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IMDbPro

Chica para matrimonio

Título original: The Marrying Kind
  • 1952
  • Approved
  • 1h 32min
PUNTUACIÓN EN IMDb
6,9/10
1,7 mil
TU PUNTUACIÓN
Chica para matrimonio (1952)
Ver Official Trailer
Reproducir trailer2:33
1 vídeo
9 imágenes
ComediaDrama

Florence y Chet Keefer han tenido un matrimonio problemático. Mientras se encuentran en medio de una vista de divorcio, el juez les anima a recordar los buenos momentos que han pasado, con l... Leer todoFlorence y Chet Keefer han tenido un matrimonio problemático. Mientras se encuentran en medio de una vista de divorcio, el juez les anima a recordar los buenos momentos que han pasado, con la esperanza de que el matrimonio pueda salvarse.Florence y Chet Keefer han tenido un matrimonio problemático. Mientras se encuentran en medio de una vista de divorcio, el juez les anima a recordar los buenos momentos que han pasado, con la esperanza de que el matrimonio pueda salvarse.

  • Dirección
    • George Cukor
  • Guión
    • Ruth Gordon
    • Garson Kanin
  • Reparto principal
    • Judy Holliday
    • Aldo Ray
    • Madge Kennedy
  • Ver la información de la producción en IMDbPro
  • PUNTUACIÓN EN IMDb
    6,9/10
    1,7 mil
    TU PUNTUACIÓN
    • Dirección
      • George Cukor
    • Guión
      • Ruth Gordon
      • Garson Kanin
    • Reparto principal
      • Judy Holliday
      • Aldo Ray
      • Madge Kennedy
    • 42Reseñas de usuarios
    • 13Reseñas de críticos
  • Ver la información de la producción en IMDbPro
    • Nominado a 1 premio BAFTA
      • 3 premios y 2 nominaciones en total

    Vídeos1

    Official Trailer
    Trailer 2:33
    Official Trailer

    Imágenes8

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    Reparto principal68

    Editar
    Judy Holliday
    Judy Holliday
    • Florence 'Florrie' Keefer
    Aldo Ray
    Aldo Ray
    • Chet Keefer
    Madge Kennedy
    Madge Kennedy
    • Judge Anne B. Carroll
    Sheila Bond
    • Joan Shipley
    John Alexander
    John Alexander
    • Howard Shipley
    Rex Williams
    • George Bastian
    Phyllis Povah
    Phyllis Povah
    • Mrs. Derringer
    Mickey Shaughnessy
    Mickey Shaughnessy
    • Pat Bundy
    Griff Barnett
    Griff Barnett
    • Charley
    Wallace Acton
    • Newhouse
    • (sin acreditar)
    Shirlee Allard
    • Undetermined Secondary Role
    • (sin acreditar)
    Leon Alton
    Leon Alton
    • Party Guest
    • (sin acreditar)
    George Auld
    • Spec
    • (sin acreditar)
    Larry J. Blake
    Larry J. Blake
    • Benny
    • (sin acreditar)
    Chet Brandenburg
    Chet Brandenburg
    • Man Writing on Chalkboard
    • (sin acreditar)
    Charles Brewer
    • Musician
    • (sin acreditar)
    Charles Bronson
    Charles Bronson
    • Eddie
    • (sin acreditar)
    Vera Burnett
    • Undetermined Secondary Role
    • (sin acreditar)
    • Dirección
      • George Cukor
    • Guión
      • Ruth Gordon
      • Garson Kanin
    • Todo el reparto y equipo
    • Producción, taquilla y más en IMDbPro

    Reseñas de usuarios42

    6,91.7K
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    Reseñas destacadas

    alan-morton

    Strange film, worth seeing

    The dizzy title of this film might suggest a screwball comedy, but it's deceptive. Despite claims to the contrary, this is definitely not a screwball comedy. It starts with plenty of jokes and humorous moments, but among other things, the pacing is all wrong. Also, screwballs often involve moneyed folk with big houses and good accents, and these are working-class characters in a small and under-furnished apartment. Knocking a few drinks back is an amusing foible in screwballs: here it usually complicates the lives of the characters. Instead of driving places, they take the bus or feel guilty about spending money on cabs. Screwball couples may have a pet dog or a leopard in tow; how many of them have small children (as here) whose sleep is interrupted by the bitter arguments of their parents? This might even be called anti-screwball.

    The unevenness of tone certainly disconcerted me the first time I saw it, and it has clearly worried several of the other people who've commented on the film. Though Judy Holliday is great (as usual), it helps an appreciation of the film if one does not expect a replay of Born Yesterday's raucous laughter or even the gentler-paced humour of Bells Are Ringing.

    Scenes of the discordance and trials of married life are played for laughs, but with an increasingly harder edge until the comedy has very nearly been wrung out of the whole thing. Slowly, the humour departs from the story and we're left with a very watchable study of a marriage spiralling into crisis, even if the treatment does become rather soapy at times.

    After several viewings of this strange film, I'm still not sure if I've enjoyed the experience, though I constantly feel that I've been watching something significant. I can't give it a score, as I really don't know how to estimate an accurate score. It's worth seeing, even if you don't expect to like it: that's the only way I can summarise it.
    rsternesq

    very good and knowing film

    Some reviewers note that any couple thinking divorce should see this film and while that is good advice, the truth is few husbands about to leave are as conflicted as this one who really never wants to go and whose affection is demonstrated by the jealousy that is the last straw. I agree with those who say Judy is a charmer. That is a fact with which no one should even quibble. By the way, the accent was exaggerated here and elsewhere and could easily have been tamed had it not been in keeping with her roles. Aldo on the other hand is a revelation. He is natural, impressive and very believable. More's the pity that his career was so uneven but here he happens to be perfect. He is blond (not unusual in Hollywood's past, think Steve McQueen) but rare now for a macho star. It turns out that his look is perfect for this part and his manliness comes through just fine. In this role this reviewer thinks he was perfect and the facial expression when buying the whirly-gig is proof that had his career and persona been better managed he would have been a far bigger star. That said, watch, enjoy and remember how much love can survive and endure when people understood that divorce was the cowardly way out and usually bad for all concerned. Again, highly recommended.
    6Ed-Shullivan

    There are two theories on arguing with women. Neither of them work.

    Lesson learned from this film. Don't take yourself too seriously and appreciate the life partner you have before you lose them by saying the wrong thing(s). Judy Holliday plays Florence Keefer a secretary at a busy office and her husband Chet Keefer suffers a debilitating work accident that leaves him almost useless as the family breadwinner. In any marriage there are ups and downs and sometimes depression and dissention get the better of one or both partners. Such is the case with Mr. And Mrs. Keefer who end up in divorce court where a wise judge decides to put off her decision overnight and let both parties sleep on their decision but first they walk Judge Anne B. Carroll (Madge Kennedy) through their marriage and family turmoil from each of their perspectives.

    Any film with Judy Holliday is worth watching and the (then) novice Aldo Ray both showed their acting chops. I am sure many moviegoers were wiggling rather uncomfortably in their theater seats reflecting on their own marriages and the silly fights that were relevant on screen to their own life experiences.

    This film may be seventy (70) years old now but the trials and tribulations of millions of married and/or cohabitating partners could learn from the film The Marrying Kind.

    I give the film a quality 6 out of 10 IMDB rating.
    9mik-19

    Drastic turns

    Chet marries Florence and for a while all is swell. But due to personal tragedy and Chet's inability to hold on to a job, they find themselves in divorce court.

    Time has completely forgotten this truly masterful piece of cinema art. 'Marrying Kind' starts out as a screwball comedy, evolves into gentle and then starker realism, takes a drastic turn towards tragedy, only to try and find its way back. Veteran director Cukor invited all sorts of trouble with this extremely challenging format, with a drama very obviously inspired by King Vidor's ground-breaking late silent 'The Crowd'.

    It is a virtuosic and deeply, deeply affecting film, as written by Garson Kanin, directed with an almost uncanny ear for dialogue by the underrated Cukor, and acted by newcomer Aldo Ray and the ever-brilliant Judy Holliday. The ending to this film testifies to an unexpected emotional maturity in Hollywood in the early 50's, and the transfer is perfect.

    I daresay nobody with an open mind is ever liable to forgot this film, and remember, before you start moaning about the mixing of genres, Life does its own mixing of tears and laughter every day to every single one of us. In that respect no film ever was more organic than this one!
    laffinsal

    Excellent

    This is a real gem of a film. It is a comedy/tragedy, but in such a way as to be able to flow easily from the two formats. Thus the viewer is never fully laughing or crying throughout the film, but at different moments. It works. The film is told in flashback, and each of the remembrances are told in short vignettes. Judy Holliday is wonderful in her role, and the much underrated Aldo Ray is also brilliant, they are a perfect match. The acting by both the leads is terrific and believable, and there is some wonderful location photography of early 1950s New York. A really great film worth seeking out.

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    Argumento

    Editar

    ¿Sabías que...?

    Editar
    • Curiosidades
      George Cukor recommended that star Aldo Ray go to ballet school because he walked too much like a football player.
    • Pifias
      In his narration of his marriage, Mr. Keeefer states they took an apartment in Peter Cooper Village when they first married. That housing development opened in 1947 but the film takes place in 1950 and by that time they were married much longer than 3 years.
    • Citas

      Judge Anne B. Carroll: You know, counselor, there's an old saying, there are three sides to every story: yours, his, and the truth.

    • Créditos adicionales
      At the film comes to the classical "The End" over the final shot of the two main characters in background, instead of the usual fade-out, Columbia Pictures added the advertisement: "You have just seen our New Personality - ALDO RAY - Please watch for his next picture." In the background, a short sequence of Aldo Ray speaking (no dialogue heard - simply the remaining ending score) in a bedroom setting seen in the movie.
    • Conexiones
      Featured in 100 Years of Comedy (1997)
    • Banda sonora
      Dolores
      (uncredited)

      Music by Louis Alter

      Lyrics by Frank Loesser

      Performed by Judy Holliday while playing a ukulele

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    Preguntas frecuentes15

    • How long is The Marrying Kind?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 25 de agosto de 1956 (España)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • Títulos en diferentes países
      • De la misma carne
    • Localizaciones del rodaje
      • 339 Greenwich St, Nueva York, Nueva York, Estados Unidos(A.L. Bazzini Co. - where Flo goes back to work)
    • Empresa productora
      • Columbia Pictures
    • Ver más compañías en los créditos en IMDbPro

    Especificaciones técnicas

    Editar
    • Duración
      • 1h 32min(92 min)
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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