Lady in the Dark (1944)Ginger Rogers, "Allure" magazines editor-in-chief, suffers from headaches and continuos daydreams and undergoes psychoanalysis to determine why. Director:Mitchell Leisen |
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Title: Lady in the Dark (1944)
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Nominated for 3 Oscars.
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Cast
| Cast overview, first billed only: | |||
| Ginger Rogers | ... |
Liza Elliott
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| Ray Milland | ... |
Charley Johnson
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| Warner Baxter | ... |
Kendall Nesbitt
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Jon Hall | ... |
Randy Curtis
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Barry Sullivan | ... |
Dr. Brooks
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| Mischa Auer | ... |
Russell Paxton
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Phyllis Brooks | ... |
Allison DuBois
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Mary Philips | ... |
Maggie Grant
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Edward Fielding | ... |
Dr. Carlton
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Don Loper | ... |
Adams
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Mary Parker | ... |
Miss Parker
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Catherine Craig | ... |
Miss Foster
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Marietta Canty | ... |
Martha
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Virginia Farmer | ... |
Miss Edwards
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Fay Helm | ... |
Miss Bowers
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Storyline
Ginger Rogers, "Allure" magazines editor-in-chief, suffers from headaches and continuos daydreams and undergoes psychoanalysis to determine why.
Taglines:
The minx in mink with a yen for men!Certificate:
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Details
Country:
USALanguage:
EnglishRelease Date:
10 February 1944 (USA) See more »Also Known As:
A Mulher que não Sabia Amar See more »Company Credits
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Technical Specs
Runtime:
Sound Mix:
Mono (Western Electric Mirrophonic Recording)Color:
Color (Technicolor)Aspect Ratio:
1.37 : 1
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(uncredited)
Lyrics by Clifford Grey
Music by Victor Schertzinger
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Did You Know?
Trivia
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »Soundtracks
"Dream Lover"(uncredited)
Lyrics by Clifford Grey
Music by Victor Schertzinger
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Great score mutilated, interesting stage libretto turned into an anti-feminist tract: It seems that our heroine, a successful and independent woman, needs a man to dominate her to be happy. (The stage version had the same basic story, but the rhetoric wasn't so vehemently misogynistic.) Ginger was more than a singer-dancer -- she could act, and had an Oscar to prove it -- but here her playing is dull and unimaginative. She, the art and costume and make-up departments, and the director seem concerned with two things only: the look of Ginger, and the look of the film. She looks fine, and the gaudy production design is a Technicolor riot, if not in the best of taste. The visual splendor makes the film worth seeing, but you'll have to tune a lot of nonsense out.