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The Magnificent Ambersons (1942)

Approved | | Drama, Romance | 10 July 1942 (USA)
The spoiled young heir to the decaying Amberson fortune comes between his widowed mother and the man she has always loved.

Directors:

, (uncredited) | 1 more credit »

Writers:

(from the novel by), (script writer)
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From $2.99 (SD) on Amazon Video

Nominated for 4 Oscars. Another 2 wins. See more awards »
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Cast

Complete credited cast:
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...
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Roger Bronson
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Narrator (voice)
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Storyline

The young, handsome, but somewhat wild Eugene Morgan wants to marry Isabel Amberson, daughter of a rich upper-class family, but she instead marries dull and steady Wilbur Minafer. Their only child, George, grows up a spoiled brat. Years later, Eugene comes back, now a mature widower and a successful automobile maker. After Wilbur dies, Eugene again asks Isabel to marry him, and she is receptive. But George resents the attentions paid to his mother, and he and his whacko aunt Fanny manage to sabotage the romance. A series of disasters befall the Ambersons and George, and he gets his come-uppance in the end. Written by John Oswalt <jao@jao.com>

Plot Summary | Add Synopsis

Taglines:

From the Man who Made "The Best Picture of 1941" See more »

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

10 July 1942 (USA)  »

Also Known As:

Der Glanz des Hauses Amberson  »

Box Office

Budget:

$850,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (original cut) | (preview)

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Several cast members in studio records/casting call lists apparently were eliminated during the final editing process. These were (with their character names): Jesse Graves (Servant), Lillian Nicholson (Landlady), Robert Pittard (Charles Johnson) and Sam Rice (Attendee at Funeral). Don Dillaway (Wilbur Minafer) is not mentioned in Welles' oral credits, but he appears in three scenes in the opening minutes of the film: As Isabel and Wilbur emerge from a store, Isabel spurns suitor Eugene's attentions; Wilbur reads aloud a letter complaining about son George's misbehavior as George, Major Amberson, and Isabel listen; and Wilbur has lines in several shots of the ball scene. See more »

Goofs

In scene where Lucy and George say goodbye while walking down the street, Lucy's hair is pulled behind her neck. In closeup, as she watches George leave, her hair is in ringlets hanging in front of shoulders, then reverts to original hairdo when she goes into pharmacy. See more »

Quotes

[first lines]
Narrator: The magnificence of the Ambersons began in 1873. Their splendor lasted throughout all the years that saw their midland town spread and darken into a city. In that town, in those days, all the women who wore silk or velvet knew all the other women who wore silk or velvet, and everybody knew everybody else's family horse and carriage. The only public conveyance was the streetcar. A lady could whistle to it from an upstairs window, and the car would halt at once and wait for her, ...
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Crazy Credits

All of the credits except the RKO logo, the film's title and the copyright notice are recited orally (by Orson Welles) at the end of the film, not written out onscreen. As Welles recites the names of the production crew, we see such items as a motion picture camera when he says "Director of Photography", a pair of hands turning knobs as he says the words "Sound Recording By", etc. See more »

Connections

Referenced in Contempt (1963) See more »

Soundtracks

The Man Who Broke the Bank at Monte Carlo
(1892) (uncredited)
Music and Lyrics by Fred Gilbert
Sung a cappella by Joseph Cotten, Dolores Costello, Anne Baxter,
Tim Holt, Agnes Moorehead and Ray Collins
See more »

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User Reviews

A treasury of characters
18 January 1999 | by (Texas) – See all my reviews

If you think Citizen Kane is wonderful, then, if you haven't already seen it, find a copy of "Ambersons" as soon as you can. To me, "Ambersons" surpasses "Kane" in complexity and perhaps richness of characters. The story of the long-term results of love deferred, unrequited love, and long-suffering love, are even more interesting with Welles' direction using overlaid dialogue and odd camera angles. My favorite part is when old Major Amberson speaks to the camera and it becomes apparent he's lost his mind. Chilling. The Ambersons captures a time more than a century ago in America when passions were suppressed and civility masked a boiling interior. This film was edited severely, I've read. This is another mystery, because the remaining footage is superb. We can only wonder what the original "Ambersons" might have been.


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