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Mord in der Hochzeitsnacht

Originaltitel: Fallen Angel
  • 1945
  • Approved
  • 1 Std. 38 Min.
IMDb-BEWERTUNG
7,0/10
7010
IHRE BEWERTUNG
Dana Andrews, Linda Darnell, and Alice Faye in Mord in der Hochzeitsnacht (1945)
Trailer for this black and white, dramatic classic
trailer wiedergeben2:26
1 Video
99+ Fotos
Film NoirKriminalitätMysteriumRomanze

Füge eine Handlung in deiner Sprache hinzuA slick con man arrives in a small town looking to make some money, but soon gets more than he bargained for.A slick con man arrives in a small town looking to make some money, but soon gets more than he bargained for.A slick con man arrives in a small town looking to make some money, but soon gets more than he bargained for.

  • Regie
    • Otto Preminger
  • Drehbuch
    • Harry Kleiner
    • Marty Holland
  • Hauptbesetzung
    • Alice Faye
    • Dana Andrews
    • Linda Darnell
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,0/10
    7010
    IHRE BEWERTUNG
    • Regie
      • Otto Preminger
    • Drehbuch
      • Harry Kleiner
      • Marty Holland
    • Hauptbesetzung
      • Alice Faye
      • Dana Andrews
      • Linda Darnell
    • 109Benutzerrezensionen
    • 35Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 3 wins total

    Videos1

    Fallen Angel (1945)
    Trailer 2:26
    Fallen Angel (1945)

    Fotos144

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    + 137
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    Topbesetzung41

    Ändern
    Alice Faye
    Alice Faye
    • June Mills
    Dana Andrews
    Dana Andrews
    • Eric Stanton
    Linda Darnell
    Linda Darnell
    • Stella
    Charles Bickford
    Charles Bickford
    • Mark Judd
    Anne Revere
    Anne Revere
    • Clara Mills
    Bruce Cabot
    Bruce Cabot
    • Dave Atkins
    John Carradine
    John Carradine
    • Professor Madley
    Percy Kilbride
    Percy Kilbride
    • Pop
    Dorothy Adams
    Dorothy Adams
    • Stella's Neighbor
    • (Nicht genannt)
    Robert Adler
    Robert Adler
    • Coroner at Murder Scene
    • (Nicht genannt)
    Herbert Ashley
    Herbert Ashley
    • Reporter
    • (Nicht genannt)
    Matthew 'Stymie' Beard
    Matthew 'Stymie' Beard
    • Shoeshine Boy
    • (Nicht genannt)
    Betty Boyd
    Betty Boyd
    • Bank Clerk
    • (Nicht genannt)
    Chet Brandenburg
    Chet Brandenburg
    • Man in Drug Store
    • (Nicht genannt)
    Paul E. Burns
    Paul E. Burns
    • News Vendor
    • (Nicht genannt)
    Chick Collins
    • 2nd Bus Driver
    • (Nicht genannt)
    Jimmy Conlin
    Jimmy Conlin
    • Walton Hotel Clerk
    • (Nicht genannt)
    Franklyn Farnum
    Franklyn Farnum
    • Man Leaving Drugstore
    • (Nicht genannt)
    • Regie
      • Otto Preminger
    • Drehbuch
      • Harry Kleiner
      • Marty Holland
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen109

    7,07K
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    Empfohlene Bewertungen

    dougdoepke

    Meandering

    No need to repeat the plot. The screen really pulsates when Darnell appears. That opening shot of her in a big hat and cheap dress, hiking up her skirt tells us all we need to know. Too bad the rest is a disappointment. According to IMDb, a number of production folks were unhappy with the final cut by head honcho Zanuck. Maybe that's why the story lacks focus, meandering from one character to another to no particular purpose. Nor do I see anything like Preminger's usual languid, moody style in the results. Instead, the scenes merely accumulate without building. For example, Carradine's phony spiritualist looks promising, but is quickly dropped. And why is King Kong's Cabot stuck in a brief part that any number of no-names could have handled, unless a number of his scenes were cut.

    It doesn't help that Andrews plays one of the most dislikable central characters (Eric Stanton) in noir. In my book, there's nothing redeeming about his fast-talking operator at any level, which makes the sugary June's (Faye) abject devotion all the more unbelievable. Noir protagonists are generally a moral mix that makes them more interesting than the usual one-dimensional hero of the period. Just as importantly, they manage a redeeming quality at some level. Stanton, however, is a heel through and through. As a result, the movie fails to provide a crucial center of gravity to identify with. But, whatever the reason and despite some good scenes usually involving Darnell, the movie remains a meandering disappointment.
    7daniewhite-1

    Fallen Andrews

    With these characters Dana Andrews seldom goes wrong; and here in 'Fallen Angel' his performance is very creditable: never an actor with a wide range of performance what he did do well he did very well.

    Here his character suits him: a rascal and a chancer, a low beat and a drop out, but smart, aware, angry, resourceful and determined; teamed with a fellow cast of equally, if different, anglers and no-good characters.

    Nice flashes of physical brutality with a charged hint of that exact kind of male "driving" that can cause trouble for unwary women and competing men at each of the rare occurrences of outright violence.

    The direction, scene setups and cinematography often raise this film even higher in quality. Lovely flowing camera positions follow, react to and even anticipate onscreen moves. Long takes are used effectively whenever 'Fallen Angel' gets really dark and close between it's trapped characters.

    Sex and lust bubble between Dana and both his fiances nicely and there's never a doubt in my mind that every character has either got a sex life, had a sex life, or at least has a sex drive! They don't just want to fall in love. Or pretend to. There's direct human sexual motivation at play.

    The murder victim and the police investigation and the eventual culprit are all nicely handled although a few times 'Fallen Angel' does require either extra patience or suspension of disbelief from the viewer due either to clunky plot devices or a slightly un-captivating narrative force deriving from the writer and director. A little more narrative vibrancy, more cinematic treatment, more film noir sensibility would have helped me to let the film lead me where it would.

    My final score is a 7/10 but I've really rounded up a high 6 a little, mainly because the fluid handling of the camera, scene set ups and flashes of expressive cinematography do completment a cast suited to their roles and produce a film that as a whole is memorable and interesting if not quite successful as a dramatic story. Pragmatically this would rate a 6 for me but I choose to turn half a blind eye to its more conventional failings and emphasis it's stylistic and tonal value.
    7secragt

    Sensationally Nuts (But Entertaining)

    FALLEN ANGEL so brazenly bowls right through and over a bevy of inconsistencies and implausibilities, it is a surprisingly entertaining ride. It's certainly not better than LAURA or anything approaching "seminal" and does have credibility gaps wider than the Grand Canyon (unusual for Preminger), but I seem to keep coming back to one thing.. this is a satisfying movie!

    One significant plus is the performances of the three leads. Diamond- jawed toughguy con artist Dana Andrews dizzily monotones his way through a fusillade of come-ons and take-offs, shucking and jiving his way upwards in a bedroom community with quiet panache and casual menace. Alice Faye (who was so edited out in favor of Linda Darnell that she basically quit the business for the better part of two decades) shines as the closeted church organist with a heart of gold and lust. And Darnell makes the most of her smoulderingly disaffected come hither (but don't touch me) gazes. As bizarre as it is to think men would order lousy food in the greasy spoon dive where Darnell waitresses day after day, year after year in order to be around her, this is about the only thing in the entire script which is remotely plausible.

    Don't examine motives, track character arcs or analyze logic and you'll be happier with FALLEN ANGEL. In a movie where the police deputize civilians to beat up witnesses in order to "gather information" and where some individuals' entire character and identity change at the drop of a hat, the charm of this movie is in the gleefully melodramatic yet charming interactions of the love quadrilateral that is Alice Faye, Faye's sister, Dana Andrews and Linda Darnell. In particular, Andrews and Darnell display some good chemistry in their dark and twisted courtship, which in 2004 plays as much like a borderline stalking and attempted rape as it does romance. It must have been particularly racy in 1945.

    Not believable for a second, but enjoyable for more than an hour, FALLEN ANGEL is worth a look for hardcore fans of crime drama, noir, and Dana Andrews / Linda Darnell. Possibly the definitive example of "bad boy meets bad girl, bad boy marries good girl to steal her money to get bad girl, bad boy blamed for bad girl's murder, bad boy ends up with good girl thanks to bizarre and ridiculous deus ex machina ending" out there. Like Andrews' irrational love for Darnell, the less you analyze it, the more hidden charms you may find to appreciate. Seven bullets out of ten.
    7ilprofessore-1

    Preminger: Con-man or Artiste?

    Those who wish to place Otto Preminger in the pantheon of great film auteurs can certainly point to this stylish film as a splendid example of the director's talent at its prime during his Twentieth Century Fox contract years before he became famous as the self-promoting independent director/producer of controversial, censorship-busting films. Back in 1945, however, he had the good fortune to be surrounded by many of the best technicians Daryl Zanuck had hired --foremost among them here, the staff cinematographer Joe LaShelle (Oscar for "Laura") whose shadowy lighting and inventive long moving camera takes add enormously to the "noir" atmosphere of this film. As always, there is no way to tell whether LaShelle or Preminger came up with these unusual images, but they are exceptionally effective.bWhat's more, the film is perfectly cast down to the smallest role: Linda Darnell is particularly effective as the slutty tough girl who knows what she wants; and middle-aged Alice Faye, having put on a little weight since her Don Ameche musical days, looks and acts exactly like a lonely and desperate small-town woman who can't help loving the wrong man. Unfortunately, the screenplay has even more holes in it than the average swiss-cheese film noir of its day. Andrews enters the scene as an obvious drifter and con man and does nothing from then on to change anyone's opinion of him. Despite his lack of money and sleaziness, we are asked to believe that no woman, however pious or promiscuous, can resist him. If you are willing to suspend lots and lots of disbelief, this film has many wonderful atmospheric moments expertedly staged by the Viennese director Today, lots of people think of Preminger as the consummate cinematic con-artist. In this film, for once, the artist outweighed the con.
    7bmacv

    Preminger's follow-up to Laura quite interesting if flawed

    Otto Preminger rarely gets credit for being one of the founding fathers of film noir; in addition to this film, there's of course Laura, and Angel Face, Where the Sidewalk Ends, the Thirteenth Letter, and other films with a heavy noir influence (Man with the Golden Arm). Fallen Angel's least interesting aspect (interestingly) is its murder plot. The tainted, ambiguous relationships that Dana Andrews forges when he drifts into a California coastal village make this film a dark study in romantic pathology. It also features Linda Darnell at her most sultry and mercenary; Alice Faye (her only appearance, I think, in the noir cycle); John Carradine; Charles Bickford (as a policeman with a past); Ann Revere (whom most of us think of as a tenement mom to John Garfield); and even Percy Kilbride before his Pa Kettle days. Andrews' very layered tension between rich good gal Faye and gold-digging bad girl Darnell keeps the viewer off balance all the way through.

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    Handlung

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    • Wissenswertes
      According to Wade Williams in Alice Faye: The Star Next Door (1996), when Alice Faye saw a rough cut of the film and realized that Otto Preminger's editing had diminished the impact of her performance in favor of newcomer Linda Darnell, she got up from the screening, drove off the 20th Century Fox lot, threw her dressing room key to the security guard and vowed never to work for the studio again.
    • Patzer
      Among the works listed on the church reader board for June Mills's upcoming organ recital are a "Stabat Mater" by Beethoven and a "Requiem" by Brahms. Beethoven never wrote a 'Stabat Mater', and the only 'Requiem' by Brahms is a massive choral work, highly unlikely to be played as an organ solo.
    • Zitate

      June Mills: I need you, Eric.

      Eric Stanton: [sarcastically] You need me, right.

      June Mills: You're my husband, and I'm your wife.

      Eric Stanton: Right out of a book, again.

      June Mills: Yes, out of a book: "We were born to tread the earth as angels, to seek out heaven this side of the sky. But they who race above shall stumble in the dark, and fall from grace."

      Eric Stanton: Go on. Sounds good.

      June Mills: "Then love alone can make the fallen angel rise. For only two together can enter Paradise."

    • Crazy Credits
      The opening credits appear on the screen as a series of road signs seen through the windshield of a bus driving at night time.
    • Verbindungen
      Featured in Biography: Linda Darnell: Hollywood's Fallen Angel (1999)
    • Soundtracks
      Slowly
      Music by David Raksin

      Lyrics by Kermit Goell

      Sung by Dick Haymes (uncredited)

      [Continually played on the jukebox at Pop's]

    Top-Auswahl

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    Details

    Ändern
    • Erscheinungsdatum
      • 13. Dezember 1945 (Kanada)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • ¿Ángel o diablo?
    • Drehorte
      • Watson Drug Store - 116 E. Chapman Avenue, Orange, Kalifornien, USA(June stops at a Rexall drug store)
    • Produktionsfirma
      • Twentieth Century Fox
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    Box Office

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    • Budget
      • 1.075.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      1 Stunde 38 Minuten
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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