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The Wedding

  • Película de TV
  • 1998
  • 3h
CALIFICACIÓN DE IMDb
6.1/10
565
TU CALIFICACIÓN
Halle Berry, Lynn Whitfield, Carl Lumbly, and Eric Thal in The Wedding (1998)
DramaRomance

Agrega una trama en tu idiomaIn 1950s Massachusetts, a wealthy black woman engaged to a poor white beatnik learns about her family history. The stories revolve around the racial and class complexities of interracial and... Leer todoIn 1950s Massachusetts, a wealthy black woman engaged to a poor white beatnik learns about her family history. The stories revolve around the racial and class complexities of interracial and class-based marriages.In 1950s Massachusetts, a wealthy black woman engaged to a poor white beatnik learns about her family history. The stories revolve around the racial and class complexities of interracial and class-based marriages.

  • Dirección
    • Charles Burnett
  • Guionistas
    • Dorothy West
    • Lisa Jones
  • Elenco
    • Halle Berry
    • Eric Thal
    • Lynn Whitfield
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.1/10
    565
    TU CALIFICACIÓN
    • Dirección
      • Charles Burnett
    • Guionistas
      • Dorothy West
      • Lisa Jones
    • Elenco
      • Halle Berry
      • Eric Thal
      • Lynn Whitfield
    • 12Opiniones de los usuarios
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 5 nominaciones en total

    Fotos

    Elenco principal35

    Editar
    Halle Berry
    Halle Berry
    • Shelby Coles
    Eric Thal
    Eric Thal
    • Meade Howell
    Lynn Whitfield
    Lynn Whitfield
    • Corinne Coles
    Carl Lumbly
    Carl Lumbly
    • Lute McNeil
    Michael Warren
    Michael Warren
    • Clark Coles
    Marianne Jean-Baptiste
    Marianne Jean-Baptiste
    • Ellen Coles
    Cynda Williams
    Cynda Williams
    • Liz Odis
    Charlayne Woodard
    Charlayne Woodard
    Richard Brooks
    Richard Brooks
    • Lincoln Odis
    Gabriel Casseus
    Gabriel Casseus
    • Hannibal
    Shirley Knight
    Shirley Knight
    • Gram (Miss Caroline)
    Ethel Ayler
    Ethel Ayler
    • Eunice
    Paul Butler
    • Preacher
    Peter Francis James
    Peter Francis James
    • Isaac Coles
    Carl Gordon
    Carl Gordon
    • Mr. Hawkins
    Margo Moorer
    Margo Moorer
    • Emmaline
    Shilla Benning
    Shilla Benning
    • Gigi
    Joseph Bias
    • Young Isaac
    • Dirección
      • Charles Burnett
    • Guionistas
      • Dorothy West
      • Lisa Jones
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios12

    6.1565
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    Opiniones destacadas

    4Telltruthanyway

    Annoyingly self-indulgent...

    Overall, I thought this was a self-indulgent, long-winded film. I didn't read the book and was fascinated to read how different it was. Still predictable is the glorification of "poor" and rich or accomplished as somehow suspect. All of these are the same kind of stereotypes as the film attempts to criticize.

    There are certainly some good moments but most of the time, I forced myself to watch so I could finally see how it ended. I'm sorry to say, it wasn't worth the wait. The best part of the film is of course the gorgeous Halle Berry, who doesn't have to do much to be spectacular, and the portrayal of upper class black society. That was as much a revelation as Spielberg's film in which we learned the little known fact that slavery was begun in Africa and there were Black free men in the North during slavery--something of which many people are completely unaware.

    Additionally, I don't see bias towards interracial marriage here. I see bias against building enough character development to have us care about the people.
    3CC1966

    Swing and a MISS...Sorry Oprah! (may contain spoilers)

    There are so many things wrong with this movie (if you have read the book), that i don't know where to begin: First let me say that Halle Berry was great as Shelby. But she was more physically suited to play Liz...

    Again, if you read the book, you see that Shelby's hair is blonde, and her eyes are blue, and her skin is very fair. There was a flashback (in the book) to when she got lost as a little girl. She was lost for so long because no one knew to look for her specifically-they were expecting to find a child with traditionally black features.

    With regard to Lute McNeil: Dorothy West paints a picture of a man who, because of his upbringing, generally hates women (ironically, not his daughters, though); he sees them as possessions and breeders, and moves on when the next lady strikes his fancy. If he stuck to his pattern, Shelby would have gone the way of the all the other women. In the end, I think she saw that. The movie painted him far too sympathetically-you wanted to cheer for him as Shelby's salvation. But Lute was a dangerous man.

    The chemistry between Meade and Shelby on screen was sooooooooooo weak-thus making Lute that much more attractive. That's not the way West meant it. And why the screenwriters chose to change his name from Wyler (in the book) to Howell (In the movie) made no sense to me.

    And in the book, the little girl died from her injuries after being struck by the car. Hearing Gram say at the end "oh thank heavens, that little girl is gonna be alright" was just plain cheesy.

    This was one of the most beautifully written books this century, and as much as I love Oprah, I found her vision of it for TV completely out of step with the spirit of what Dorothy West wrote. If you can, you owe it to yourself to get a copy of West's final masterpiece.
    8Andrew_S_Hatton

    It tackles a subject of which I was ignorant.

    Obviously we all compare ourselves with others to some degree even though it is not a praiseworthy activity, however I had never considered the extent to which class-ism probably wrecked relationships amongst Black families in the early 20th century.

    Yes the story was perhaps too fanciful with just about every relationship portrayed, affected by the same issue but it sure does expose the issue as I had never considered it before.

    It is interesting to read that Dorothy West had the book, 30 years in the making. I wonder how it would have been received if it had been completed prior to the beginnings of the racial revolution in the sixties with Dr Martin Luther King etc.

    Somehow the whole thing seemed a bit "wooden" in delivery but nonetheless as it tackled a subject that I suspect has been unconsidered by most, it was worthwhile doing and not surprisingly needed the backing of Oprah Winfrey to see the light of day.

    It put me somewhat in mind of the trans racial issues as presented in the musical Showboat which I would recommend to anyone who wants to explore these issues in a more subtle and tuneful production.
    3kmm1128

    A flawed production based on a flawed book.

    I read the reviews of this movie and I am shocked and appalled that so many people found this a worthwhile production. While, it is true that the movie is an accurate portrayal of upper class black socialites in the 1930s-1950s, there are so many elements of this movie and the book on which it was based that I found offensive.

    First of all, let me set the record straight for all those who do not know. This movie was based on "The Wedding," a book by the renowned Harlem Rennaissance writer Dorothy West. It is NOT based on a true story in any way, shape or form.

    I have read other works by Dorothy West and found them to be very interesting. She set herself apart from the other Harlem Rennaissance writers at the time by writing about black upper middle-class, a social hierarchy that has gone virtually unexplored throughout African-American Literature. However, when I read "The Wedding," I was deeply resentful. The underlying tone of racism against interracial relationships staggers me, as I am a multiracial person. I found the characters detestable and the fact that there is virtually no plot progression throughout the novel is a huge problem. Ninety percent of the novel is backstory.

    Many of these same elements are portrayed in the movie version of this book to the nth degree. First of all, Shelby Coles is supposed to be white. She is not light-skinned like Halle Berry. She is WHITE. She has blond hair and blue-eyes. She is the product of so many blends of black and white that her blackness has been genetically wiped out on the surface. The fact that they cast Halle Berry to play Shelby Coles destroys the only redeeming quality I found in the book. This is the scene where Shelby gets lost as a little girl and no one can find her because the police report says that she is black, but she looks white. Using this scene to establish the unequal treatment society puts on whites and blacks was the only redeeming quality I found in this book.

    There are several other elements that I found so offensive from this movie (mostly character-wise) that it would be impossible to mention them all.

    This is a deeply resentful movie about interracial relations, and should not have been made into a movie. This was the last book that Dorothy West wrote before she died, and I'm wondering if that has something to do with its irregular quality. All I know is that if you are multiracial or biracial, do not, under any circumstances, watch this movie or read West's book. Read some of the other books by West. They are so much better.
    9moses_29115

    Oprah Winfrey does it again with The Wedding

    I loved this movie. It shows that prejudice is not just black and white, but also light and dark and have and have not! The movie is realistic because we hear terms like "beautiful light-skinned", "getting too dark" and "good hair" every day. The movie also shows how easy it is for that prejudice to be passed on from generation to generation and that the coming of age period in a person's life should not be taken lightly because that is the opportunity to right wrongs learned from the previous generation. Granted some may see this movie and hate the grandmother, to do so would be to liken yourself to her. Self hate exists among each race. It is particularly sad within the African American community because of the difficulty and intensity of the struggle for freedom. Humankind has to learn to be beautiful in spirit and in love. I think that is the point of the story.

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      As of 2025, this television miniseries is the only on-screen adaptation of any of Dorothy West's novels.
    • Citas

      Meade Howell: I need to talk to you, Shel.

      Shelby Coles: No, it's not a good time.

      Meade Howell: No, I need to talk to you now. Listen, I thought that music came first, and I was wrong. You come before that. I love you. And I am not going to let you just walk away with no good reason.

      Shelby Coles: I think I've given you very good reasons, Meade.

      Meade Howell: Why, Shel? Because we can't stay in the same hotel in Georgia? We'll make them let us stay in the same hotel!

      Shelby Coles: No, it's because I don't think I want to spend my whole life fighting, defending who we are. Proving to the whole world that we have a right to be together!

    • Conexiones
      References Late Spring (1949)

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    Detalles

    Editar
    • Fecha de lanzamiento
      • 22 de febrero de 1998 (Estados Unidos)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • La boda
    • Locaciones de filmación
      • Southport, Carolina del Norte, Estados Unidos
    • Productoras
      • Hamdon Entertainment
      • Harpo Films
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      3 horas
    • Color
      • Color
    • Mezcla de sonido
      • Dolby
    • Relación de aspecto
      • 1.33 : 1

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