IMDb-BEWERTUNG
7,0/10
4354
IHRE BEWERTUNG
Füge eine Handlung in deiner Sprache hinzuAn ambitious young LA department store model gets her wish of marrying a millionaire but she eventually discovers that rich life isn't always a happy one.An ambitious young LA department store model gets her wish of marrying a millionaire but she eventually discovers that rich life isn't always a happy one.An ambitious young LA department store model gets her wish of marrying a millionaire but she eventually discovers that rich life isn't always a happy one.
Natalie Schafer
- Dorothy Dale
- (as Natalie Schaefer)
Leon Alton
- Cafe Customer
- (Nicht genannt)
Frank Baker
- Man in Store
- (Nicht genannt)
Barbara Billingsley
- Store customer in flowered hat
- (Nicht genannt)
Phil Bloom
- Cafe Customer
- (Nicht genannt)
Willie Bloom
- Cafe Customer
- (Nicht genannt)
Ralph Brooks
- Businessman
- (Nicht genannt)
Wheaton Chambers
- Servant
- (Nicht genannt)
Dorothy Christy
- Wealthy Shopper
- (Nicht genannt)
Sonia Darrin
- Miss Chambers
- (Nicht genannt)
Charles Fogel
- Cafe Customer
- (Nicht genannt)
Handlung
WUSSTEST DU SCHON:
- WissenswertesFor his American film debut, Mason was initially cast in the hard-hearted role enacted by Robert Ryan. Mason wanted to change the villainous image he'd established in British films and and asked to play the other male role.
- Zitate
Leonora Eames: Look at me! Look at what you bought!
- VerbindungenFeatured in TCM Guest Programmer: TCM Employee Picks (2011)
Ausgewählte Rezension
Look at me! Look at what you bought!
Caught is directed by Max Ophüls and adapted to screenplay by Arthur Laurents from the novel Wild Calendar written by Libbie Block. It stars Barbara Bel Geddes, Robert Ryan, James Mason, Frank Ferguson and Curt Bois. Music is by Frederick Hollander and cinematography by Lee Garmes.
Seeking to make a comfy nest by marrying a rich man, Leonora Eames (Geddes) snags more than she bargained for when Smith Ohlrig (Ryan) becomes the man of her life. And then circumstance brings Doctor Larry Quinada (Mason) in to her life and things will never be the same again...
Psychological swirls a go go in this fine piece of work. Story was changed somewhat by Ophüls after he was brought in as a last directing throw of the dice. Softening the harsh edges of Leonora's original persona on the page, he brings about a sort of piggy in the middle scenario. On one side she has a tyrant control freak of a husband, on the other she has a good honest gentleman doctor keen to impart his love to her life. It sounds an easy choice to make, but circumstance, the vagaries of noirish fate - of life affirming decisions, doesn't make this a straight forward narrative piece.
Smith Ohlrig is based on Howard Hughes, who surprisingly didn't kick up too much of a fuss once the word got out. This is one troubled character, mean and controlling, superbly portrayed by a chilling Robert Ryan, it's just a pity there isn't time in the piece for more of Ryan's forceful nastiness. The best scenes feature Ryan, the shamble of the marriage is adroitly filmed by Ophüls around the gloomy Ohlrig mansion, with reverse shots, perception tinkerings and isolated shadow play emphasising the relationship from hell - the impact of Lee Garmes' (Nightmare Alley) photography and the art direction of Frank Paul Sylos (The Great Flamarion) also not to be under estimated.
Leonora is a well written character, it would have been easy to have her as weak willed and spineless, but there's a strong feminist bent afforded her by the makers, giving her some guts and intelligence to off set the desperate situation she will find herself in later in the play. Geddes ticks all the right boxes for the emotional requirements of the role, never over doing the histrionics. Mason saunters into the pic with a grace and elegance that made the American market sit up and take notice, a class act and he fits the role perfectly. Ophüls steers this one admirably throughout, arriving at a culminating finale that's guaranteed to make you have conflicting feelings. 8/10
Seeking to make a comfy nest by marrying a rich man, Leonora Eames (Geddes) snags more than she bargained for when Smith Ohlrig (Ryan) becomes the man of her life. And then circumstance brings Doctor Larry Quinada (Mason) in to her life and things will never be the same again...
Psychological swirls a go go in this fine piece of work. Story was changed somewhat by Ophüls after he was brought in as a last directing throw of the dice. Softening the harsh edges of Leonora's original persona on the page, he brings about a sort of piggy in the middle scenario. On one side she has a tyrant control freak of a husband, on the other she has a good honest gentleman doctor keen to impart his love to her life. It sounds an easy choice to make, but circumstance, the vagaries of noirish fate - of life affirming decisions, doesn't make this a straight forward narrative piece.
Smith Ohlrig is based on Howard Hughes, who surprisingly didn't kick up too much of a fuss once the word got out. This is one troubled character, mean and controlling, superbly portrayed by a chilling Robert Ryan, it's just a pity there isn't time in the piece for more of Ryan's forceful nastiness. The best scenes feature Ryan, the shamble of the marriage is adroitly filmed by Ophüls around the gloomy Ohlrig mansion, with reverse shots, perception tinkerings and isolated shadow play emphasising the relationship from hell - the impact of Lee Garmes' (Nightmare Alley) photography and the art direction of Frank Paul Sylos (The Great Flamarion) also not to be under estimated.
Leonora is a well written character, it would have been easy to have her as weak willed and spineless, but there's a strong feminist bent afforded her by the makers, giving her some guts and intelligence to off set the desperate situation she will find herself in later in the play. Geddes ticks all the right boxes for the emotional requirements of the role, never over doing the histrionics. Mason saunters into the pic with a grace and elegance that made the American market sit up and take notice, a class act and he fits the role perfectly. Ophüls steers this one admirably throughout, arriving at a culminating finale that's guaranteed to make you have conflicting feelings. 8/10
hilfreich•102
- hitchcockthelegend
- 13. Juni 2015
Top-Auswahl
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Details
Box Office
- Budget
- 1.574.422 $ (geschätzt)
- Laufzeit1 Stunde 28 Minuten
- Farbe
- Seitenverhältnis
- 1.37 : 1
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