's attempts at rendezvous. The question is why? Why does he want to act as roadrunner to her Wile E. Coyote? Just let this vacant woman go! In the words of Danny DeVito in War of the Roses - "There are other houses, there are other women!"
And that's where this movie breaks down. I don't believe any of the characters. Colman is charming as always, and that makes it doubly hard to figure out why he hangs on to the childlike, impulsive, and emotionally unfaithful Caroline. There are three characters that make this even a 5/10 - Colman of course, a butler who is a curious cross between Peter Lorre and Lurch from the Adams family, and a dog that continually bites and chases Caroline's father who aids and abets his daughter's affairs. Good for the dog!
Caroline Mason (Anna Lee) is the wife of a successful publisher, Anthony Mason (Ronald Colman) whose work keeps him in New York. With lots of free time on her hands Caroline holidays in Idaho and Florida, and whenever she vacations, she seems to wind up in emotional affairs with men who have plenty of time on their hands to romance her, usually because they are independently wealthy, and the source of their wealth does not require their skill or attention. And both she and the other man in each case seem to be convinced they should be married.
Anthony shows up and, discovering these emotional affairs, is not angry or jealous. Instead, oddly enough, he is amused. He then goes about interfering with the affair in such a way that he hopes brings Caroline back to him, or at least keeps her with him. He loses or destroys notes she has written him asking for a divorce because both she and the other man are too cowardly to face him on it, he asks Caroline's pastor to call on her to ping her conscience, and he pops up or disrupts the would be couple's attempts at rendezvous. The question is why? Why does he want to act as roadrunner to her Wile E. Coyote? Just let this vacant woman go! In the words of Danny DeVito in War of the Roses - "There are other houses, there are other women!"
And that's where this movie breaks down. I don't believe any of the characters. Colman is charming as always, and that makes it doubly hard to figure out why he hangs on to the childlike, impulsive, and emotionally unfaithful Caroline. There are three characters that make this even a 5/10 - Colman of course, a butler who is a curious cross between Peter Lorre and Lurch from the Adams family, and a dog that continually bites and chases Caroline's father who aids and abets his daughter's affairs. Good for the dog!
This almost unknown gem was based on a French farce--which shows, and I mean that as a compliment.
Caroline (Lee) is being courted by a wealthy Argentinian (Roland), who asks her father for her hand in marriage. But Caroline is already married to Anthony (Colman), who has just arrived by plane and launches immediately into an audience-directed reminiscence about the last time Caroline decided she was in love with someone else: a dilettante-ish sculptor (Gardiner). The film plays out the story of Anthony's strategy in uncoupling Caroline from her sculptor, and how that experience aids him with her Argentinian.
It is perfectly cast: Ronald Colman is at his most sophisticated and charming, Reginald Gardiner is at his most priggish, Gilbert Roland is at his most exotic, and Anna Lee is just deliciously whimsical. The film is wonderfully directed by Lewis Milestone (who also produced); the whole production feels like a labor of love. There are wonderful touches, such as Colman breaking frame and addressing the camera, and exceptional use of a sliding bar-cabinet door. It is a sin that it hasn't been released on DVD--this is the kind of film that can singlehandedly awaken interest in classic film.
Caroline (Lee) is being courted by a wealthy Argentinian (Roland), who asks her father for her hand in marriage. But Caroline is already married to Anthony (Colman), who has just arrived by plane and launches immediately into an audience-directed reminiscence about the last time Caroline decided she was in love with someone else: a dilettante-ish sculptor (Gardiner). The film plays out the story of Anthony's strategy in uncoupling Caroline from her sculptor, and how that experience aids him with her Argentinian.
It is perfectly cast: Ronald Colman is at his most sophisticated and charming, Reginald Gardiner is at his most priggish, Gilbert Roland is at his most exotic, and Anna Lee is just deliciously whimsical. The film is wonderfully directed by Lewis Milestone (who also produced); the whole production feels like a labor of love. There are wonderful touches, such as Colman breaking frame and addressing the camera, and exceptional use of a sliding bar-cabinet door. It is a sin that it hasn't been released on DVD--this is the kind of film that can singlehandedly awaken interest in classic film.
Lo sapevi?
- QuizUnited Producers Corp., the production company that co-sponsored the film with RKO, was established by producer William B. Hawks and actor Ronald Colman. The collaboration marked Hawks's first and last production for RKO and Colman's first picture for the studio. According to pre-production news items in Hollywood Reporter, Hawks was originally slated to produce the picture, but his credit was changed to executive producer when Lewis Milestone took over production chores.
- BlooperWhen Caroline is writing a letter to Anthony to explain that she wants a divorce, the letter is shown as "Dear Anthony, There is," then she starts crying. She decides to sprinkle her tears on the letter for dramatic effect, and when the letter is shown again, another word has been added to the letter, but Caroline had not written anything else. The letter now reads: "There is something"; Caroline never wrote the word "something."
- Curiosità sui creditiAs the credits roll, likenesses of the main cast members pass by as though on a carousel.
- ConnessioniVersion of Le train pour Venise (1938)
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Dettagli
- Data di uscita
- Paese di origine
- Lingue
- Celebre anche come
- Palm Beach Limited
- Luoghi delle riprese
- Palm Beach, Florida, Stati Uniti(background shots)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 503.000 USD (previsto)
- Tempo di esecuzione1 ora 21 minuti
- Colore
- Proporzioni
- 1.37 : 1
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By what name was My Life with Caroline (1941) officially released in India in English?
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