CALIFICACIÓN DE IMDb
7.1/10
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TU CALIFICACIÓN
Un fiscal de distrito persuade a una camarera de un club de alterne para que testifique contra su jefe mafioso después de que su hermana inocente sea asesinada accidentalmente durante una de... Leer todoUn fiscal de distrito persuade a una camarera de un club de alterne para que testifique contra su jefe mafioso después de que su hermana inocente sea asesinada accidentalmente durante una de sus desagradables fiestas.Un fiscal de distrito persuade a una camarera de un club de alterne para que testifique contra su jefe mafioso después de que su hermana inocente sea asesinada accidentalmente durante una de sus desagradables fiestas.
- Dirección
- Guionistas
- Elenco
- Premios
- 3 premios ganados y 1 nominación en total
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
A night-club owner called Johnny Vanning (Eduardo Ciannelli) was exploiting his hostesses, one of whom was Mary Dwight (Bette Davis). She was asked with her companions of the Club Intime to induce clients to drink, gamble and spend freely
A few nights later Mary brings a sucker, Rulph Krawford (Damian O'Flynn) to the club After Krawford loses a large amount of money gambling and then refuses to pay off the debt, Vanning orders his henchman Charley Delaney (Ben Welden) to get rid of him
When special prosecutor, David Graham (Humphrey Bogart), questions Mary concerning Krawford's assassination, she denies in providing any helpful information
Bogart's performance successfully applied malice determination and calmly exhibited compassion and concern He was particularly effective, both firm, and penetrating, in his courtroom scenes, which served as an early warm-up for similar role twelve years later in Nicholas Ray's "Knock On Any Door."
Mayo Methot was also in the cast as one of the hostesses and it was during the filming that Bogart took her as his second wife
A few nights later Mary brings a sucker, Rulph Krawford (Damian O'Flynn) to the club After Krawford loses a large amount of money gambling and then refuses to pay off the debt, Vanning orders his henchman Charley Delaney (Ben Welden) to get rid of him
When special prosecutor, David Graham (Humphrey Bogart), questions Mary concerning Krawford's assassination, she denies in providing any helpful information
Bogart's performance successfully applied malice determination and calmly exhibited compassion and concern He was particularly effective, both firm, and penetrating, in his courtroom scenes, which served as an early warm-up for similar role twelve years later in Nicholas Ray's "Knock On Any Door."
Mayo Methot was also in the cast as one of the hostesses and it was during the filming that Bogart took her as his second wife
Bette Davis plays Mary Strauber, a nightclub hostess working in club 'Intime' which gets taken over by a gangster Johnny Vanning (Eduardo Ciannelli) who soon changes the decor and the name to 'Intimate'. Mary stands up to the gangster right from the start,defending a friend he tries to fire, and letting him know he won't intimidate her. Her resolve is tested to the limit after her younger sister comes to stay, who unwittingly crosses Vanning's path, leading to tragedy. Davis gives a commanding performance and Eduardo Ciannelli is effective as the ruthless gangster. Humphrey Bogart also puts in an appearance - cast against type as an earnest DA. They don't make movies like this any more - enjoy!
Bette Davis looks as though she was rested (after her hiatus involving litigation) and raring to sink her teeth in a juicy part. Well, she got her wish in this finely directed Lloyd Bacon gangster drama.
Davis is alert, focused, and driven here, putting her all into the dance hall hostess. It's one of her best roles in a film unfamiliar to many movie goers.
The film is notable for some fine work by most talented character actors, and for an unusual "good guy" role for Humphrey Bogart. This crusading D.A. on a mission is skillfully etched by Mr. B. and his scenes with Davis are particularly engaging.
Everyone knows the true life basis for this drama, and the exclaimer at the start doesn't fool anyone. This is a mean expose of some very callus criminals, and has the feel of that period's current newspaper headlines.
A well made drama, worth checking out.
Davis is alert, focused, and driven here, putting her all into the dance hall hostess. It's one of her best roles in a film unfamiliar to many movie goers.
The film is notable for some fine work by most talented character actors, and for an unusual "good guy" role for Humphrey Bogart. This crusading D.A. on a mission is skillfully etched by Mr. B. and his scenes with Davis are particularly engaging.
Everyone knows the true life basis for this drama, and the exclaimer at the start doesn't fool anyone. This is a mean expose of some very callus criminals, and has the feel of that period's current newspaper headlines.
A well made drama, worth checking out.
I thought this was a pretty interesting tale of a sassy escort service-type woman (women, plural, if you include all her roommates) who work for a nightclub owner who was supposedly portraying famous gangster "Lucky" Luciano.
The woman featured is the famous Bette Davis, who never looked better. She was "hot" in the 1930s. After 1940 I can't say that, but she was always a great actress. She, as so many in the classic-era period, was also a recipient of soft- lens shots on all closeups.
Eduardo Cianelli plays the gangster does an effective job. Unlike Davis, his is a name that never became well-known. This film also has an up-and-coming actor by the name of Humphrey Bogart along with his soon-to-be-real-life-wife Mayo Methot. Get a load of some of the other female names in the cast: Lola Lane, Isabel Jewell and Rosalind Marquis - all "marked" women!
Lloyd Bacon directed this movie, which should tell you something. This guy was responsible for a ton of entertaining films.
The woman featured is the famous Bette Davis, who never looked better. She was "hot" in the 1930s. After 1940 I can't say that, but she was always a great actress. She, as so many in the classic-era period, was also a recipient of soft- lens shots on all closeups.
Eduardo Cianelli plays the gangster does an effective job. Unlike Davis, his is a name that never became well-known. This film also has an up-and-coming actor by the name of Humphrey Bogart along with his soon-to-be-real-life-wife Mayo Methot. Get a load of some of the other female names in the cast: Lola Lane, Isabel Jewell and Rosalind Marquis - all "marked" women!
Lloyd Bacon directed this movie, which should tell you something. This guy was responsible for a ton of entertaining films.
'Marked Woman' was most interesting to see acting legends Bette Davis and Humphrey Bogart together and in early roles against type. Before their careers properly took off, so a large part of me was really interested in seeing how they would fare. Seeing as when somebody does something different from the moment, it can either be great or out of their depth-like. The idea for the film, actually based upon a true story, sounded great and gave the impression that it would be an intriguing and investable film.
It was to my relief that 'Marked Woman' works well as a film. Neither Davis and Bogart deliver work that is among their best and both went on to much better things, the best of which iconic work in film history. This is before either of them, well certainly Bogart as Davis was already showing some versatility if not quite had perfected it, had properly found their footing and found what they were best at in terms of namely types of roles. That is not to say that 'Marked Woman' is a bad film, in my view it is an interesting and good one that packs a punch, and Davis is served well.
For my tastes though, in an atypically non-gritty role with the gritty type of roles being one that he would embody later, Bogart is a little too subdued (one of the exceptions though being the closing speech which is very powerful) and doesn't seem as fully engaged. He is still watchable and the dynamic presence with Davis works very nicely.
Perhaps at times, 'Marked Woman' is a bit slow in the early stages with the set up taking a little too long to do so. The prison scene with Davis and Eduardo Ciannelli was a slight missed opportunity, that could have been a scene that wrenched the gut and chilled if it stayed with the film's overall uncompromising approach. But it took too much of an easy way out and censorship restrictions may have played some part in this.
However, Davis goes full throttle and gives a performance of intensity and poignancy. Ciannelli is persuasively sinister, while Isabell Jewel lives up to her surname and Allan Jenkins has a fun small role that doesn't jar. The production values are not audacious but to me they weren't that cheap, while the film is beautifully directed, never going too heavy handed or trivialising the subject. The music is haunting without being melodramatic.
The script is taut and thoughtful, also remarkably explicit for back then and not that tame now. Bogart's dialogue towards the end is quite powerful. The story is always absorbing, exploring a bold topic not covered to this much an extent at this particular time in a pulling no punches way. Did appreciate that there wasn't a romance as such, that may have had potential of slowing the film down and taking away from the tautness. When 'Marked Woman' gets going, it is swift in pace.
Summing up, very well done on the whole. 7/10
It was to my relief that 'Marked Woman' works well as a film. Neither Davis and Bogart deliver work that is among their best and both went on to much better things, the best of which iconic work in film history. This is before either of them, well certainly Bogart as Davis was already showing some versatility if not quite had perfected it, had properly found their footing and found what they were best at in terms of namely types of roles. That is not to say that 'Marked Woman' is a bad film, in my view it is an interesting and good one that packs a punch, and Davis is served well.
For my tastes though, in an atypically non-gritty role with the gritty type of roles being one that he would embody later, Bogart is a little too subdued (one of the exceptions though being the closing speech which is very powerful) and doesn't seem as fully engaged. He is still watchable and the dynamic presence with Davis works very nicely.
Perhaps at times, 'Marked Woman' is a bit slow in the early stages with the set up taking a little too long to do so. The prison scene with Davis and Eduardo Ciannelli was a slight missed opportunity, that could have been a scene that wrenched the gut and chilled if it stayed with the film's overall uncompromising approach. But it took too much of an easy way out and censorship restrictions may have played some part in this.
However, Davis goes full throttle and gives a performance of intensity and poignancy. Ciannelli is persuasively sinister, while Isabell Jewel lives up to her surname and Allan Jenkins has a fun small role that doesn't jar. The production values are not audacious but to me they weren't that cheap, while the film is beautifully directed, never going too heavy handed or trivialising the subject. The music is haunting without being melodramatic.
The script is taut and thoughtful, also remarkably explicit for back then and not that tame now. Bogart's dialogue towards the end is quite powerful. The story is always absorbing, exploring a bold topic not covered to this much an extent at this particular time in a pulling no punches way. Did appreciate that there wasn't a romance as such, that may have had potential of slowing the film down and taking away from the tautness. When 'Marked Woman' gets going, it is swift in pace.
Summing up, very well done on the whole. 7/10
¿Sabías que…?
- TriviaDedicated to realism, Bette Davis left the set when the makeup department outfitted her with dainty bandages for the hospital scene following the physical attack on her character by mobsters. She drove to her own doctor and instructed him to bandage her as he would a badly beaten woman. When Davis returned to the studio lot, a gate guard saw her heavy bandages and in a panic called Hal B. Wallis to inform him Davis has been in a serious accident. Returning to the set, she declared, "You shoot me this way, or not at all!" They did.
- Citas
Mary Dwight Strauber: I'll get you, even if I have to crawl back from the grave to do it!
- Bandas sonorasMy Silver Dollar Man
(1937) (uncredited)
Music by Harry Warren
Lyrics by Al Dubin
Sung by Rosalind Marquis
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Detalles
- Fecha de lanzamiento
- País de origen
- Sitio oficial
- Idioma
- También se conoce como
- Marked Woman
- Locaciones de filmación
- Times Square, Manhattan, Nueva York, Nueva York, Estados Unidos(opening establishing shot)
- Productoras
- Ver más créditos de la compañía en IMDbPro
- Tiempo de ejecución1 hora 36 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 1.37 : 1
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What is the Spanish language plot outline for La mujer marcada (1937)?
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