The young, handsome, but somewhat wild Eugene Morgan wants to marry Isabel Amberson, daughter of a rich upper-class family, but she instead marries dull and steady Wilbur Minafer. Their only child, George, grows up a spoiled brat. Years later, Eugene comes back, now a mature widower and a successful automobile maker. After Wilbur dies, Eugene again asks Isabel to marry him, and she is receptive. But George resents the attentions paid to his mother, and he and his whacko aunt Fanny manage to sabotage the romance. A series of disasters befall the Ambersons and George, and he gets his come-uppance in the end.Written by
John Oswalt <email@example.com>
Robert Wise assembled a three-hour version of the film and flew with it to Miami, where Orson Welles screened it and gave cutting notes on his way to Brazil. That was the last time Welles got to work on the film. Because of wartime travel restrictions, the U.S. government refused Wise permission to travel to Brazil for the final editing. See more »
In the law office, as George is telling Mr. Bronson he can't take the job there, Mr. Bronson refers to him as 'Jack' ("I got her in that headlight business, Jack"). See more »
The magnificence of the Ambersons began in 1873. Their splendor lasted throughout all the years that saw their midland town spread and darken into a city. In that town, in those days, all the women who wore silk or velvet knew all the other women who wore silk or velvet, and everybody knew everybody else's family horse and carriage. The only public conveyance was the streetcar. A lady could whistle to it from an upstairs window, and the car would halt at once and wait for her, ...
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All of the credits except the RKO logo, the film's title and the copyright notice are recited orally (by Orson Welles) at the end of the film, not written out onscreen. As Welles recites the names of the production crew, we see such items as a motion picture camera when he says "Director of Photography," a pair of hands turning knobs as he says the words "Sound Recording By," etc. See more »
From "Magnificent Obsession," a Vanity Fair article by David Kamp from April 2000:
"On March 11, Wise sent a 132-minute composite print (a print with picture and soundtrack synchronized) to Rio for Welles to review. This is the version that scholars and Wellesophiles consider to be the 'real' Magnificent Ambersons.
Curiously enough, the first blow against this version was dealt not by RKO but by Welles himself. Before he'd even received the composite print, he impulsively ordered Wise to cut 22 minutes from the middle of the film, mostly scenes concerning George Minafer's efforts to keep his mother and Eugene apart. Wise complied, and on March 17, 1942, The Magnificent Ambersons, in this form, had its first preview screening, in the Los Angeles suburb of Pomona. Sneak previews are a notoriously unreliable gauge of a film's worth and potential for success, and RKO did The Magnificent Ambersons a particular disservice by previewing it before an audience composed mostly of escapism-hungry teenagers, who had come to see the movie at the top of the bill, The Fleet's In, a feather-light wartime musical starring William Holden and Dorothy Lamour." See more »
At a Georgia Camp Meeting - A Characteristic March
Music by Kerry Mills
Played at the Ball See more »
Marvellous work, but sadly suffers from limited time
This is the tale of a well-known and respected American family - "The Magnificent Ambersons" and their rise and fall. The movie is not bad at all, there are some superlative performances from stars and character players alike. However, it is a sad fact that this, Orson Wells second masterpiece, suffered from the scissors in the cutting room. Being an RKO/Mercury Theatre production, executives reduced the picture from a much-required 135 minutes to a satisfactory, but a speedy 88 minutes, therefore, not giving satisfactory time for the viewer to understand the masterpiece fully.
Now, for my review of the players. Joseph Cotten gives an irregular performance as the romantic lead, silent star Dolores Costello is very much underused, as is then very young Anne Baxter, who would could onto bigger stardom in the next decade. Stealing the acting honors throughout the production are Tim Holt with his superb portrayal of the spoiled brat heir-to-the-throne, so to speak and Agnes Moorehead as his Auntie, who put their plan into action to sabotage a relationship between the widowed Isbabelle Amberson and charmer Eugene Morgan.
Overall, lives up to it's expectations of success, but suffers due to limited screen time and a very confusing plot for audiences of our generation.
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