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IMDbPro

El corazón lleva una máscara

Título original: WUSA
  • 1970
  • PG-13
  • 1h 55min
CALIFICACIÓN DE IMDb
5.5/10
1.5 k
TU CALIFICACIÓN
Paul Newman and Joanne Woodward in El corazón lleva una máscara (1970)
A radio station in the Deep South becomes the focal point of a right-wing conspiracy.
Reproducir trailer2:09
1 video
96 fotos
DramaRomance

Una emisora de radio del Sur se convierte en el punto de una conspiración de la derecha.Una emisora de radio del Sur se convierte en el punto de una conspiración de la derecha.Una emisora de radio del Sur se convierte en el punto de una conspiración de la derecha.

  • Dirección
    • Stuart Rosenberg
  • Guionista
    • Robert Stone
  • Elenco
    • Paul Newman
    • Joanne Woodward
    • Anthony Perkins
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    5.5/10
    1.5 k
    TU CALIFICACIÓN
    • Dirección
      • Stuart Rosenberg
    • Guionista
      • Robert Stone
    • Elenco
      • Paul Newman
      • Joanne Woodward
      • Anthony Perkins
    • 37Opiniones de los usuarios
    • 25Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 2 nominaciones en total

    Videos1

    Trailer
    Trailer 2:09
    Trailer

    Fotos96

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    Elenco principal66

    Editar
    Paul Newman
    Paul Newman
    • Rheinhardt
    Joanne Woodward
    Joanne Woodward
    • Geraldine
    Anthony Perkins
    Anthony Perkins
    • Rainey
    Laurence Harvey
    Laurence Harvey
    • Farley
    Pat Hingle
    Pat Hingle
    • Bingamon
    Don Gordon
    Don Gordon
    • Bogdanovich
    Michael Anderson Jr.
    Michael Anderson Jr.
    • Marvin
    Leigh French
    Leigh French
    • Girl
    Bruce Cabot
    Bruce Cabot
    • King Wolyoe
    Cloris Leachman
    Cloris Leachman
    • Philomene
    Moses Gunn
    Moses Gunn
    • Clotho
    Wayne Rogers
    Wayne Rogers
    • Minter
    Robert Quarry
    Robert Quarry
    • Noonan
    Skip Young
    Skip Young
    • Rep. Jimmy Snipe
    B.J. Mason
    B.J. Mason
    • Roosevelt Berry
    Sahdji
    Sahdji
    • Hollywood
    Geoff Edwards
    Geoff Edwards
    • Irving - Disc Jockey
    Hal Baylor
    Hal Baylor
    • Shorty
    • Dirección
      • Stuart Rosenberg
    • Guionista
      • Robert Stone
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios37

    5.51.4K
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    Opiniones destacadas

    6HenryHextonEsq

    A case of potential untapped, but good to see something on this...

    Whilst I would make it clear that I enjoyed much of this film, I would make it equally clear that I found a fair amount of it ill-developed and tediously clunky.

    It is a ripe political melodrama, clearly borne out of passions and disappointments which arose from the particular year of 1968 and lingered long into the 1970s. I don't think I could make much argument with the previous commentator's view that the film is made from a certain left-liberal point of view. But a moderate left-liberal stance, and tacitly so. Despite saying that, Anthony Perkins' character - an embodiment in many ways of the "liberal" stereotype - is not made particularly sympathetic. Well-meaning, obsessive, anguished and humourless, I would agree with the Time Out reviewer that it was astute - if unimaginative - casting. Perkins comes across as if his Norman Bates persona has been relocated to late-sixties urban America and forcibly invested with a political conscience.

    Paul Newman, who shares perhaps too few scenes with his nemesis Perkins, is also rather good, as the wanderer with a certain cocksure touch, who easily becomes an on-air "communicator" for this WUSA radio station - which is involved in fraudulent dealings and far-right preachings. Newman is every inch the tabloid professional; he is able to claim that he has no agenda and is 'just doing a job'. His political views are ambiguous; his final speech indeed suggesting he has no real belief in the "new right". It difficult to precisely gauge what makes the character tick, besides an vague cynicism; he is as flawed and formidable as Perkins, but diametrically opposite, with his rejection of abstract morality: his behaviour set on a course of mere self-aid. He proves to be the adept survivor, in contrast to genuine ideologues of left or right, but he has no moderation instinct, and turns out somewhat troubled, baffled even, at the film's appropriately frazzled conclusion.

    Then there is Joanne Woodward; first film I have seen her in, and one of I gather, many, with Newman. Her character is a trifle ineffectual, present, as if a chess piece, to engage the elusive Reinhardt's desires for a period, and to provide a more 'ordinary' site of audience identification, who does not have right or left-wing politics, and does have more endearing traits: at least compared with Reinhardt. Woodward is quite memorable, cutting a wilting, waning figure as this unfortunate woman, herself much as transitory as Newman at the film's beginning. If she convinces as a 'realistic' character, it is albeit as one implicitly used to condemn the excesses of the New Right and the confrontational politics of the time. Her sickly teariness near the close, and the fact of her being the only person in the riotous hall to listen to Newman's absurdest "we're o.k.!" irony, suggests an idealised 'ordinary person' wrapped up in harmful political events. This is all rather undignified and melodramatic to stand for one who is expected to take this overwrought stuff seriously, and merely serves to draw out some of Reinhardt's humanity for the ending.

    Newman does invest Reinhardt with a portion of his customary charm, but this is largely and effectively shown to be a front. Woodward is taken in, like the general audience as it were, by this superficial charm, and she ends up broken both by Newman's inconsistent, careless attitude and by the rupturing of the society depicted.

    The film does not go far enough with many of its themes, and I did expect rather more in the dramatic and comic departments - if melodrama is going to work it needs either grand force or a bathetic line in absurdity. The whole lacks humour: born of a self-consciously 'serious' grounding in the subjectivity of U.S. politics in the late-sixties era. On this point, note that Laurence Harvey is vastly under-used; and he of that deeply substantial and bizarre masterpiece of a political thriller, "The Manchurian Candidate"... And additionally, we never see enough of Newman's dealings and relationships with his Rightist colleagues - similarly to how we never see Perkins in the broader context of Left politics. Loose ends were certainly left untied as regards Perkins' character.

    I did on the whole quite enjoy this, but it was not a particularly entertaining film: variable in its plotting, dialogue and tone. A case of potential untapped? Undoubtedly. But it is worth paying close attention to those central performances, and it is at least part of its era's Hollywood; markedly less 'safe' and conformist then than now.
    8joy314

    A powerful piece

    I have to agree with those who praise this film and realize that its not everyone's cup of tea. Although I appreciate the criticisms that some reviewers have leveled, it is wise to keep in mind that it is unfair to criticize a film 30+ years after its release through a contemporary lens. The sense of humor that some have found "lacking" is something that develops with the objectivity of lapsed time. During the late 1960's, many of us found little humor in the assassinations and general insanity that seemed to fill the political landscape. Like the previous reviewer, I, too, have been looking for this film for years and hope to see it on DVD one day soon. I found it to be a powerful piece.
    9shepardjessica

    Underrated political gem!

    I know this film bombed and has some platitudes that are unbelievable script-wise, but I can't believe the ratings people give this. I've been searching for this film for years (having seen in 1970) and it's haunted me. Newman, Woodward, and T. Perkins are awesome with an interesting character by Cloris Leachman. I love the script that has some holes, but 1970 was the perfect year for this type of story.

    No matter what your political stance is OR was, this has something for everyone. Throw in Pat Hingle and Laurence Harvey as a preacher, it's Americana at it's most corrupt in a turbulent time (that I almost miss). If you can find this somewhere, give it a shot. An 8 out of 10. Best performance = Anthony Perkins.
    8fardarter

    American History and Oblivion

    As a relatively recent resident of the US, I continue to be astonished at how quickly American audiences forget their own history. I saw WUSA many years ago when I still lived in my native Italy (the Italian version was titled "Un Uomo Oggi" = "A Man Today"!). Two snippets of the film have been with me for all these years. The first is the radio host that invites all to drop what they are doing, go to the window, open it, and start screaming something like "I am fed up and I will no longer put up with this!" The second snippet is the last line delivered in the movie by the character interpreted by Paul Newman -- and I will not say what it says to avoid spoiling it. The themes are big and understandably audiences nowadays are impatient of 'dialog that sounds like speeches' (to quote an unfair reviewer on this site). The south, the issues of bigotry, racism, the Seventies, civic disobedience. At least the dialog has something to say, unlike so many films of the past 30 years. There is so much recent American history in this movie that it should be a mandatory assignment for college-age kids. Most people happily ignore its existence. Is there a way to convince anyone to make this piece available in DVD? It is too important to be neglected. No matter what Roger Greenspun says in his review appeared in the New York Times of November 2, 1970. In those days the Vietnam War coverage in the media made every single political reference seem like another opportunity for constipated American audiences to launch into yet one more conspiracy theory. And the Grenspun review blames WUSA for being 'ponderously allusive'. Maybe, with the hiatus of the past thirty-something years, the allusiveness will seem by now much less allusive and, who knows, we might enjoy this beautiful rendition of Robert Stone's novel. Besides the big issues, however, the movie is quite enjoyable. My vote of 8 only evaluates the viewing pleasure as entertainment.
    7jcplanells3

    An important film of the seventies

    When I first saw this movie in 1971, it impressed me, and my friends, very much. I saw it at least 4 or 5 times. This is one of the most important films of the '70, a political fiction of its time... but in a revision a few days ago in VHS, a film that seems as new as before, very actual. Although I think that Rosenberg was not the most indicate director for this film (Frankenheimer seems to me a most appropriate election, due to his asphyxiating atmospheres), the strong of the story and the interpretation of an extraordinary Anthony Perkins, among the others actors, gives its force to the movie. It is a pity that there are no DVD edition (I suspect that the Spanish exhibition in its time was very censured...) for to see that film in good conditions. The people that doesn't know are missing a very notable film. I liked so much that in my blog I have written a long essay about the film, for the benefit of the young people that doesn't know it.

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    Argumento

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    • Trivia
      Paul Newman researched the role by spending time at radio station KMPC in Los Angeles. The teen intern assigned to show him the operation was Ken Levine, who became a disc jockey before going on to be a writer on M*A*S*H (1972), Cheers (1982) and Frasier (1993), and a producer and director of other TV shows.
    • Citas

      Rheinhardt: I'm a survivor. Ain't that great?

    • Versiones alternativas
      The preview version ran 3hrs and 10 minutes according to cast member Robert Quarry. Much of his character and several other characters' motivation and dramatic development scenes were cut out before release.
    • Conexiones
      Referenced in The Zodiac Killer (1971)
    • Bandas sonoras
      Glory Road
      Composed and Performed by Neil Diamond

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    Preguntas Frecuentes

    • How long is WUSA?Con tecnología de Alexa

    Detalles

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    • Fecha de lanzamiento
      • 23 de junio de 1971 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • WUSA
    • Locaciones de filmación
      • Nueva Orleans, Luisiana, Estados Unidos
    • Productora
      • Paramount Pictures
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Presupuesto
      • USD 4,800,000 (estimado)
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 55 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 2.35 : 1

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    Paul Newman and Joanne Woodward in El corazón lleva una máscara (1970)
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