AVALIAÇÃO DA IMDb
6,5/10
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SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaCon-man Chandler and his partner Frank decide to start a clairvoyant act. Chandler falls for Sylvia, one of their marks, but their relationship is challenged when his deception impacts other... Ler tudoCon-man Chandler and his partner Frank decide to start a clairvoyant act. Chandler falls for Sylvia, one of their marks, but their relationship is challenged when his deception impacts others' lives and Sylvia urges him to reform.Con-man Chandler and his partner Frank decide to start a clairvoyant act. Chandler falls for Sylvia, one of their marks, but their relationship is challenged when his deception impacts others' lives and Sylvia urges him to reform.
Loretta Andrews
- Blonde girl
- (não creditado)
Irving Bacon
- Reporter
- (não creditado)
Robert Barrat
- Detective
- (não creditado)
Harry Beresford
- Chief Wilson
- (não creditado)
Clara Blandick
- Auntie
- (não creditado)
Symona Boniface
- Gossip in Phone Montage
- (não creditado)
George Chandler
- Reporter
- (não creditado)
Sidney D'Albrook
- Brakeman
- (não creditado)
Don Dillaway
- Jack
- (não creditado)
Robert Greig
- Swami
- (não creditado)
Grace Hayle
- Shill
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesFamed raconteur Wilson Mizner co-authored O Vidente (1933) during his short stay in Hollywood while on the lam from an elaborate hoax he perpetrated in Florida a few years before.
Wilson was one of Broadway's leading lights during the 1910's and 1920's, rising to scandalous celebrity-hood after the 29-year old married an 80-year old heiress. From there he dove headlong into managing boxing matches (which he fixed) and the Rand Hotel. What made Wilson even more memorable, however, was his well-known wit. At his hotel, patrons were greeted by the sign "Guests must carry out their own dead." When one of his boxers met a violent end, Mizner merely said, "Tell 'em to start counting ten over him, and he'll get up."
In the late 1920's, Mizner set up the greatest scheme of all. He and his brother Addison retired south to Florida where they began snapping up cheap land and selling it for inflated prices, using their connections to Broadway's leading names and newspaper columnists for publicity. Ultimately the Great Florida Land Boom went bust and Wilson fled to Hollywood one step ahead of the law.
There Wilson set up shop at Warner Brothers, usually sleeping on a couch in the writers's quarters and being awoken whenever his writing partners needed a tasty quip with a hard, cynical edge. Wilson must have been wide awake for most of the writing of The Mind Reader as it is full of such lines, mostly spoken by Warren William's partner-in-crime Allen Jenkins. When William hooks up with a girl that may be underage, Jenkins reminds him, "You ever heard of a guy named Mann? He's got an Act and it ain't in vaudeville!" Jenkins' closing line is a corker as well but you will have to watch the movie for that one.
Mizner died of a heart attack before the film was released, following his brother who had died shortly before. Even in the months before his death, Mizner's cruel wit never deserted him. When his brother Addison telegrammed to say he was gravely ill, Wilson sent one back from Hollywood stating, "STOP DYING. AM TRYING TO WRITE COMEDY."
- Erros de gravaçãoWhile the secondary headline and first 2½ paragraphs of The Evening News article "Mrs. Munro Collapses; Murder Trial Is Delayed" relate to the case, the following five lines in each of two half-columns is gibberish.
- ConexõesFeatured in TCM Guest Programmer: Stephen Sondheim (2005)
- Trilhas sonorasThe Stars and Stripes Forever
(1896) (uncredited)
Music by John Philip Sousa
Played by the band during the painless dentist segment at the beginning
Avaliação em destaque
A trio of con artists (Warren William, Allen Jenkins and Clarence Muse) travels from city to city in middle America swindling suckers with a bogus mind reading act featuring William as "Chandra the Great," complete with turban and crystal ball. We the screen audience get to see the trickery behind his apparent clairvoyance, but a pretty, unemployed stenographer (Constance Cummings) is not so fortunate, and besotted with William's talents, joins his itinerant enterprise. Eventually she finds out what is really going on, but by then it's too late because she has fallen in love with her employer, and he with her.
To elaborate further would spoil the impact of this unusual pre-Code film, but I will say that its chief problem is that Cummings is just too smart to be as innocently unaware of certain things as the screenplay tries to make her, so we stop taking the story seriously. However, there remains much witty and mature dialogue, striking cinematography, and this interesting group of performers.
William gets the opportunity to play the on- and offstage modes of his character and also makes the most of an extended drunk scene. Cummings, largely wasted here, projects a tart intelligence that is probably more than the role deserves. Jenkins, the eternal sidekick, gets a generous share of the verbal zingers and Muse's role goes beyond the subservient nonsense usually assigned to black supporting players at that time. Mayo Methot, the future Mrs. Humphrey Bogart, appears briefly as a grief-deranged victim of Chandra's charlatanry.
Like so many feature films of the early 30's, this one moves along briskly so that none of its improbabilities have time to sink in and ruin the fun.
To elaborate further would spoil the impact of this unusual pre-Code film, but I will say that its chief problem is that Cummings is just too smart to be as innocently unaware of certain things as the screenplay tries to make her, so we stop taking the story seriously. However, there remains much witty and mature dialogue, striking cinematography, and this interesting group of performers.
William gets the opportunity to play the on- and offstage modes of his character and also makes the most of an extended drunk scene. Cummings, largely wasted here, projects a tart intelligence that is probably more than the role deserves. Jenkins, the eternal sidekick, gets a generous share of the verbal zingers and Muse's role goes beyond the subservient nonsense usually assigned to black supporting players at that time. Mayo Methot, the future Mrs. Humphrey Bogart, appears briefly as a grief-deranged victim of Chandra's charlatanry.
Like so many feature films of the early 30's, this one moves along briskly so that none of its improbabilities have time to sink in and ruin the fun.
- mukava991
- 18 de mar. de 2010
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Detalhes
Bilheteria
- Orçamento
- US$ 154.000 (estimativa)
- Tempo de duração1 hora 10 minutos
- Cor
- Mixagem de som
- Proporção
- 1.37 : 1
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