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La signora di tutti (1934)

Gaby is expelled from school after a married teacher commits suicide after telling her he can't live without her. Though she has done nothing, she is punished for his act.

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(screenplay), (novel) | 2 more credits »
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1 win & 1 nomination. See more awards »
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Cast

Complete credited cast:
...
Gabriella Murge, alias Gaby Doriot
Memo Benassi ...
Leonardo Nanni
Tatyana Pavlova ...
Alma Nanni (as Tatiana Pawlova)
Friedrich Benfer ...
Roberto Nanni (as Federico Benfer)
Franco Coop ...
L'impresario Veraldi
Lamberto Picasso ...
Signor Murge, padre di Gaby e Anna
Nelly Corradi ...
Anna Murge
Mario Ferrari ...
Il produttore cinamatografico
Mattia Sassanelli
Rest of cast listed alphabetically:
Luigi Barberi
Gildo Bocci ...
Il regista
Andrea Checchi ...
Un amico di Roberto
Achille Majeroni ...
Il portiere del teatro
Alfredo Martinelli ...
Un giornalista
Egisto Olivieri
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Storyline

A famous film star is put under an anesthetic after an attempted suicide and relives her melodramatic past. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Language:

Release Date:

25 March 1936 (USA)  »

Also Known As:

Everybody's Woman  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Goofs

At around 25:00 there is a man holding a camera on the left near the fountain. See more »

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User Reviews

Through the past,darkly.
17 September 2006 | by See all my reviews

In Max Ophuls'work,if you were born a woman,you were born to suffer.If there are exceptions,they are very rare : from "Liebelei" where a woman's true love was only a "liebelei" to "Sans Lendemain" where Edwige Feuillère was prisoner of a racy past to "letter from an unknown woman " where Joan Fontaine 's love was in vain to the masterpieces of the fifties "Madame de" and "Lola Montès" .Even in the much debated "De Mayerling à Sarajevo" the historic Sophie Chotek (Feuillère again) character was also a humiliated woman.

"La signora di Tutti" actually predates "Lola Montès" by twenty years:it's a long flashback after the heroine's suicide.The first sequences are nervy ,tense,the dialog begins with numbers and you soon realize they're talking about money.Isa MIranda portrays with talent a woman whose biggest fault is to be all along the film the right woman in the wrong place.Every man she loves leads her to a dead end : the music teacher,the businessman,his son.

Great scenes:the opera ,an imaginary way for the lovers to escape ;Ophuls's great fascination for the trains (see also "letter to an unknown woman" "De Mayerling à Sarajevo" and even the "la maison Tellier" segment in "LE Plaisir" in a comic way);Alma's tragic death ,the shadow of the wheelchair on the wall,the radio which Gabriella smashes ; and above all,the final pictures when the press slowly stops .

A strong influence on Mankiewicz ("Barefoot Comtessa" ),Louis Malle (" Vie privée")and on the melodrama genre (Sirk)

The flashback was not so innovative after all(the year before,Stahl did the same in "only yesterday" ) but the directing which sometimes has thriller accents (the scene when the heroine hear a radio nobody can't hear would not be out of place in a psychological suspense;ditto for the wheelchair scene in the night)is really awesome.


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