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In Henrik Ibsen's A Doll's House, Nora Helmer, having fraudulently borrowed money to save her husband, is forced to reveal her secret and, in doing so, reassess her life as it stands. This ... See full summary »
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Storyline
Nora Helmer has years earlier committed a forgery in order to save the life of her authoritarian husband Torvald. Now she is being blackmailed lives in fear of her husband's finding out and of the shame such a revelation would bring to his career. But when the truth comes out, Nora is shocked to learn where she really stands in her husband's esteem.
Written by
Jim Beaver <jumblejim@prodigy.net>
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Details
Release Date:
17 May 1973 (France)
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Box Office
Budget:
$900,000
(estimated)
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Company Credits
Technical Specs
Color:
Color
(Eastmancolor)
Aspect Ratio:
1.66 : 1
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full technical specs »
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Did You Know?
Trivia
Edward Fox and Delphine Seyrig would Co-star again directly after "A Doll's House," the next time in "The Day Of the Jackal" (1973).
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Crazy Credits
None of the following members of the crew have job-titles assigned to them in the on-screen credits: David Allen; Frank Batt; David Bishop; Ron Downing; Helle Engelstad; Robert Fennell; Eileen Fletcher; Barbara Gillett; Lasse Glomm; David Goode; Barrie Payne; Tommy Raeburn; Mike Rutter; Laurie Shane; Pat Sims; Stephen Smith; Lasse Soether; David Stephenson; and John Wall.
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Connections
Version of
Casa de muñecas (1954)
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User Reviews
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I have been using this film to supplement my teaching of the play to literature classes for a dozen or more years, and it has always been my contention that Jane Fonda was born to play Nora Helmer. She is, as another reviewer has observed, most convincing in the final scene, when Ibsen metaphorically slams the door on conventional marriage--in 19th century Europe, at least. But Fonda's take on Nora is always fascinating, whether she is sneaking macaroons, flirting with Dr. Rank, or dancing the tarantella. Clare Bloom as Nora, in the other film version of the play, is also worth a look, but less is demanded of her than of Fonda, who must convey Nora's progress from schoolgirl to child bride to fully enfranchised adult. One reservation, however: while I don't mind Losey's tampering with the sequencing of the play--such is the license accorded to filmmakers--I do feel that the dialogue in the early scenes, absent from Ibsen's text except as exposition, is awkwardly scripted. Otherwise, this is a winner all around.