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The Fallen Sparrow

  • 1943
  • Approved
  • 1 Std. 34 Min.
IMDb-BEWERTUNG
6,6/10
2077
IHRE BEWERTUNG
Maureen O'Hara, John Garfield, Patricia Morison, Martha O'Driscoll, and Walter Slezak in The Fallen Sparrow (1943)
Official Trailer ansehen
trailer wiedergeben2:09
2 Videos
54 Fotos
Film NoirPsychologisches DramaSpionSuspense-MysteryWer ist dasDramaKriminalitätMystery

Füge eine Handlung in deiner Sprache hinzuIn 1940, an American former Republican prisoner during the Spanish Civil War, John McKittrick, is determined to find the killer of NYPD Lieutenant Louie Lepetino, who had helped him escape.In 1940, an American former Republican prisoner during the Spanish Civil War, John McKittrick, is determined to find the killer of NYPD Lieutenant Louie Lepetino, who had helped him escape.In 1940, an American former Republican prisoner during the Spanish Civil War, John McKittrick, is determined to find the killer of NYPD Lieutenant Louie Lepetino, who had helped him escape.

  • Regie
    • Richard Wallace
  • Drehbuch
    • Warren Duff
    • Dorothy B. Hughes
  • Hauptbesetzung
    • John Garfield
    • Maureen O'Hara
    • Walter Slezak
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,6/10
    2077
    IHRE BEWERTUNG
    • Regie
      • Richard Wallace
    • Drehbuch
      • Warren Duff
      • Dorothy B. Hughes
    • Hauptbesetzung
      • John Garfield
      • Maureen O'Hara
      • Walter Slezak
    • 38Benutzerrezensionen
    • 23Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 1 Oscar nominiert
      • 1 Nominierung insgesamt

    Videos2

    Official Trailer
    Trailer 2:09
    Official Trailer
    Fallen Sparrow Clip
    Clip 0:30
    Fallen Sparrow Clip
    Fallen Sparrow Clip
    Clip 0:30
    Fallen Sparrow Clip

    Fotos54

    Poster ansehen
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    + 46
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    Topbesetzung50

    Ändern
    John Garfield
    John Garfield
    • John McKittrick
    Maureen O'Hara
    Maureen O'Hara
    • Toni Donne
    Walter Slezak
    Walter Slezak
    • Dr. Christian Skaas
    Patricia Morison
    Patricia Morison
    • Barby Taviton
    Martha O'Driscoll
    Martha O'Driscoll
    • Whitney Parker
    Bruce Edwards
    Bruce Edwards
    • Ab Parker
    John Banner
    John Banner
    • Anton
    John Miljan
    John Miljan
    • Inspector Tobin
    Hugh Beaumont
    Hugh Beaumont
    • Otto Skaas
    Ed Agresti
    • Nightclub Patron
    • (Nicht genannt)
    Bobby Barber
    Bobby Barber
    • Waiter
    • (Nicht genannt)
    Symona Boniface
    Symona Boniface
    • Guest
    • (Nicht genannt)
    Patti Brill
    Patti Brill
    • Dancer
    • (Nicht genannt)
    Jack Carr
    • Danny
    • (Nicht genannt)
    André Charlot
    • Pete
    • (Nicht genannt)
    James Conaty
    • Nightclub Patron
    • (Nicht genannt)
    William Edmunds
    • Papa Lepetino
    • (Nicht genannt)
    Fely Franquelli
    Fely Franquelli
    • Gypsy Dancer
    • (Nicht genannt)
    • Regie
      • Richard Wallace
    • Drehbuch
      • Warren Duff
      • Dorothy B. Hughes
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen38

    6,62K
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    Empfohlene Bewertungen

    9mark-460

    A film noir classic

    Thank you Turner Classic Movies and Robert Osborne for introducing us to this excellent specimen of film noir. What is obvious to John Garfield fans is his passion and energy that he pours into his characters. Along with his performance, Maureen O'Hara is in an unusual role as the mysterious girl friend. A thriller!
    6bmacv

    Thick, overheated "anti-Fascist" noir leaves scorched aftertaste

    Hollywood fought World War II on many fronts: most obviously, in its documentaries and war dramas; in genre series coopted for the war effort (such as Sherlock Holmes programmers); and in thrillers dedicated to smoking out the Fifth Column at home (The House on Ninety-Second Street). There was also a more complicated, ideologically tinged kind of movie, not simply anti-Nazi but more broadly `anti-Fascist' (and defiantly leftist). Lillian Hellman's Watch on the Rhine was one; The Fallen Sparrow was another.

    John Garfield (who else?) survived torture while fighting for the anti-Franco forces in the Spanish Civil War, but it took its toll; he recuperated in a sanitarium in the Southwest. Upon returning to New York – where a war buddy has met death by defenestration from a penthouse party – he finds some of his friends traveling in the same circles as vaguely sinister Europeans and fly-specked aristocrats – Germans, Italians, Spaniards – who take a perverse interest in him. Among them is Maureen O'Hara (in a dark, forties updo), who runs hot and cold when it comes to his advances.

    The dense plot of The Fallen Sparrow collapses into a noirish muddle. Multiple heavies purr in a babel of as many stage accents (Hugh Beaumont's Prussian the most amusing of them). Walter Slezak plays a mittel-European professor whose passion seems to be the aesthetics of torture, and whose limp summons up nightmares for Garfield. There are also family crests dating from at least the Borgias (whose speciality was goblets of poisoned wine), a senile old curmudgeon who believes he'll be restored to the throne of France, and a tattered standard Garfield has rescued from Spain, which becomes this film's black bird....

    Following all these threads require rapt attention, but who would be willing to devote anything less to the fight against Fascism? The film borrows from such immediate predecessors in the nascent noir cycle as The Maltese Falcon (especially the ending) and The Glass Key. It cooks up plenty of atmosphere but lacks vital clarity. It's not without interest – the attention to the psychological aftermath of torture is a bold and courageous stroke – but with its political passions looking quaint, if not naive, this overheated melodrama leaves a scorched aftertaste.
    harry-76

    The One and Only Garfield

    Long before the "method" style "invaded" the acting profession, there were many equally fine performers which came before the mid-'50s "movement."

    These "predecessors" didn't wear their craft-on-their-sleeve as much; in fact, many (like Tracy, Ryan, and Cagney) behaved so naturally, it was as though they were speaking their own lines. One such earlier talent was John Garfield.

    A consummate performer, Garfield could seemingly do no wrong--not make one false move. In film after film, he didn't appear to be acting; rather he was just "being" the character.

    Although "The Fallen Sparrow" isn't one of Garfield's greatest parts or films, he's on target in every scene. Yes, it's called "talent, star quality," and Garfield's got "it."

    With a respectable "noir" script, and peopled with a solid cast of leads and supporters, "Sparrow" manages to engage the attention and create genuine interest throughout. A good looking, sharp and crisp, black-and-white production design enhances this presentation, which also features the always dependable Maureen O'Hara and Walter Slezak.
    8nomoons11

    A Flat-Out good film...John Garfield is a master in this one

    I was totally surprised by the quality of this one. The pacing of the film was perfect. I can't say enough how good John Garfield was. I recently watched and reviewed "Out of the Fog" in which he was in and was really disappointed in that one. Far and away my least favorite of his but with this one, just an excellent film.

    They don't give anything up until the end of this one. You really have to pay attention to every cast member. Even half way through you'll be wondering what the heck is going on, but don't worry, wait til' the end. It's so worth it.

    I can't recommend this film any higher. This is really good stuff here.
    dougdoepke

    Stylish

    Lushly mounted espionage thriller that rivets the eye even when the narrative meanders. It's the great RKO artistic team of Musuraca, Silvera, and D'Agostino setting the stage for noir's post-war golden period, foreshadowed here by the rich b&w landscape. Garfield's a shattered veteran of the Spanish Civil War, tortured by the fascists and a mysterious limping man. Now he's back in New York trying to regain stability and find out who killed his best friend. Along the way, he meets up with sinister European types and the beauteous O'Hara looking like she stepped off a 1942 Vogue cover. Turns out everybody, including the limping man, is trying to get possession of a regimental battle standard whose whereabouts only Garfield knows. Needless to say, at times the storyline could use a road map to follow. But that's okay because the appeal lies elsewhere, as in the shadowy characters and photography.

    Note how effectively Garfield's moments of derangement are highlighted by the musical score and the astute close-ups. Those penetrating few moments are hauntingly expressed as they reach into Kit's (Garfield) tortured "subjective" reality. The actor delivers in spades in a difficult role requiring that he be in about every scene. The movie's also an eye-full for the guys with three knockout leading ladies. However, despite her looks, I think the normally vivacious O'Hara is miscast, a little too stiff and impassive for the subtleties required by her character. On a different note, the limping man's dragging foot adds a creepy sound to the sinister atmosphere and is what I remember most from seeing the film as a kid. Anyway, the movie's an unusual thriller with a really great "look" that stands up well over the decades.

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    Handlung

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    • Wissenswertes
      RKO bought the film rights to Dorothy B. Hughes' novel for $15,000 expressly as a vehicle for Maureen O'Hara according to contemporary articles in The Hollywood Reporter.
    • Patzer
      The bust which is knocked through the window and crashes out on the street, appears in its original position in the next shot.
    • Zitate

      Inspector 'Toby' Tobin: Why do you want to carry a gun?

      John 'Kit' McKittrick: [grins and lets out a little laugh] To shoot people with, sweetheart.

    • Crazy Credits
      Opening credits: "...in a world at war many sparrows must fall ...
    • Verbindungen
      Featured in The John Garfield Story (2003)
    • Soundtracks
      Beware
      Written by Harry Revel and Mort Greene

      Sung by Martha O'Driscoll (dubbed by Martha Mears)

    Top-Auswahl

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    Details

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    • Erscheinungsdatum
      • 23. November 1943 (Mexiko)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprachen
      • Englisch
      • Deutsch
      • Italienisch
      • Französisch
    • Auch bekannt als
      • El beso traidor
    • Drehorte
      • RKO Studios - 780 N. Gower Street, Hollywood, Los Angeles, Kalifornien, USA(Studio)
    • Produktionsfirma
      • RKO Radio Pictures
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Technische Daten

    Ändern
    • Laufzeit
      • 1 Std. 34 Min.(94 min)
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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