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IMDbPro

A Mulher que Eu Achei

Título original: A Lost Lady
  • 1934
  • Approved
  • 1 h 1 min
AVALIAÇÃO DA IMDb
6,0/10
619
SUA AVALIAÇÃO
Barbara Stanwyck, Ricardo Cortez, Frank Morgan, and Lyle Talbot in A Mulher que Eu Achei (1934)
DramaRomance

Adicionar um enredo no seu idiomaTwo days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for res... Ler tudoTwo days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for rest. While on a walk, she accidentally falls off a ledge and twists her ankle. She is found ... Ler tudoTwo days before Marian and Ned are to be married, he is killed by the husband of a woman he was seeing on the side. Marian becomes withdrawn and they send her to the Canadian Rockies for rest. While on a walk, she accidentally falls off a ledge and twists her ankle. She is found and rescued by Dan Forrester and his dog Sandy. He visits Marian every day even though she... Ler tudo

  • Direção
    • Alfred E. Green
    • Phil Rosen
  • Roteiristas
    • Willa Cather
    • Gene Markey
    • Kathryn Scola
  • Artistas
    • Barbara Stanwyck
    • Frank Morgan
    • Ricardo Cortez
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,0/10
    619
    SUA AVALIAÇÃO
    • Direção
      • Alfred E. Green
      • Phil Rosen
    • Roteiristas
      • Willa Cather
      • Gene Markey
      • Kathryn Scola
    • Artistas
      • Barbara Stanwyck
      • Frank Morgan
      • Ricardo Cortez
    • 20Avaliações de usuários
    • 7Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos20

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    Elenco principal35

    Editar
    Barbara Stanwyck
    Barbara Stanwyck
    • Marian
    Frank Morgan
    Frank Morgan
    • Forrester
    Ricardo Cortez
    Ricardo Cortez
    • Ellinger
    Lyle Talbot
    Lyle Talbot
    • Neil
    Phillip Reed
    Phillip Reed
    • Ned
    Hobart Cavanaugh
    Hobart Cavanaugh
    • Robert
    Henry Kolker
    Henry Kolker
    • John Ormsby
    Rafaela Ottiano
    Rafaela Ottiano
    • Rosa
    Edward McWade
    Edward McWade
    • Simpson
    Walter Walker
    • Judge Hardy
    Samuel S. Hinds
    Samuel S. Hinds
    • Jim Sloane
    • (as Samuel Hinds)
    Willie Fung
    Willie Fung
    • Forrester's Cook
    Jameson Thomas
    Jameson Thomas
    • Lord Verrington
    Joseph Crehan
    Joseph Crehan
    • Second Doctor
    • (não creditado)
    Bill Elliott
    Bill Elliott
    • Polo Match Spectator
    • (não creditado)
    John Elliott
    John Elliott
    • Bridge Player
    • (não creditado)
    Mary Forbes
    Mary Forbes
    • Mrs. Hardy
    • (não creditado)
    Sam Godfrey
    • Third Doctor
    • (não creditado)
    • Direção
      • Alfred E. Green
      • Phil Rosen
    • Roteiristas
      • Willa Cather
      • Gene Markey
      • Kathryn Scola
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários20

    6,0619
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    10

    Avaliações em destaque

    5roslein-674-874556

    False, false, false

    No movie with the great Barbara Stanwyck is completely without interest, but there is little else to recommend this misbegotten movie. Willa Cather was so horrified at what had been done to her novel that she refused to sell any of her other books to the movies, and one can see why. The story, characterisations, time span, plot, and tone have all been changed, for the worse, in a trite Hollywood way. For example, the house in the book, which is a nice-size house whose distinction is the beautiful scenery around it, is here a huge mansion with the standard Thirties-mansion double-height curving staircase. Complex relationships in the novel are here so oversimplified as to be almost meaningless. The movie adheres to a post-Code morality, also very simple, good vs. bad, where the book was much more subtle and complex.

    In what I think is the only case of this I have seen, Stanwyck has a different hairstle in every scene, which changes her appearance greatly. It makes you feel that trivial details like these, at the expense of consistency, are what most concerned the film-maker (Alfred Green-- who?).
    6blanche-2

    early Stanwyck

    Barbara Stanwyck is young and a lovely as a woman whose fiancée is killed by an angry husband just before their wedding. Embittered, she retreats to the mountains and finds healing in the affections of Frank Morgan, who plays a wealthy attorney who falls in love with her.

    Stanwyck marries him, though explains to poor Frank that she doesn't love him. Their bedrooms, therefore, are across the hall from one another. With money, social standing, beauty, and being married, which makes her unattainable, Stanwyck soon finds the men are crawling out of the woodwork, including a very young Lyle Talbot and Ricardo Cortez, who lands his plane on her lawn.

    Morgan and Stanwyck are excellent and give the story a very touching quality. One scene struck me as a little odd, censorship wise: At the beginning of the film, Morgan rescues Stanwyck from a fall. The next day, he walks by her house and pokes his head in her bedroom to see how she's doing. She's in bed, recovering. He's invited in. The maid leaves the bedroom and closes the door.

    Either I'm getting too old or my sensibility is too modern, but I found this scene peculiar for 1934. I'd love to know how this got past the code since there was a big argument about "Frankly, my dear, I don't give a damn." An unmarried woman, in her pajamas, entertaining a gentleman caller in her bedroom. Oh, well.
    Michael_Elliott

    Decent

    Lost Lady, A (1934)

    ** (out of 4)

    By the numbers love story about a woman (Barbara Stanwyck) who turns very bitter and cold hearted after having a tragedy strike her life. One day she meets an elderly man (Frank Morgan) and he convinces her to marry him even though she warns that she can never love again. After the wedding however, the woman finds love with a younger man and must decide what to do next. Even at only 69-minutes this thing seems to run on and on. I guess the only real reason to see this film is due to the early performance by Stanwyck but she's not too good here. She's not bad but not good either since she's still learning the trade. Morgan steals the show but the screenplay doesn't allow him to do too much. Ricardo Cortez and Lyle Talbot have parts as well.
    6xerses13

    Minor Effort Well Worth Watching...

    Warner Brothers (WB) release demonstrating what the studio system did right with these small dramas. Tight script and running time sixty-one (61) minutes did not allow any FAT. This was reinforced by a very competent cast led by Barbara Stanwyck and Frank Morgan, supported by Ricardo Cortez, Lyle Talbot with Rafaela Ottiano (maid as usual). Hobart Cavanaugh and Willy Fung provide comedy relief (as usual and thankfully brief).

    Plot revolves around Stanwycks characters loss of love. Resurrection by the love of Frank Morgan. Temptation from first Lyle Talbot then Ricardo Cortez and redemption back to Frank Morgan. This is told in a brisk style that holds interest all the way through. It is a quick time soap opera.

    It is great to see is Frank Morgan in a role that was more akin to his early stage presence. Most people only think of him as 'Professor Marvel' from THE WIZARD OF OZ, or some other eccentric character usually over acting. Barbara Stanwyck is looking very 'chic' in a role that would normally be played by WB clotheshorse Kay Francis. Ms. Stanwyck is not what you would call a conventual beauty, but there is something about her sex appeal that is irresistible. We can't exactly put our finger on it, but obviously Robert Taylor did.
    5TheLittleSongbird

    The lost lady

    While not being totally enamoured by the film's title (called 'Courageous' in my country, 'The Lost Lady' known elsewhere would have been far more suitable, and a title that doesn't really gel properly with the plot summary), the subject intrigued enough. Also have liked what has been seen of Alfred E Green's films and Barbara Stanwyck was to me and many others one of the best actresses of the golden age and gave many great performances. It was interesting to see Frank Morgan in an against type role.

    A large part of me however was rather disappointed in 'Courageous'. Considering Stanwyck and Morgan's calibre, it should have been a much better film. Is that saying that 'Courageous' is bad? Of course not. It is very well made and acted in particular and starts off great. It is just a shame that it gets increasingly silly and melodramatic too early and ends underwhelmingly, am aware that these are potential traps fallen into a good deal in films at that time but still.

    'Courageous' has a lot of great things, starting with the great acting and some of the cast playing against type. This is not one of Stanwyck's tough roles and requires her to be a little more subtle and sensitive, her performance here is very sincere and controlled, nothing feeling overdone or false. Morgan's role here is a dramatic one and a change from his usual eccentric ones, he understates beautifully and has affecting chemistry with Stanwyck (particularly towards the end). Am more familiar with Ricardo Cortez in villainous roles, so it was again interesting to see an in comparison softer side and he manages to give an as sympathetic as he can edge to a character who isn't that really. Rafaela Ottiano does a nice job too in her role.

    It as a film is very well made. Beautifully and stylishly shot, atmospherically lit in a sometimes eerie way and with sumptuous sets and costuming. The music doesn't feel intrusive or overused and adds to and not over-emphasises the atmosphere. Green's direction has a lot of striking parts visually and he makes the first half of the film engaging. As indicated, 'Courageous' starts off well.

    So it was unfortunate that the rest of the film wasn't as good. The melodrama gets into overload in the middle and it is very overwrought melodrama at that. Especially in the soap operatic Stanwyck and Cortez scenes where one still can taste the increasingly bitter suds after watching, not because of them but the writing. The writing is very sudsy and sometimes quite silly in their scenes and the brief attempts at levity are not amusing or needed, Willie Fung just doesn't fit and more at odds with everything else.

    And then there is the ending. Too abrupt and too pat (almost like forgetting that the middle act didn't happen), not to mention subdued. That it was subdued though is admittedly preferable to the film getting more increasingly melodramatic than it already was, but it just felt anaemic. The waste of Lyle Talbot in a prominent role in the source material criminally reduced to practically nothing is unforgivable, as a result he is completely forgettable.

    Summarising, watchable definitely but for a crew of this calibre this could have been a lot better. 5/10

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      Willa Cather, on whose novel the movie was based, was so disappointed by it that she added a stipulation to her will that none of her novels were to be dramatized in any way for movie, stage, radio or television.
    • Citações

      Marian: Darling.

      Ned: I had to get you away from those people.

      Marian: People? They're only shadows. There's nothing real but you.

    • Conexões
      Featured in Sex, Censorship and the Silver Screen: The Temptations of Eve (1996)
    • Trilhas sonoras
      Chicago
      (1922) (uncredited)

      Music by Fred Fisher

      In the score as the train heads towards Chicago, Illinois

    Principais escolhas

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    Perguntas frequentes14

    • How long is A Lost Lady?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 29 de setembro de 1934 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idioma
      • Inglês
    • Também conhecido como
      • A Lost Lady
    • Locações de filme
      • Lake Arrowhead, San Bernardino National Forest, Califórnia, EUA
    • Empresa de produção
      • First National Pictures
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 230.000 (estimativa)
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 1 minuto
    • Cor
      • Black and White
    • Mixagem de som
      • Mono
    • Proporção
      • 1.37 : 1

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