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.

Director:

Max Ophüls

Writers:

Curt Alexander (screenplay), Salvatore Gotta (novel),

Stars:

Isa Miranda, Memo Benassi, Tatyana Pavlova

1 nomination.

Cast

Complete credited cast:
Isa Miranda	...	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

Storyline

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

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Plot Keywords:

suicide attempt | patriarchy | wheelchair | unrequited love | celebrity | 

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Genres:

Drama

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Details

Country:

Italy

Language:

Italian

Release Date:

25 March 1936 (USA)

Also Known As:

Everybody's Woman

Filming Locations:

Cines Studios, Rome, Lazio, Italy

Company Credits

Production Co:

Novella Film

Technical Specs

Runtime:

97 min

Sound Mix:

Mono

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Goofs

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

User Reviews

An eloquent precursor to "Lola Montes"!

"La Signora di Tutti" is the only film the maestro Max Ophüls made in Italy and it already confirmed his genius. The film - an eloquent and often tragic study of an ill-fated movie star Gaby Doriot who rises her way to a depressingly patriarchal world and later becomes a victim of its cruelty - is certainly nowhere near the richness, splendour, and lilting mastery of Ophüls' celebrated later classics, but it is fascinating in its own ways. The intricate flashback structure and the beautiful Isa Miranda's heartbreaking incarnation of the spoiled Gaby seem to anticipate Ophüls' later works, particularly his final masterpiece, "Lola Montes" (1955). The film is apparently not for every taste but if you are a fan of Ophuls as I am, it is an indispensable viewing.