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 Marian becomes withdrawn and they send her to the Canadian Rockies for res...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 Marian becomes withdrawn and they send her to the Canadian Rockies for rest.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 Marian becomes withdrawn and they send her to the Canadian Rockies for rest.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
- Roteiristas
- Artistas
- Jim Sloane
- (as Samuel Hinds)
- Second Doctor
- (não creditado)
- Polo Match Spectator
- (não creditado)
- Bridge Player
- (não creditado)
- Mrs. Hardy
- (não creditado)
- Third Doctor
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
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?).
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.
** (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.
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.
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
Você sabia?
- CuriosidadesWilla 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.
- ConexõesFeatured in Sex, Censorship and the Silver Screen: The Temptations of Eve (1996)
- Trilhas sonorasChicago
(1922) (uncredited)
Music by Fred Fisher
In the score as the train heads towards Chicago, Illinois
Principais escolhas
- How long is A Lost Lady?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- A Lost Lady
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 230.000 (estimativa)
- Tempo de duração1 hora 1 minuto
- Cor
- Mixagem de som
- Proporção
- 1.37 : 1