Agrega una trama en tu idiomaA French milliner becomes a casino hostess and courtesan, eventually rising to the position of mistress of King Louis XV.A French milliner becomes a casino hostess and courtesan, eventually rising to the position of mistress of King Louis XV.A French milliner becomes a casino hostess and courtesan, eventually rising to the position of mistress of King Louis XV.
Oscar Apfel
- Undetermined Secondary Role
- (sin créditos)
Eugenie Besserer
- Rosalie - Prison Matron
- (sin créditos)
Earle Browne
- Stage Director
- (sin créditos)
Knute Erickson
- Jailer
- (sin créditos)
Cissy Fitzgerald
- Undetermined Secondary Role
- (sin créditos)
Blanche Friderici
- Undetermined Secondary Role
- (sin créditos)
Clark Gable
- Extra
- (sin créditos)
Peter Gawthorne
- Undetermined Secondary Role
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Argumento
¿Sabías que…?
- TriviaThis film is one of over 200 titles in the list of independent feature films made available for television presentation by Advance Television Pictures announced in Motion Picture Herald 4 April 1942. At this time, television broadcasting was in its infancy, almost totally curtailed by the advent of World War II, and would not continue to develop until 1945-1946. Because of poor documentation (feature films were often not identified by title in conventional sources) no record has yet been found of its initial television broadcast. It's earliest documented telecasts took place in both New York City and Washington DC and Baltimore Wednesday 27 July 1949 on WJZ (Channel 7) and on WMAL (Channel 7) and on WAAM (Channel 13), in Cincinnati Saturday 17 September 1949 on WCPO (Channel 7), in Philadelphia Saturday 10 December 1949 on WCAU (Channel 10), and in Chicago Sunday 19 February 1950 on WGN (Channel 9).
- ConexionesReferenced in Los Simpson: Thursdays with Abie (2010)
Opinión destacada
Not as bad as I'd been led to believe--
-- which is like saying, "It was more like a train wreck than being caught in a nuclear blast."
DU BARRY, WOMAN OF PASSION is a badly paced early talkie with the kind of melodramatic, declarative dialogue that got John Gilbert laughed off the screen in his sound debut. Norma Talmadge is certainly not braying out lines in a Brooklyn accent as Hollywood myth has it, but she is miscast as the enchanting yet vulgar Du Barry. It's hard to see how king or commoner could become so obsessed with her, and this goes beyond Talmadge being a bit long in the tooth to play a frivolous young thing. She does not exude sex appeal in the least nor the earthy sensuality the script demands.
Story-wise, the film is standard romantic sop: Talmadge is torn between the honest love of a good man and the wealth of a king. Oh, and the French Revolution happens. Honestly, you could change the character names and set this in Fantasy Land, and it would be about the same as setting it in 18th century France.
One gets the sense that Talmadge's heart wasn't in the work. Her performance is flat, with only flashes of the lovely expressiveness that made her name in silent pictures. This would be her last movie altogether-- she was not interested in a vain struggle against new technologies and younger stars, and to be honest, I empathize.
At the very least, the film opens with an intertitle declaring none of this is historically accurate. If only certain modern filmmakers could be so honest (side-eyes Ridley Scott).
DU BARRY, WOMAN OF PASSION is a badly paced early talkie with the kind of melodramatic, declarative dialogue that got John Gilbert laughed off the screen in his sound debut. Norma Talmadge is certainly not braying out lines in a Brooklyn accent as Hollywood myth has it, but she is miscast as the enchanting yet vulgar Du Barry. It's hard to see how king or commoner could become so obsessed with her, and this goes beyond Talmadge being a bit long in the tooth to play a frivolous young thing. She does not exude sex appeal in the least nor the earthy sensuality the script demands.
Story-wise, the film is standard romantic sop: Talmadge is torn between the honest love of a good man and the wealth of a king. Oh, and the French Revolution happens. Honestly, you could change the character names and set this in Fantasy Land, and it would be about the same as setting it in 18th century France.
One gets the sense that Talmadge's heart wasn't in the work. Her performance is flat, with only flashes of the lovely expressiveness that made her name in silent pictures. This would be her last movie altogether-- she was not interested in a vain struggle against new technologies and younger stars, and to be honest, I empathize.
At the very least, the film opens with an intertitle declaring none of this is historically accurate. If only certain modern filmmakers could be so honest (side-eyes Ridley Scott).
útil•11
- MissSimonetta
- 23 dic 2023
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Detalles
- Tiempo de ejecución1 hora 30 minutos
- Color
- Relación de aspecto
- 1.20 : 1
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Principales brechas de datos
By what name was Du Barry, Woman of Passion (1930) officially released in Canada in English?
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