Una chantajista con una cicatriz facial desfigurante conoce a un cirujano plástico que le ofrece la posibilidad de parecerse a una mujer normal.Una chantajista con una cicatriz facial desfigurante conoce a un cirujano plástico que le ofrece la posibilidad de parecerse a una mujer normal.Una chantajista con una cicatriz facial desfigurante conoce a un cirujano plástico que le ofrece la posibilidad de parecerse a una mujer normal.
- Dirección
- Guionistas
- Elenco
- Premios
- 3 premios ganados en total
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
Melvyn Douglas is perfectly cast as the handsome and heroic Dr. Segert, and Conrad Veidt plays Torsten Barring, the despicable charmer. Crawford's interpretation of a genuinely mean-spirited and heartless Anna develops into a complex character who wins our sympathy despite her evil intentions. It's a breath of fresh air to see Crawford not made up glamorously. There are no dazzling gowns or mascara-ed lashes to distract the viewer from Crawford's fabulous performance.
With a brilliant supporting cast (including the adorable Richard Nichols as the 4 year-old Lars-Erik, and Marjorie Main as the suspicious housekeeper), `A Woman's Face' ranks among the best Crawford films of all time. It is a must-see for anyone who wishes to see a well-made, fascinating tale of intrigue, love and human frailty.
The story progresses in an interesting way, with the plot unfolding during a murder trial. Each witness builds the story line, and the script has many unexpected plot twists, making this film anything but predictable.
This film is a good example of how skillful film makers create special effects without high-tech gadgetry. It's wonderful that we have films like this to show us what real movie-making is like.
A Woman's Face casts Crawford as the scarred and cynical leader of a gang of blackmailers and thieves who use a roadhouse cafe that she owns as the place to lure rich suckers and trim them. She was scarred shortly after her birth and on her right side looks like Gloria Grahame after Lee Marvin scalded her in The Big Heat.
Among a crowd she has one night are plastic surgeon Melvyn Douglas and no account count Conrad Veidt. Douglas is interested in her professionally, thinking he can work his plastic surgical magic. The problem is that people scorning her all her life has given Crawford a really cynical and rotten outlook on the human race.
That outlook however is just what Veidt wants. He wants to rope her into a plan to kill his young nephew so that he inherits the vast estate. On his recommendation Crawford is sent to Uncle Albert Basserman's estate to be Richard Nichols's governess. The better to gain access to the kid.
Still Crawford sees a chance for a new life and she's conflicted.
Considering this role looks tailor made for Garbo, Crawford delivers a very good performance running the gamut of emotions on screen. I also have to say that Veidt was one cunning devil of a villain. His scene with Crawford where he declares what he intends to do with the money from the estate is both chilling and timely for 1941. Definitely one of Veidt's best English language performances.
This one is a must for Joan Crawford fans.
Ingrid Bergman made the original movie in Sweden, and in the hands of MGM, it translated quite well with a superb performance from Joan Crawford, perhaps the best of her career, as a scarred, bitter woman who makes her living from blackmail. Her story is told in a series of flashbacks, as each character testifies at the woman's trial.
The performances, from MGM's able stable, are very good - Melvyn Douglas as a doctor, Conrad Veidt as an evil man who wants to use Crawford for his own ends (he described himself in this film as "Lucifer in a tuxedo"), Osa Massen, Albert Basserman, Donald Meek, Henry Daniell, George Zucco, and Marjorie Main. Richard Nichols, as the little boy Lars-Erik, sports the same southern accent in Sweden as he did in France in "All This and Heaven, Too."
Crawford is excellent, and one wonders if the role of Anna didn't strike a chord with her given her difficult childhood. Under Cukor's direction, she handles the role beautifully.
A very good movie, and an exciting sleigh ride at the end that you won't want to miss.
¿Sabías que…?
- TriviaDirector George Cukor wanted Anna's recital of her life story to be done in a tired, mechanical fashion, so he had Joan Crawford repeat the multiplication tables over and over until he got the monotonous tone he was looking for. Then, he rolled the cameras.
- ErroresWhen Anna visits Barring, he pours himself a drink and places it on the table without drinking it. On the following cut after speaking with Anna, he again picks up the bottle and pours himself a drink.
- Citas
Vera Segert: Gustaf. Gustaf. Can't I... Can't we... I made such a mistake.
Dr. Gustaf Segert: I'm sorry, Vera.
Vera Segert: Oh, but Gustaf... Just for one tiny little mistake?
Dr. Gustaf Segert: Which one are you referring to?
Vera Segert: Why that miserable little Robert... Oh, who else were you thinking of?
Dr. Gustaf Segert: I was thinking of George.
Vera Segert: Oh, I hate George now.
Dr. Gustaf Segert: And wasn't there a man named Eric?
Vera Segert: Oh Gustaf, next week is our anniversary.
Dr. Gustaf Segert: You celebrate it, dear. I'm afraid I can't.
- Versiones alternativasThere is an Italian edition of this film on DVD, distributed by DNA Srl: "VOLTO DI DONNA (1941) + DONNE (1939) + Extraño cargamento (1940)" (3 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConexionesFeatured in You Can't Fool a Camera (1941)
Selecciones populares
- How long is A Woman's Face?Con tecnología de Alexa
Detalles
Taquilla
- Presupuesto
- USD 1,343,000 (estimado)
- Tiempo de ejecución1 hora 46 minutos
- Color
- Relación de aspecto
- 1.37 : 1