IMDb रेटिंग
6.5/10
2.5 हज़ार
आपकी रेटिंग
1820 के दशक में न्यू इंग्लैंड की एक सुंदर लेकिन गरीब और चालाक जेनी हैगर अमीर बूढ़े आदमी ईसैया पोस्टर से शादी करती है लेकिन वो उसके बेटे और उसके कंपनी फोरमैन को भी बहकाती है.1820 के दशक में न्यू इंग्लैंड की एक सुंदर लेकिन गरीब और चालाक जेनी हैगर अमीर बूढ़े आदमी ईसैया पोस्टर से शादी करती है लेकिन वो उसके बेटे और उसके कंपनी फोरमैन को भी बहकाती है.1820 के दशक में न्यू इंग्लैंड की एक सुंदर लेकिन गरीब और चालाक जेनी हैगर अमीर बूढ़े आदमी ईसैया पोस्टर से शादी करती है लेकिन वो उसके बेटे और उसके कंपनी फोरमैन को भी बहकाती है.
Ed Agresti
- Congregation Member
- (बिना क्रेडिट के)
John Alban
- Congregation Member
- (बिना क्रेडिट के)
Fred Aldrich
- Sailor in Saloon
- (बिना क्रेडिट के)
Jessie Arnold
- Mrs. Thatcher
- (बिना क्रेडिट के)
Frank Baker
- Congregation Member
- (बिना क्रेडिट के)
Edward Biby
- Mr. Partridge
- (बिना क्रेडिट के)
- निर्देशक
- Edgar G. Ulmer
- Douglas Sirk(बिना क्रेडिट के)
- लेखक
- Herb Meadow
- Ben Ames Williams
- Hunt Stromberg(बिना क्रेडिट के)
- सभी कास्ट और क्रू
- IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ
कहानी
क्या आपको पता है
- ट्रिवियाDouglas Sirk directed, uncredited, the opening sequence with Jenny Hager as a child.
- गूफ़After Ephraim's death, Jenny is lying on a divan on her back. After a less than 4 second close-up of John telling her to get some sleep, camera cuts immediately to the following shot, where Jenny has already flopped over on her stomach.
- भाव
Lena Tempest: Honey, listen, with your looks you don't have to worry. You can get the youngest and best-looking man on the pier.
Jenny Hager: I don't want the youngest. I want the richest.
- कनेक्शनFeatured in Edgar G. Ulmer: The Man Off-Screen (2004)
- साउंडट्रैकWhat Can You Do with a Drunken Sailor?
Traditional
Early 19th Century sea chanty
[Heard in tavern]
फीचर्ड रिव्यू
Atmospheric but Uneven
An 1820's vixen climbs her way maliciously up the social ladder.
The movie's got the gloss and the casting of a top studio production, maybe TCF. But it's not. Instead, the film is an independent production with Lamarr as a co-producer. I mention this because the result looks tailor-made for a Lamarr career move; at the same time, she does manage to prove she's more than just Hollywood's perfect face. Here, her conniving little vixen (Jenny) transits a number of emotional stages and male victims in fairly convincing style. However, unless I missed something, Jenny's inner guile fails to show up in any of the many close-ups. As a result, Jenny's deceit remains mainly in the script—the one performance flaw.
The movie itself is an atmospheric potboiler, thanks to stylist Edgar Ulmer and art director Remisoff. The scenes may remain stage-bound, but the overall effect is compelling, a triumph of b&w expressiveness. Note too how the scenes get steadily darker as the film progresses and Jenny gets closer to the expected reckoning. Even when the screenplay meanders, which does slow things down, the visuals remain smoothly engaging. Then too, the logging camp setting should have been rethought. The sophisticated Sanders is simply not an outdoor type. Still, wonder of wonders, two of cinema's favorite cerebral baddies, Sanders and Brooke, get sympathetic roles, for a change. Actually, I expected Sanders to break into a cynical sneer at any moment, and maybe Brooke to revert to type with an icy glare. Anyway, it is an interesting cast, down to Hayward as the weakling Ephraim and little Jo Ann Marlowe as the meanest girl since Patty McCormack's Bad Seed (1956).
I don't know if the film resulted in the kind of career break Lamarr was likely looking for, but it remains an entertaining morality tale, despite a spotty script and stage-bound settings.
The movie's got the gloss and the casting of a top studio production, maybe TCF. But it's not. Instead, the film is an independent production with Lamarr as a co-producer. I mention this because the result looks tailor-made for a Lamarr career move; at the same time, she does manage to prove she's more than just Hollywood's perfect face. Here, her conniving little vixen (Jenny) transits a number of emotional stages and male victims in fairly convincing style. However, unless I missed something, Jenny's inner guile fails to show up in any of the many close-ups. As a result, Jenny's deceit remains mainly in the script—the one performance flaw.
The movie itself is an atmospheric potboiler, thanks to stylist Edgar Ulmer and art director Remisoff. The scenes may remain stage-bound, but the overall effect is compelling, a triumph of b&w expressiveness. Note too how the scenes get steadily darker as the film progresses and Jenny gets closer to the expected reckoning. Even when the screenplay meanders, which does slow things down, the visuals remain smoothly engaging. Then too, the logging camp setting should have been rethought. The sophisticated Sanders is simply not an outdoor type. Still, wonder of wonders, two of cinema's favorite cerebral baddies, Sanders and Brooke, get sympathetic roles, for a change. Actually, I expected Sanders to break into a cynical sneer at any moment, and maybe Brooke to revert to type with an icy glare. Anyway, it is an interesting cast, down to Hayward as the weakling Ephraim and little Jo Ann Marlowe as the meanest girl since Patty McCormack's Bad Seed (1956).
I don't know if the film resulted in the kind of career break Lamarr was likely looking for, but it remains an entertaining morality tale, despite a spotty script and stage-bound settings.
उपयोगी•160
- dougdoepke
- 17 अप्रैल 2014
टॉप पसंद
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- How long is The Strange Woman?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषा
- इस रूप में भी जाना जाता है
- Flor de insidia
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- चलने की अवधि1 घंटा 40 मिनट
- रंग
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- 1.37 : 1
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