IMDb > Madame Bovary (1949)
Madame Bovary
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Madame Bovary (1949) More at IMDbPro »

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Overview

User Rating:
7.1/10   1,561 votes »
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Director:
Writers:
Robert Ardrey (screenplay)
Gustave Flaubert (novel)
Contact:
View company contact information for Madame Bovary on IMDbPro.
Release Date:
23 January 1950 (Sweden) See more »
Genre:
Tagline:
All she wanted was everything. See more »
Plot:
A provincial doctor's wife's romantic illusions about life and social status lead her to betray her naive husband, take on lovers and run up ruinous debts. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 1 nomination See more »
NewsDesk:
(9 articles)
Broadway Musical Actress, Altman Collaborator Has Died. Had Famous Show Biz Relatives
 (From Alt Film Guide. 24 September 2013, 5:12 PM, PDT)

Harry Morgan: 1915-2011
 (From IMDb News. 7 December 2011, 10:11 AM, PST)

The Camera Moves #2
 (From MUBI. 5 October 2011, 2:11 PM, PDT)

User Reviews:
The best of three See more (32 total) »

Cast

  (in credits order) (verified as complete)

Jennifer Jones ... Emma Bovary

James Mason ... Gustave Flaubert

Van Heflin ... Charles Bovary

Louis Jourdan ... Rodolphe Boulanger
Alf Kjellin ... Leon Dupuis (as Christopher Kent)

Gene Lockhart ... J. Homais
Frank Allenby ... Lhereux

Gladys Cooper ... Mme. Dupuis

John Abbott ... Mayor Tuvache

Harry Morgan ... Hyppolite (as Henry Morgan)
George Zucco ... Dubocage

Ellen Corby ... Felicite

Eduard Franz ... Roualt
Henri Letondal ... Guillaumin
Esther Somers ... Mme. Lefrancois
Frederic Tozere ... Pinard
Paul Cavanagh ... Marquis D'Andervilliers
Larry Simms ... Justin
Dawn Kinney ... Berthe

Vernon Steele ... Priest
rest of cast listed alphabetically:
Ed Agresti ... Man (uncredited)
John Ardizoni ... Lagandy (uncredited)
Florence Auer ... Mme. Petree (uncredited)
Charles Bancroft ... Man (uncredited)
Paul Bryar ... Bailiff (uncredited)
Jeanine Caruso ... Berthe Bovary, at 15 Months (uncredited)
David Cavendish ... Man (uncredited)
Andre Charisse ... Young Man (uncredited)
Fred Cordova ... Guest (uncredited)

Gino Corrado ... Village Official at Agricultural Show (uncredited)
George Davis ... Innkeeper (uncredited)
Charles De Ravenne ... Pimply-Faced Youth (uncredited)
Dickie Derrel ... Urchin (uncredited)
Edith Evanson ... Mother Superior (uncredited)
Jack George ... Opera Conductor (uncredited)
Stuart Holmes ... Guest (uncredited)
Teddy Infuhr ... Nosey Boy at Rouault's Home (uncredited)
Karl Johnson ... Drunken Guest (uncredited)
Edward Keane ... Presiding Judge (uncredited)
Victor Kilian ... Speaker at Agricultural Show (uncredited)
Harold Krueger ... Harelip Youth (uncredited)
Ann Kunde ... Guest (uncredited)
Gracille LaVinder ... Woman (uncredited)
Bert LeBaron ... Young Man (uncredited)
Eula Morgan ... Woman (uncredited)
Mayo Newhall ... Man (uncredited)
Manuel París ... Servant (uncredited)
Lon Poff ... Guest (uncredited)
Constance Purdy ... Mme. Foulard (uncredited)
Phil Schumacher ... Guest (uncredited)
Helen St. Rayner ... Opera Singer (uncredited)
Jack Stoney ... Guest (uncredited)
Helen Thurston ... Guest (uncredited)
Sailor Vincent ... Guest (uncredited)

Directed by
Vincente Minnelli 
 
Writing credits
Robert Ardrey (screenplay)

Gustave Flaubert (novel)

Produced by
Pandro S. Berman .... producer
 
Original Music by
Miklós Rózsa  (as Miklos Rozsa)
 
Cinematography by
Robert H. Planck (director of photography) (as Robert Planck)
 
Film Editing by
Ferris Webster 
 
Art Direction by
Cedric Gibbons 
Jack Martin Smith 
 
Set Decoration by
Edwin B. Willis 
 
Makeup Department
Jack Dawn .... makeup designer
Larry Germain .... hair stylist: Miss Jones
Sydney Guilaroff .... hair stylist
 
Production Management
Al Shenberg .... production manager (uncredited)
 
Second Unit Director or Assistant Director
Alfred Raboch .... assistant director (uncredited)
 
Art Department
Richard Pefferle .... associate set decorator (as Richard A. Pefferle)
 
Sound Department
Douglas Shearer .... recording supervisor
Standish J. Lambert .... sound (uncredited)
 
Special Effects by
Warren Newcombe .... special effects
 
Camera and Electrical Department
Tom Long .... grip (uncredited)
S.C. Manatt .... still photographer (uncredited)
Harkness Smith .... camera operator (uncredited)
 
Costume and Wardrobe Department
Walter Plunkett .... costumes: women
Valles .... costumes: men
Joan Joseff .... costume jeweller (uncredited)
 
Music Department
Eugene Zador .... orchestrator (uncredited)
 
Other crew
Jack Donohue .... choreographer
David O. Selznick .... appear by arrangement with: Miss Jones, Mr. Jourdan and Mr. Kent
Jack Aldworth .... script supervisor (uncredited)
 
Crew verified as complete


Production CompaniesDistributors

Additional Details

Also Known As:
Runtime:
114 min | Argentina:130 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Argentina:16 | Australia:PG | Canada:14A (video rating) | Finland:K-16 | USA:Passed (National Board of Review) | USA:Approved (certificate #13686) | West Germany:16

Did You Know?

Trivia:
The Breen Office opposed the film, saying that it had too many controversies and innuendo; everything from the make-up to the kissing scenes had to be slightly toned down to appease the censors.See more »
Quotes:
Charles Bovary:This could be a disaster, Emma, these people are aristocrats, I know them, I've treated their servants.See more »
Movie Connections:

FAQ

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36 out of 45 people found the following review useful.
The best of three, 15 February 2004
Author: jandesimpson from United Kingdom

Films of great novels are usually light years away in terms of quality from their originals. There are of course a few exceptions, the David Lean Dickens adaptations for instance and recently a Neil Jordan version of Graham Greene's "The End of the Affair" that I much admired. Generally it is second rate literature, "Gone WIth the Wind" a prime example, that fares so much better. Flaubert's "Madame Bovary" has continued through the history and development of cinema and TV to exert its fascination on would-be translators, although it has to be admitted that it has generally proved elusive. One would have thought that it would have fared particularly well in the hands of outstanding French directors such as Renoir and Chabrol but their efforts to come to grips with Flaubert's masterpiece have ultimately to be judged as among their lesser works. There is quite a lot going for Jean Renoir's early 1933 version, not least the authentic Normandy exteriors shot with great affection, but technically the film shows its age. It is rather like a series of tableaux, some in themselves quite well done, but ultimately lacking a strong narrative thrust and sense of cohesion. Nevertheless I remember being more impressed with it than with Claude Chabrol's 1991 version which I found surprisingly cold and passionless. I admit I have only seen this once and my memory of it is far from clear, perhaps because it grabbed me so little at the time. It may seem rather preposterous to award the accolade for the best "Bovary" to Vincente Minnelli's Americanised 1949 MGM version with its studio mock-up of a French village that seems more of a Flanders lookalike and some location work clearly done in Californian woodland, but, in the absence of so little competition, I would have to plump for it as being certainly the most enjoyable. After all it has that quite exquisite beauty, Jennifer Jones, as the eponymous heroine, suffering and eventually dying as tenderly as only she can. My favourite memory from the film is her first appearance on the farm where Doctor Bovary is calling to tend to her sick father. There she is in a setting of all too believable rural squalor decked out in the most unbelievably opulent dress imaginable. If nothing else it makes Bovary's initial besottedness with her absolutely credible. Minnelli's is a rather sanitised adaptation. Okay to have the heroine die beautifully once the initial agony of taking poison has been established, but the inevitable outcome of a botched operation on a villager's clubfoot - amputation - is, unlike in the novel and other versions, evaded by the doctor's refusal to take on the medical challenge. It makes for rather more comfortable box-office. There are some beautifully done scenes including the almost obligatory inclusion in a Hollywood period piece of a ballroom sequence. The one here has the hedonistic movement that is everything we had come to expect from "The Great Waltz" onwards. There is also the heroine's wait, her bags fully packed in a windswept street after dark for the lover that never comes. Wyler did it rather better in "The Heiress" but Minnelli's has plenty of atmosphere. His version may be even further than its competitors from Flaubert's "Madame Bovary" but he invests it with enough passion and commitment to ensure it a small place in Hollywood history.

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Emma Bovary's ball gown boudica10
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