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IMDbPro

Violencia

Título original: The Chase
  • 1946
  • Approved
  • 1h 26min
CALIFICACIÓN DE IMDb
6.4/10
2.9 k
TU CALIFICACIÓN
Michèle Morgan and Robert Cummings in Violencia (1946)
Film NoirCrimeDramaRomanceThriller

Agrega una trama en tu idiomaChuck Scott gets a job as chauffeur to tough guy Eddie Roman; but Chuck's involvement with Eddie's fearful wife becomes a nightmare.Chuck Scott gets a job as chauffeur to tough guy Eddie Roman; but Chuck's involvement with Eddie's fearful wife becomes a nightmare.Chuck Scott gets a job as chauffeur to tough guy Eddie Roman; but Chuck's involvement with Eddie's fearful wife becomes a nightmare.

  • Dirección
    • Arthur Ripley
  • Guionistas
    • Philip Yordan
    • Cornell Woolrich
    • Jacqueline Duffie
  • Elenco
    • Robert Cummings
    • Michèle Morgan
    • Steve Cochran
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.4/10
    2.9 k
    TU CALIFICACIÓN
    • Dirección
      • Arthur Ripley
    • Guionistas
      • Philip Yordan
      • Cornell Woolrich
      • Jacqueline Duffie
    • Elenco
      • Robert Cummings
      • Michèle Morgan
      • Steve Cochran
    • 69Opiniones de los usuarios
    • 43Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 nominación en total

    Fotos99

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    + 94
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    Elenco principal31

    Editar
    Robert Cummings
    Robert Cummings
    • Chuck Scott
    Michèle Morgan
    Michèle Morgan
    • Lorna Roman
    • (as Michele Morgan)
    Steve Cochran
    Steve Cochran
    • Eddie Roman
    Lloyd Corrigan
    Lloyd Corrigan
    • Emmerrich Johnson
    Jack Holt
    Jack Holt
    • Cmdr. Davidson
    Don Wilson
    Don Wilson
    • Fats
    Alexis Minotis
    Alexis Minotis
    • Lt. Acosta
    Nina Koshetz
    • Madame Chin
    • (as Nina Koschetz)
    Yolanda Lacca
    • Midnight
    James Westerfield
    James Westerfield
    • Job - the Butler
    Jimmy Ames
    Jimmy Ames
    • The Killer
    Shirley O'Hara
    Shirley O'Hara
    • Manicurist
    Peter Lorre
    Peter Lorre
    • Gino
    Florence Auer
    Florence Auer
    • Miss Connors
    • (sin créditos)
    Spencer Chan
    Spencer Chan
    • Customer Patron
    • (sin créditos)
    Herbert Evans
    Herbert Evans
    • Havana Cafe Customer
    • (sin créditos)
    Tom Ferrandini
    • Nightclub Patron
    • (sin créditos)
    Bess Flowers
    Bess Flowers
    • Nightclub Patron
    • (sin créditos)
    • Dirección
      • Arthur Ripley
    • Guionistas
      • Philip Yordan
      • Cornell Woolrich
      • Jacqueline Duffie
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios69

    6.42.9K
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    Opiniones destacadas

    10MOscarbradley

    Totally bizarre and absolutely unmissable

    As a director Arthur Ripley only made six feature films but nothing in that short career quite prepares you for the gem that was "The Chase", which he made in 1946 and which Philip Yordan adapted from a Cornell Woolrich story. It's certainly bizarre, as down-on-his-luck Robert Cummings, (why Robert Cummings I keep asking myself), finds a wallet belonging to gangster Steve Cochran who, when he returns it, hires him as a chauffeur and that's when his troubles really begin, particularly when Cochran's frightened wife, Michele Morgan, asks him to help her get away from her husband.

    Everything about this film is surprising and I just don't mean the plot. Cochran's a thug but he lives in a kitsch mansion filled with marble statues and he likes to listen to classical music while Cumming's a veteran who is also a dab hand on the piano. Perhaps the biggest surprise is just how good both these actors are. Being a gangster Cochran naturally has to have a henchman and as always Peter Lorre is superb in the part. About midway through you might start to get an idea in which direction this very strange movie is going and you may even be right...but on the other hand. Needless to say, "The Chase" has all but disappeared but if any film deserves cult status this is it. Unmissable.
    7hitchcockthelegend

    Have you ever been afraid? Really afraid?

    The Chase is directed by Arthur Ripley and adapted to screenplay by Philip Yordan from the novel The Black Path of Fear written by Cornell Woolrich. It stars Robert Cummings, Steve Cochran, Michèle Morgan, Peter Lorre and Jack Holt. Music is by Michel Michelet and cinematography comes from Frank F. Planer. Plot finds Cummings as World War II veteran Chuck Scott, drifting and skint, he finds a wallet and returns it to the owner. The owner is one Eddie Roman (Cochran), an apparently wealthy and thriving business man who repays Chuck's honesty by giving him a job as a chauffeur. Nothing from here on in will ever be the same....

    The Chase is one of those films that fell in to the public domain, got a cult following in spite of the number of bad prints out there, and now arguably deserves a place on the must see list of film noir enthusiasts. Bad prints aside, The Chase deals in oppressive atmosphere and lives in the void caught between a dream and a nightmare. Ripley (Thunder Road 1958) crafts his whole film in a dream state, keeping it mostly nocturnal, he and photographer Franz Planer thrive on Woolrich's premise and use slow pacing and shadow play to smoother the characters. It feels stifling, odd even, but with a couple of tricks up his sleeve, Ripley garners maximum impact by disorientating the viewer for the wonderfully absurd ending. Some may call out cheat, others are likely to enjoy its Wellesian feel, either way it's certainly a film that can't be called dull.

    Cummings is fine as the good guy suddenly finding his world shifting sideways in a blur of pills, sleep and perfume, while Morgan registers nicely - even if ultimately she's underused and often her character is just there to make a romantic point. Cochran, in only his second year of acting, is a dominating and frightening force as the handsome and oily Roman. It's a menacing portrayal of a character who slaps his women around and literally will stop at nothing to get his way. But even Cochran is trumped by yet another weasel turn from Lorre, standing on the side of his boss spitting flem as well as sarcastic quips, Lorre alone is enough to seek the film out for a viewing. Good secondary support comes from Jack Holt in an important small role.

    It doesn't push any boundaries or hold up as being hugely influential in the film noir cycle. But it's a relevant piece of work in that cycle, and certainly recommended to those interested in dream like oppression. 7/10
    wrbtu

    Exciting film noir with good performances & a tough script

    This is an exciting film noir with good performances & a tough script by Woolrich (anytime you see his name associated with a movie, it's a sign of quality, even for low budget series like Robert Dix's "The Whistler"). Robert Cummings gives one of the best performances of his life, because he avoids all those "Love That Bob" clichés he used to do so well (but sometimes, so inappropriately). Steve Cochran is very menacing & very sick as a sadistic mobster who wants to control everyone & everything around him (wait til you see his car, it's really neat!). Peter Lorre is prime Lorre, in a menacing role as Cochran's henchman. Michele Morgan is suitable as Cochran's sultry wife. The plot is not new, we've seen it before (& after), about an unhappily married wife who uses a friend to escape her husband. But the story's done in an interesting way, with some unusual aspects to it. There's plenty of shadows & lots of the movie takes place at night. The Chase moves at fast pace for the first 50 minutes or so, then slows down to catch it's breath, & then speeds up again near the end. I rate it 8/10.
    8mbking

    Unsung Noir packs a punch!

    The first time I saw this film, I was mesmerised by the moody cinematography, the perfect casting of all the players and the unexpected twists and turns of the plot. Similar to the Noir classics, DOUBLE INDEMNITY and OUT OF THE PAST, the hero (Robert Cummings) is drawn into a web of intrigue by a beautiful woman (Michele Morgan), but in this case she turns out to be a legitimate "dream walking." The film was even better the second time around, as I could savour the various clues sprinkled throughout. Even by today's standards, Steve Cochran, Peter Lorre and their canine friend have to rank high among the screen's most vicious heavies. Vastly underrated, THE CHASE will set your heart a thumping! (According to the 2001 Maltin MOVIE & VIDEO GUIDE, it is now available on video)
    dougdoepke

    A Surreal Sleeper

    A troubled ex-serviceman gets a job with a crime boss and his disturbed wife.

    A 'find' for me and perhaps for other fans of noir. The 80-minutes are a perfect blend of dark visuals and surreal story. Frankly, when I think noir, I don't think Bob Cummings, an excellent light comedy actor, but hardly a figure of depth. But here, he essays the role of the troubled vet in subtle and persuasive ways. The nightclub scenes in Havana are particularly revealing, as the chaotic gaiety swirls around Scott (Cummings) and his spacey lover Lorna (Morgan)—a perfect metaphor for their circumstance.

    A number of touches make this a memorable film. Casting Lorre as Gino was a coup, since his quietly devilish imp casts a background shadow over the proceedings. That's significant because Cochran, the alleged crime boss, comes across as a rather charming fellow even if he's behind dark deeds. Then there's that scene in the wine cellar, unlike any I've seen, and shrewdly abbreviated to catch the imagination. Also, catch Lorna's cameo framing through the porthole with shadows rising and falling over her face, as her nature itself migrates between light and dark. Add to the mix a speeding locomotive as the hand of fate, and a weirdly backseat driver that really is a backseat driver, and you've got an appropriately noirish race against time. And, of course, mustn't leave out the final scene so perfectly calibrated to end the film on a provocatively surreal note.

    The movie's full of such imaginative twists and turns as penned by two of the best in the business, Woolrich and Yordan. I'm not sure why the movie's generally overlooked in the noir canon, perhaps because of Bob Cummings and his lightweight reputation, plus the lack of a true spider woman. Nonetheless, it's a provocative little gem, and one that prompts rare second thoughts long after the screen has gone dark.

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    7.3
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    6.3
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    6.7
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    7.7
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    Impacto
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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      Underwent a restoration in 2012 by the UCLA Film & Television Archive.
    • Errores
      The car speeds towards the oncoming train at 110 mph. The car's brakes are slammed on when it's about 30 feet from the track and then it skids to a stop within one or two car lengths. Defies physical law.
    • Citas

      Eddie Roman: [after getting his lost wallet returned] How do you like that for an honest guy!

      Gino: I don't... Silly, law-abiding jerk.

    • Créditos curiosos
      Steve Cochran (courtesy of Samuel Goldwyn)
    • Versiones alternativas
      There is an Italian edition of this film on DVD, distributed by DNA srl, "SABBIE MOBILI (1950) + THE CHASE (Incatenata, 1946)" (2 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.
    • Conexiones
      Edited into Terror in the Pharaoh's Tomb (2007)

    Selecciones populares

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    Preguntas Frecuentes15

    • How long is The Chase?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 19 de septiembre de 1947 (México)
    • País de origen
      • Estados Unidos
    • Idiomas
      • Inglés
      • Español
    • También se conoce como
      • The Chase
    • Locaciones de filmación
      • Hollywood, California, Estados Unidos
    • Productora
      • Nero Films
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 26 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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    Michèle Morgan and Robert Cummings in Violencia (1946)
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