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IMDbPro

Der Weg nach oben

Originaltitel: Room at the Top
  • 1958
  • 18
  • 1 Std. 57 Min.
IMDb-BEWERTUNG
7,5/10
7922
IHRE BEWERTUNG
Laurence Harvey and Simone Signoret in Der Weg nach oben (1958)
Trailer for Room at the Top
trailer wiedergeben2:39
1 Video
99+ Fotos
Psychologisches DramaTragische RomanzeDramaRomanze

Ein ehrgeiziger junger Buchhalter plant, die Tochter eines wohlhabenden Fabrikbesitzers zu heiraten, obwohl er sich in eine verheiratete ältere Frau verliebt hat.Ein ehrgeiziger junger Buchhalter plant, die Tochter eines wohlhabenden Fabrikbesitzers zu heiraten, obwohl er sich in eine verheiratete ältere Frau verliebt hat.Ein ehrgeiziger junger Buchhalter plant, die Tochter eines wohlhabenden Fabrikbesitzers zu heiraten, obwohl er sich in eine verheiratete ältere Frau verliebt hat.

  • Regie
    • Jack Clayton
  • Drehbuch
    • Neil Paterson
    • John Braine
    • Mordecai Richler
  • Hauptbesetzung
    • Laurence Harvey
    • Simone Signoret
    • Heather Sears
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,5/10
    7922
    IHRE BEWERTUNG
    • Regie
      • Jack Clayton
    • Drehbuch
      • Neil Paterson
      • John Braine
      • Mordecai Richler
    • Hauptbesetzung
      • Laurence Harvey
      • Simone Signoret
      • Heather Sears
    • 71Benutzerrezensionen
    • 50Kritische Rezensionen
    • 84Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • 2 Oscars gewonnen
      • 10 Gewinne & 15 Nominierungen insgesamt

    Videos1

    Room At The Top
    Trailer 2:39
    Room At The Top

    Fotos126

    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    + 122
    Poster ansehen

    Topbesetzung78

    Ändern
    Laurence Harvey
    Laurence Harvey
    • Joe Lampton
    Simone Signoret
    Simone Signoret
    • Alice Aisgill
    Heather Sears
    Heather Sears
    • Susan Brown
    Donald Wolfit
    Donald Wolfit
    • Mr. Brown
    Donald Houston
    Donald Houston
    • Charles Soames
    Hermione Baddeley
    Hermione Baddeley
    • Elspeth
    Allan Cuthbertson
    Allan Cuthbertson
    • George Aisgill
    Raymond Huntley
    Raymond Huntley
    • Mr. Hoylake
    John Westbrook
    • Jack Wales
    Ambrosine Phillpotts
    Ambrosine Phillpotts
    • Mrs. Brown
    Richard Pasco
    Richard Pasco
    • Teddy Merrick
    Beatrice Varley
    Beatrice Varley
    • Aunt
    Delena Kidd
    • Eva
    Ian Hendry
    Ian Hendry
    • Cyril
    April Olrich
    April Olrich
    • Mavis
    Mary Peach
    Mary Peach
    • June Samson
    Anthony Newlands
    Anthony Newlands
    • Bernard
    Avril Elgar
    • Miss Gilchrist
    • Regie
      • Jack Clayton
    • Drehbuch
      • Neil Paterson
      • John Braine
      • Mordecai Richler
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen71

    7,57.9K
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    9Handlinghandel

    Signoret's Performance Is Unforgettable

    This is a superb movie. The plot is reminiscent of "An American Tragedy." But it takes place in England, and the hero is very much an Angry Young Man. Nevertheless, it is so beautifully written and directed it feels as fresh and new as if the such issues had never before been touched in movies.

    Laurence Harvey, whom I'm generally not crazy about, is superb as the lower-class guy determined to make it big. He sets his sights on the boss's daughter, appealingly played by Heather Sears. But something happens to sidetrack him. And that something -- Simone Signoret -- is the main reason to see and to cherish "Room At The Top." She is very believable as the slightly shady older woman with whom he has a romance. And her eyes! Her eyes, suggesting wisdom and great depths of sadness, will break you heart. It seems like a simple performance and it is uncluttered, stark. But it is flawless. I can think of almost no other performance by a woman in an English-language movie that compares to Signoret's.
    Lechuguilla

    Wonderful Simone Signoret

    Set in an English factory town, "Room At The Top" tells the story of an ambitious, blue-collar cad named Joe Lampton (Laurence Harvey), the film's anti-hero, attracted to two women. One woman is his boss's daughter; ergo, she is his ticket to a bright financial future. The other is an older woman named Alice (Simone Signoret).

    The script trends in the direction of melodramatic soap opera, with emphasis on character development. It's rather talky. And the plot is somewhat slow. On the other hand, because of the way in which sexual relationships are portrayed, the script was a bit ahead of its time. The story has a lot to say about individual sacrifice.

    The film's naturalistic, B&W lighting is fine. Background music is nondescript and unimportant. The most significant element of the film, perhaps, is the high quality of acting. Both Donald Wolfit and Hermione Baddeley give really fine performances in support roles. But, of course, the real reason to see "Room At The Top" is to marvel at the outstanding performance of Simone Signoret, who won the Oscar for Best Actress in a lead role.

    Although this is not my kind of film, it is very well made. It's an important film, both for its avant-garde sexual content and for the acting achievement of wonderful Simone Signoret.
    7jcappy

    Harvey's Acting?

    The unusual depth and range in the love between Alice (Simone Signoret) and Joe (Laurence Harvey) are what takes "The Room at the Top," to another level. However, this almost classic film doesn't always rise above its flaws. The truth is that Signoret is consistently convincing in her role, and Harvey is not.

    His biggest problem is his two-faced persona. He is the young, naive, rustic in one scene, and the older, authoritative, sophisticate in the next. He shifts between these two types more often than he switches accents. And his voice seems to follow the same pattern, so mellow when a yokel, so deep and masculine when a convincing dominant.

    This convenient inconsistency seems most apparent in his scenes with Susan Brown, where one sometimes gets the impression he is reading lines from a children's play, and yet at other times, he's the worldly older lover who cannot be bothered with such a vapid and square youth. His age seems to veer from 21 to 33, and back again, in according to the scene's mode.

    Unlike Signoret, Harvey doesn't adjust to the script's unevenness. He can be a faltering innocent with Alice or he can as likely be her suave superior. His juvenile jealous tirade over Alice's artist model experience is one of several examples of his character deviations. His venom here makes Mr Brown, the villainous capitalist, seem both relatively mild and complex.

    However, it's true that when the love scenes with Alice move beyond the literary, Harvey does achieve remarkable acting heights. Whether Simone Signoret's ability to be more than a match for her scripted lines has been transferred to him, or because she, in her first-class artistry, has covered for him, is hard to tell but, in the end, he towers, and the movie soars, despite his and its letdowns.
    9ackstasis

    "A savage story of lust and ambition"

    This underseen British classic is like a breath of fresh air. Try as it might, prior to the 1960s and the American New Wave, Hollywood could never accomplish an effective sense of realism. Across the Atlantic, the story was an altogether different one: much of their shooting took place on-location in the breathtaking British countryside, or otherwise in the the shabby slums of the lower-class, successfully identifying audiences with the "common man." This realism is clearly evident in many of the Ealing comedies of the late 1940s and 1950s, but, with 'Room at the Top (1959),' British film-making reached a new peak of maturity. A frank and uncompromising treatment of sexuality and class prejudices, Jack Clayton's extraordinary feature-length debut was a seminal work in the development of adult-themed cinema, a commercial and critical success despite being branded with an X-rating in the UK. The brilliance of this film, coupled with that of 'The Innocents (1961)' two years later, leads me to wonder why I don't hear of this director with much greater frequency.

    Joe Lampton (Laurence Harvey) is an ambitious young government accountant, proud of his lower-class heritage but determined to ascend the social ladder. Though he loathes the pretension and prejudices of Britain's wealthy upper-class, he is nonetheless determined to become one of them, a hypocrisy that triggers with in him an indescribable inner-torment. With this goal in mind, Lampton sets his sights on the innocent, virginal Susan Brown (Heather Sears), daughter of the most powerful man in town. He tries vainly to justify his advances through the pretext of love, all the while knowing that his intentions are strictly opportunistic. Alice Aisgill (Simone Signoret), a married French woman ten years his senior, proves Lampton's greatest obstacle to wealth, for he soon finds himself falling in love with her, for real this time. Torn between his affection for Alice and his ambitions towards prosperity and respectability, Lampton must eventually choose between the two, the consequences of his decision leaving an empty void where once there had been a bright, fresh and conscientious young man.

    Impeccably shot in crisp black-and-white by Freddie Francis, 'Room at the Top' is a refreshing dose of mature drama, and occasionally an angry, scathing assault on the British class system. Laurence Harvey, in the main role, positively burns with rage as the moral-deprived young businessman, progressively less and less identifiable to the audience as he becomes those whom he despises (indeed, near the film's end, he even goes by the name of his sworn foe, Jack Wales). Simone Signoret, a surprise Oscar-winner that year, is smooth, knowing and assertive, with just a fatal hint of vulnerability, as Harvey's sincere but ultimately hopeless lover. Of the main performers, Heather Sears is least impressive, but her appearance could nonetheless put an end to a nagging question: who voiced the child-actor Martin Stephens in 'Village of the Damned (1960)' and 'The Innocents (1961)?' Though no such dubbing was credited, I realised straight away, without a quiver of uncertainty, that Sears spoke with exactly the same voice – either she dubbed Stephens, or a third-party dubbed the both of them.
    10totalwonder

    Signoret, smoking

    Loneliness and longing in this extraordinary, ageless masterpiece. The film is dominated by the phenomenal Simone Signoret and I got dizzy looking at her beautifully complicated face. Laurence Harvey's petulance works wonders here and Jack Clayton, the director, orchestrates a soap opera for the thinking man. Everythings rings true even the most unbelievable details. The older woman syndrome is so masterfully captured here that, at times, you want to look away because the truth in Signoret's eyes is piercing as she sexily smokes her cigarette blowing the smoke right at us. I'm just rambling I know, my intention is to wet your appetite. Another extra bonus is the superb performance by Hermione Baddely, renamed by Noel Coward as Miss Gooddely. A total must!

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    Handlung

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    • Wissenswertes
      At 2 minutes and 19 seconds, Hermione Baddeley's performance is the shortest Oscar-nominated performance in movie history.
    • Patzer
      When Joe drives past the Browns' house for the first time, the cars parked in front are obviously cardboard cutouts.
    • Zitate

      [last lines]

      Susan Brown: Joe, wasn't it absolutely the most wonderful wedding? Now we really belong to each other, till death us do part. Darling, you're crying! I believe you really are sentimental after all.

    • Verbindungen
      Featured in Göttinnen der Liebe (1965)
    • Soundtracks
      Roses from the South
      (uncredited)

      Music by Johann Strauss

      Arranged by Lambert Williamson

    Top-Auswahl

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    FAQ18

    • How long is Room at the Top?Powered by Alexa
    • Midwest Premiere Happened When and Where?

    Details

    Ändern
    • Erscheinungsdatum
      • 31. Juli 1959 (Westdeutschland)
    • Herkunftsland
      • Vereinigtes Königreich
    • Sprachen
      • Englisch
      • Französisch
    • Auch bekannt als
      • Room at the Top
    • Drehorte
      • Halifax Railway Station, Horton Street, Halifax, West Yorkshire, England, Vereinigtes Königreich(Opening shots; Warnley station)
    • Produktionsfirmen
      • Romulus Films
      • Remus
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    Box Office

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    • Budget
      • 280.000 £ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 1 Std. 57 Min.(117 min)
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.66 : 1

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