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Mildred Pierce (1945)

Not Rated | | Crime, Drama, Film-Noir | 20 October 1945 (USA)
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A hard-working mother inches towards disaster as she divorces her husband and starts a successful restaurant business to support her spoiled daughter.

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(screenplay), (novel)
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Won 1 Oscar. Another 2 wins & 6 nominations. See more awards »

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Cast

Complete credited cast:
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Moroni Olsen ...
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Jo Ann Marlowe ...
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Storyline

Mildred Pierce dotes on her daughters while husband Bert looks to Maggie Binderhof for affection. They separate leaving Mildred to raise the girls on her own. Elder daughter Veda goads her mother about their lack of money and in response Mildred proposes opening a small restaurant. Realtor Wally Fay advises her while making numerous rebuffed passes and introduces her to Monte Baragon whose property becomes the first of a chain of restaurants. Mildred has an affair with Monte. Meanwhile, money-hungry Veda pretends to be pregnant by wealthy Ted Forrester in order to bilk his family of $10,000. Mildred tears up the check, is slapped by Veda, and orders her daughter to leave. After time away, Mildred returns to find Veda singing in a cheap club. Veda will return only if Mildred promises her desired (Monte's) lifestyle, so Mildred agrees to marry Monte in exchange for a third of her businesses. It soon becomes clear that something is going on between Veda and Monte. Mildred learns of this ... Written by Ed Stephan <stephan@cc.wwu.edu>

Plot Summary | Plot Synopsis

Taglines:

Please don't tell anyone what Mildred Pierce did! See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

20 October 1945 (USA)  »

Also Known As:

Alma em Suplício  »

Box Office

Budget:

$1,453,000 (estimated)
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Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Among the many versions of the screenplay, William Faulkner''s rewrite differed significantly from the others. He wrote an elaborate voice-over narration and concentrated on Mildred's restaurant business, describing sleazy, underhanded business dealings. Veda is even more calculating and cold than she appears in the final film. See more »

Goofs

Mildred's house on Corvallis Street in Glendale is shown as a one-story Spanish-style bungalow, however the interior has a staircase leading to the bedrooms. See more »

Quotes

Monte: We weren't expecting you Mildred, obviously.
Veda: It's just as well you know. I'm glad you know.
Mildred: How long has this been going on?
See more »

Crazy Credits

The opening credits are presented with a background ocean scene that "washes" the credits on the screen. See more »

Connections

Referenced in Billy's Hollywood Screen Kiss (1998) See more »

Soundtracks

How Sweet You Are
(uncredited)
Music by Arthur Schwartz
Played when Veda and Ted are dancing
See more »

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User Reviews

'Please Don't Tell What Mildred Pierce Did!'
31 March 2004 | by (New York, N.Y.) – See all my reviews

James M Cain's novel 'Mildred Pierce' was much tougher, dirtier, violent and cynical than the gorgeously mounted movie it became, but the film still manages to maintain enough of the flavor of the book to be interesting. The portrait of working class life in Southern California works well, as does the depiction of a marriage that breaks down because of disappointment and resentment rather than anything melodramatic. Within its first hour MILDRED PIERCE captures something anxious about American life and marriages and families that is more true than most of what movies had shown up to that time, and it would prove to be even more so in the postwar world to come. The movie actually becomes more false and synthetic as it moves into Mildred's rise in life, but by then the plot and characters have taken hold.

And so has the film's increasingly bleak look at what women can expect when they live and work alone in a man's world, beset by men who want to exploit them, sexually and otherwise. This too, though softened from the book, would have seemed refreshingly frank to many of viewers at that time.

What raises the film to the level of classic is the first class work from every professional in every department. Joan Crawford is not much more expressive here than she was in her later MGM pictures, but this character suits her limited talents so well that she seems better than in almost anything else she did. All her Warners pictures used her more effectively than MGM usually managed to do, perhaps because in them she is invariably exploited, abused, maligned, even tortured. The bad behavior her Warners characters inspire in others is so extreme that she doesn't need to be. These plots do what Adrian's sometimes garish clothes did for her at MGM: they give her a personality, make her seem more interesting than she really was, and they make her sympathetic despite her essential coldness. Crawford gets able support from Ann Blyth, Eve Arden (as comedy relief; she is almost appearing in another movie entirely), Zachary Scott and especially Jack Carson, dead-on as a sweaty hustler and low rent lothario, bringing nuance to what could have been a one-note portrayal. Bruce Bennett isn't really a good actor in the role of Mildred's first husband, but he's perfectly cast -- he looks like an Okie from one of Dorothea Lange's photographs who went west to 'make it' and never did.

And as has been frequently mentioned here, Ernest Haller's cinematography (especially in the brilliant prints now being shown on cable) is consistently evocative and beautiful. So many of his shots live in the memory: in the scene where a mink wearing, gun wielding Mildred comes upon Monte and Vida kissing, the image is an almost primal one of betrayal and glamor -- the way their profiles are in darkness, the way Ann Blyth arches back against the bar, the hard, dim glitter of lame and the billows of tulle from her gown. The way Vida tumbles forward into almost blinding lamplight while Monte's face hardens behind her -- these are the kinds of wonderful images the best old films regularly delivered. Also excellent is Anton Grot's art direction, opulent but still managing to help create the particular SoCal atmosphere of this picture. And as usual, Max Steiner's score is effective, but as an earlier poster noted, he recycled a couple of motifs from his Oscar-winning score to NOW, VOYAGER. And director Michael Curtiz must be praised for keeping everything in perfect balance. This is one of the most admired '40s pictures and well worth a look.


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Recent Posts
Delete Your Post Mildred Pierce-style! Lukerdog
Say something nice about Veda harry-47
Best line in the movie..... Asquani
why was Mildred so blind about Veda? PSVillas
Wally was a hottie ! LadyLion
Anything Redeeming in Veda? Alix1929
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