Kitty (1945)An 18th century London wench gets involved with the nobility. Director:Mitchell Leisen |
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Kitty (1945)An 18th century London wench gets involved with the nobility. Director:Mitchell Leisen |
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| Cast overview, first billed only: | |||
| Paulette Goddard | ... |
Kitty
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| Ray Milland | ... |
Sir Hugh Marcy
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| Patric Knowles | ... |
Brett Harwood Earl of Carstairs
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| Reginald Owen | ... |
Duke of Malmunster
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Cecil Kellaway | ... |
Thomas Gainsborough
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Constance Collier | ... |
Lady Susan Dowitt
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Dennis Hoey | ... |
Jonathan Selby
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Sara Allgood | ... |
Old Meg
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Eric Blore | ... |
Dobson
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Gordon Richards | ... | |
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Michael Dyne | ... |
Prince of Wales
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Edgar Norton | ... |
Earl of Campton
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Patricia Cameron | ... |
Elaine Carlisle
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Percival Vivian | ... |
Dr. Holt
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Mary Gordon | ... |
Nancy
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London, 1783: Kitty, a saucy wench of the slums, meets the painter Gainsborough by stealing his shoes. He paints her as an "anonymous lady" who excites the interest of his noble friends, notably penniless Sir Hugh Marcy, who schemes to pass Kitty off as a genuine lady (a formidable task) and marry her off for financial gain. But Kitty has her own ideas about the uses of matrimony. Lots of decolletage. Written by Rod Crawford <puffinus@u.washington.edu>
Other IMDb comments on this one tell all that ought to be said about this lavish feast, unaccountably mounted in black-and-white when Technicolor was obviously called for. I suspect that the iron control that Natalie Kalmus exercised on almost every Technicolor film made through at least the mid-Forties discouraged many a producer from adding the extra expense to the budget, burdening his crew with the cumbersome three-strip cameras and the hellishly hot lighting they required, and the high cost of the final prints. Now that virtually every film is made in color, we forget that making a film in color prior to the introduction of Technicolor's own single-strip process and its rivals (i.e., Metrocolor, Warnercolor, DeLuxe Color, etc.) was a very big deal, indeed. Which is not in the least meant to say that Hollywood's artisans did not achieve some memorably beautiful work using black-and-white cameras. "Kitty" is a prime example, with a luxurious production and a cast fully able to flesh out the script's frequently funny evocation of a very pre-modern England. Even on a TV broadcast which I caught many years ago, this one was a thoroughly entertaining and eye-filling treat, and it would certainly merit a VHS and/or DVD release in my estimation.