[go: up one dir, main page]

    Calendario de lanzamientosLas 250 mejores películasPelículas más popularesBuscar películas por géneroPelículas más taquillerasHorarios y entradasNoticias sobre películasNoticias destacadas sobre películas de la India
    Qué hay en la televisión y en streamingLos 250 mejores programas de TVLos programas de TV más popularesBuscar programas de TV por géneroNoticias de TV
    Qué verÚltimos tráileresTítulos originales de IMDbSelecciones de IMDbDestacado de IMDbFamily Entertainment GuidePodcasts de IMDb
    OscarsPride MonthAmerican Black Film FestivalSummer Watch GuidePremios STARmeterInformación sobre premiosInformación sobre festivalesTodos los eventos
    Nacidos un día como hoyCelebridades más popularesNoticias sobre celebridades
    Centro de ayudaZona de colaboradoresEncuestas
Para profesionales de la industria
  • Idioma
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista de visualización
Iniciar sesión
  • Totalmente compatible
  • English (United States)
    Parcialmente compatible
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usar app
  • Elenco y equipo
  • Opiniones de usuarios
  • Trivia
  • Preguntas Frecuentes
IMDbPro

Pigmalión

Título original: Pygmalion
  • 1938
  • Approved
  • 1h 36min
CALIFICACIÓN DE IMDb
7.7/10
10 k
TU CALIFICACIÓN
Pigmalión (1938)
Period DramaComedyDramaRomance

Un experto en fonética y dicción apuesta a que puede enseñarle a una florista a hablar inglés correctamente y hacerse pasar por una dama de la alta sociedad.Un experto en fonética y dicción apuesta a que puede enseñarle a una florista a hablar inglés correctamente y hacerse pasar por una dama de la alta sociedad.Un experto en fonética y dicción apuesta a que puede enseñarle a una florista a hablar inglés correctamente y hacerse pasar por una dama de la alta sociedad.

  • Dirección
    • Anthony Asquith
    • Leslie Howard
  • Guionistas
    • George Bernard Shaw
    • W.P. Lipscomb
    • Cecil Lewis
  • Elenco
    • Leslie Howard
    • Wendy Hiller
    • Wilfrid Lawson
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.7/10
    10 k
    TU CALIFICACIÓN
    • Dirección
      • Anthony Asquith
      • Leslie Howard
    • Guionistas
      • George Bernard Shaw
      • W.P. Lipscomb
      • Cecil Lewis
    • Elenco
      • Leslie Howard
      • Wendy Hiller
      • Wilfrid Lawson
    • 104Opiniones de los usuarios
    • 44Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Ganó 1 premio Óscar
      • 4 premios ganados y 5 nominaciones en total

    Fotos31

    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    Ver el cartel
    + 25
    Ver el cartel

    Elenco principal31

    Editar
    Leslie Howard
    Leslie Howard
    • Professor Henry Higgins
    Wendy Hiller
    Wendy Hiller
    • Eliza Doolittle
    Wilfrid Lawson
    Wilfrid Lawson
    • Alfred Doolittle
    Marie Lohr
    Marie Lohr
    • Mrs. Higgins
    Scott Sunderland
    • Colonel Pickering
    Jean Cadell
    Jean Cadell
    • Mrs. Pearce
    David Tree
    David Tree
    • Freddy Eynsford Hill
    Everley Gregg
    Everley Gregg
    • Mrs. Eynsford Hill
    Leueen MacGrath
    Leueen MacGrath
    • Clara Eynsford Hill
    • (as Leueen Macgrath)
    Esme Percy
    Esme Percy
    • Count Aristid Karpathy
    Violet Vanbrugh
    Violet Vanbrugh
    • Ambassadress
    Iris Hoey
    Iris Hoey
    • Ysabel - Social Reporter
    Viola Tree
    Viola Tree
    • Perfide - Social Reporter
    Irene Browne
    Irene Browne
    • Duchess
    • (as Irene Brown)
    Kate Cutler
    Kate Cutler
    • Grand Old Lady
    Cathleen Nesbitt
    Cathleen Nesbitt
    • A Lady
    • (as Kathleen Nesbitt)
    O.B. Clarence
    O.B. Clarence
    • A Vicar
    Wally Patch
    • First Bystander
    • Dirección
      • Anthony Asquith
      • Leslie Howard
    • Guionistas
      • George Bernard Shaw
      • W.P. Lipscomb
      • Cecil Lewis
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios104

    7.710.1K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Opiniones destacadas

    10theowinthrop

    Shaw's One Academy Award

    George Bernard Shaw was very wary about allowing his movies to be filmed. He had seen movies by other famous writers and dramatists thoroughly rewritten for the screen, and thoroughly wrecked as a result. So the greatest English speaking dramatist of the 20th Century held off from any involvement with motion pictures into the 1930s. Then he met Gabriel Pascal. Mr. Pascal was thoroughly honest. He admitted he did not have a cent to his name, but he also admitted a desire to produce all of Shaw's major plays as movies exactly as Shaw wanted them shown. Shaw was impressed and made an agreement giving Pascal a monopoly on all his plays for movie making. In return, Shaw was to be involved in the productions.

    It turned out to be a remarkably small but fruitful partnership. Of the over fifty plays of Shaw's output (not to mention several novels), only four were produced by Pascal. They are PYGMALION (1938), MAJOR BARBARA (1940), CAESAR AND CLEOPATRA (1945), and ANDROCLES AND THE LION (1952). They are all good films, and the first three have reason to be considered great. Shaw died in 1950, so he was not there to see (after Pascal's death) the decline in standards of films based on his plays - such as Otto Preminger's brave attempt at ST. JOAN, and the wretched THE MILLIONAIRESS with Peter Sellers and Sophia Loren.

    PYGMALION was a good choice for the first of the series, probably as it was the most popular comedy by Shaw. It was also one of the most controversial plays because of the problem that bedeviled the original production of 1914 and has effected it ever since: how is it supposed to end? Will Higgins and Eliza put aside their differences and admit they love each other and come together at the end?

    Shaw clearly felt that Pygmalion Higgins and Galatea Doolittle were doomed not to end in an embrace. He wanted the audience to be left thinking of Eliza as one of the 20th Century's "New Women", who is independent and strong, not just a piece of weak clay to be kneaded by an artistic and overpowering male ego. In the dialog (which he uses in the play and in the movie script) Shaw insisted that Eliza favors Freddy Eynesford-Hill over Higgins because Freddy is a weakling. All her life she has been dominated by strong men (first her father Alfred, then Higgins, and (although he is kinder) Col. Pickering). Freddy is the first one to show his need for guidance and help - he is shown at the beginning of the play as little better than a servant for his mother and sister, getting them a cab in the rain.

    But Shaw did not have an easy time with this view. The play was produced by Sir Herbert Beerbohm Tree, one of England's leading stars of the Edwardian and Georgian stage (he was brother of critic and writer Sir Max Beerbohm, and his son David Tree plays Freddy in this film version). Beerbohm Tree felt that there was a real romance between Higgins and Doolittle, and insisted on playing it like that, to the point of throwing a bouquet of flowers to Eliza as she is leaving. Shaw was furious at this, and wrote a seven page afterword which (mercifully) is never read at productions. I saw Peter O'Toole as Higgins in 1988, with Amanda Plummer as Eliza, Lionel Jeffries as Pickering, and the late Sir John Mills as Alfred Doolittle, and the play ended on the right note of uncertainty wanted. It did not have a thin, bearded actor as Shaw coming out to read the afterward.

    In this afterward, Shaw said that Eliza learns from the brutal Higgins he is a confirmed bachelor devoted to his mother (an interesting psychological point there that another play could have been built from). She does marry Freddy, and (as Higgins had sneered) things are tough - though not due to Freddy being unfaithful but that he is not very sharp. But Col. Pickering helps them set up a florist business, and after awhile it prospers. Clara Eynesford-Hill (whose character is barely developed in the play or on the screen) does become a friend of the socialist and novelist H.G.Wells. Alfred Doolittle, after getting speech lessons from Higgins, becomes a popular speaker and writer on social issues. As you can see, Shaw's anger got the better of him.

    Shaw was convinced by Pascal (for business reasons) to soften the conclusion, by showing Eliza fleeing Higgins in Freddy's car, Higgins walking alone through London to his home, slamming the door of his study, causing the phonograph to go on, playing a record of Eliza's old voice talking. As he sits with head in his hands, Eliza shows up at the door, turns off the machine, and starts talking as on the record. But Higgins realizes it is her, although he does not turn around. He sits back with a happy, if smug expression on his face, pulls his hat down over his eyes, and says (shot from his back to Eliza), "Where the devil are my slippers, Eliza?" It is suggestive of a meeting of two souls, but it leaves it still in the air. It is superior to that idiotic afterward.

    George Bernard Shaw won his only Oscar for a screenplay for PYGMALION. It is a brilliant play and script, given top notched direction by Anthony Asquith and Leslie Howard, with Howard giving one of his three top performances in it as Higgins - ably matched by Wendy Hiller as Eliza and Wilfred Lawson as Doolittle. And it's conclusion was so good, it was kept by Learner and Lowe for MY FAIR LADY on stage and screen.
    robertguttman

    The definitive film version of the Shavian classic

    This remains the definitive film version of the Shavian classic. As in any of Shaw's plays, the essence of Pygmalion rests upon sharp dialogue rather than splashy musical numbers, and upon character rather than action.

    Wendy Hiller makes an infinitely better Eliza Dolittle than the miscast Audry Hepburn. Hiller's transformation from flower-girl to lady is astonishing. On the other hand, one never believes Hepburn in the role of a "draggle-tailed gutter-snipe". She comes off like a dressed-down fashion model putting on an accent.

    Leslie Howard's performance is far more subtle, and far less strident, then Rex Harrison's. Perhaps Howard would have been offered the lead role in My Fair Lady in preference to Rex Harrison had he lived longer (he was shot down in a plane in 1943). The two actors were not that much different in age and, if Leslie Howard was not noted as a singer, neither was Rex Harrison.
    10kelly_r_1983

    They don't get much better than this one.

    Nearly 70 years later the Gabriel Pascal "Pygmalion" still sets the bar for film adaptation of a stage play. So much so, in fact, that the GBS incorporated many of the film's upgrades into the authoritative published version of the play, despite the play being more than 20 years old when the film was made.

    When was the last time you saw a performance leap off the screen like Leslie Howard's as Professor Higgins? Shaw never saw such treatment on screen again, even under Pascal's hand. The film of "Major Barbara" is interesting (and a bit bizarre toward the end) in its own right, with some magnificent bits in the Act II homeless shelter and a heart-wrenching Wendy Hiller, but pales next to the stage version in its intellectual, political and dramatic depth. And all the rest, even the charming "Caesar and Cleopatra" with Raines and Leigh, just don't cut it compared to the plays.

    "Pygmalion" is where any screenwriter needs to start in adapting a play for the movies. No one has done it better since.

    (BTW, GBS's afterward to "Pygmalion" is intended to be tongue-in-cheek, I think. It's intentionally ridiculous, so that the mob clamoring for a romantic ending would realize just how inappropriate and uninteresting that would have been.)
    10ted puff

    One of the greatest of all British films.

    Perfect cinema. That was my reaction when I first saw Pygmalion, the first of 50 viewings and counting, and I still think so. Who could not fall in love with Leslie Howard, one of our greatest actors, so tragically assassinated in the Second World War? Wendy Hiller IS Eliza. The cast is flawless. The script... words fail me, for George Bernard Shaw was a genius, he did not simply adapt his play for the screen, it is so good that it is like it's happening before your eyes. My God, after seeing this is there anyone out there who thinks 'My Fair Lady', the slowest film musical on record, is the best screen version of Shaw? If they do, they are mad.

    That film moves me not one jot, everything is so clean, so smug, so unreal. Here we see poverty, but also hope. These are not actors and actresses moving through the sets garbed in Cecil Beaton, but real people, real suffering, but humanity lights every scene like a beacon. The unbearably moving scenes of Eliza capturing society at the ball, the irresistible waltz, watch this with no tears in your eyes, I dare you. Halliwells Film Guide calls this 'one of the most heartening and adult British films of the thirties'. Too right. I cannot fault this film, it is priceless. By the way, I saw 'My Fair Lady' on stage recently, and it's miles better than the film version. Warner Bros really let Shaw down, and it's impossible to put it right. But this...well it is a big compensation. And I don't miss the songs one little bit.

    There are so many classic scenes I can't pick any out. Of course viewers will spot that it was 'updated' to 1938, and the original play set in the Edwardians. That doesn't hurt it at all, 'polite' society didn't change much in the intervening years and gives the play an added 'contemporary' edge. Please, please, please see this film. You will be gripped.
    9kenjha

    Superb Shaw

    Shaw's brilliant play is expertly filmed by Howard and Asquith. Howard is perfectly cast as the snobbish Professor Higgins and is matched by Hiller, in her second film, as Eliza Doolittle. The fine supporting cast includes Sunderland, Lawson, and Lohr, who's terrific as Mrs. Higgins. It is difficult to make a bad film of this work, given Shaw's witty dialog, but film performance is different from stage performance, with film calling for more subtlety. The love-hate relationship between the professor and Eliza works wonderfully because Howard and Hiller provide the right combination of humor and humanity. Howard's role here is in sharp contrast to the wimpy Ashley the following year in "Gone with the Wind."

    Más como esto

    Adiós Mr. Chips
    7.9
    Adiós Mr. Chips
    Love Affair
    7.3
    Love Affair
    La fuerza bruta
    7.8
    La fuerza bruta
    Los invasores
    7.3
    Los invasores
    Los enredos de una dama
    7.8
    Los enredos de una dama
    Pygmalion
    6.7
    Pygmalion
    Ninotchka
    7.8
    Ninotchka
    Entre bastidores
    7.7
    Entre bastidores
    Four Daughters
    6.9
    Four Daughters
    Lady for a Day
    7.4
    Lady for a Day
    Me casé con una bruja
    7.1
    Me casé con una bruja
    Cena de medianoche
    7.3
    Cena de medianoche

    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      The scene in which Eliza accidentally swallows a marble while having an elocution lesson does not appear in the original play. During rehearsals for this scene, a pained expression came over Wendy Hiller's face. When she spat out the marbles she had in her mouth, she said, "Leslie, I've swallowed one!" to which Leslie Howard replied, "Never mind, there are plenty more." This caused such amusement among the watching crew that it was added to the movie and to its musical version, Mi bella dama (1964).
    • Errores
      After the ball when Mrs. Pearce serves Professor Higgins his tea, the shadow of the camera can be seen in the bottom left, moving back across his blanket.
    • Citas

      Eliza Doolittle: Walk? Not bloody likely. I'm going in a taxi.

    • Créditos curiosos
      Opening credits prologue: PYGMALION WAS A MYTHOLOGICAL CHARACTER WHO DABBLED IN SCULPTURE. HE MADE A STATUE OF HIS IDEAL WOMAN-GALATEA. IT WAS SO BEAUTIFUL THAT HE PRAYED THE GODS TO GIVE IT LIFE. HIS WISH WAS GRANTED.

      BERNARD SHAW IN HIS FAMOUS PLAY GIVES A MODERN INTERPRETATION OF THIS THEME.
    • Versiones alternativas
      This film was made a year before the Hays Office gave Clark Gable permission to say "Frankly, my dear, I don't give a damn", so while in the British prints of this film Leslie Howard often utters the word, in the American prints the word "damn" is replaced by either "hang" or "confounded".
    • Conexiones
      Featured in Metro-Goldwyn-Mayer's Big Parade of Hits for 1940 (1940)

    Selecciones populares

    Inicia sesión para calificar y agrega a la lista de videos para obtener recomendaciones personalizadas
    Iniciar sesión

    Preguntas Frecuentes17

    • How long is Pygmalion?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 1 de julio de 1939 (México)
    • País de origen
      • Reino Unido
    • Idioma
      • Inglés
    • También se conoce como
      • Pygmalion
    • Locaciones de filmación
      • Pinewood Studios, Iver Heath, Buckinghamshire, Inglaterra, Reino Unido(studio: made at Pinewood Studios England)
    • Productora
      • Pascal Film Productions
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • GBP 87,000 (estimado)
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 36 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

    Contribuir a esta página

    Sugiere una edición o agrega el contenido que falta
    Pigmalión (1938)
    Principales brechas de datos
    What is the Spanish language plot outline for Pigmalión (1938)?
    Responda
    • Ver más datos faltantes
    • Obtén más información acerca de cómo contribuir
    Editar página

    Más para explorar

    Visto recientemente

    Habilita las cookies del navegador para usar esta función. Más información.
    Obtener la aplicación de IMDb
    Inicia sesión para obtener más accesoInicia sesión para obtener más acceso
    Sigue a IMDb en las redes sociales
    Obtener la aplicación de IMDb
    Para Android e iOS
    Obtener la aplicación de IMDb
    • Ayuda
    • Índice del sitio
    • IMDbPro
    • Box Office Mojo
    • Licencia de datos de IMDb
    • Sala de prensa
    • Publicidad
    • Trabaja con nosotros
    • Condiciones de uso
    • Política de privacidad
    • Your Ads Privacy Choices
    IMDb, una compañía de Amazon

    © 1990-2025 by IMDb.com, Inc.