Guilty Hands

1931
Passed
1h 9m

ÉVALUATION IMDb

MA NOTE

Lionel Barrymore and Kay Francis in Guilty Hands (1931)

Ajouter une intrigue dans votre langueA district attorney attempts to commit the perfect murder when he kills his daughter's womanizing fiancé, then tries framing the fiancé's lover.A district attorney attempts to commit the perfect murder when he kills his daughter's womanizing fiancé, then tries framing the fiancé's lover.A district attorney attempts to commit the perfect murder when he kills his daughter's womanizing fiancé, then tries framing the fiancé's lover.

Directors
- W.S. Van Dyke
- Lionel Barrymore
Writer
- Bayard Veiller
Stars

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

6,9/10

1,1 k

MA NOTE

Directors
- W.S. Van Dyke
- Lionel Barrymore
Writer
- Bayard Veiller
Stars

Voir l’information sur la production à IMDbPro

Prix
- 1 victoire au total

Photos11

+ 5

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Histoire

Modifier

Le saviez-vous

Modifier

Anecdotes
Madge Evans and Lionel Barrymore appeared again two years later, as father and daughter, in Dinner at Eight (1933).

Gaffes
A 1918 Victrola does not get "PLUGGED IN", rather it is wound up like a clock.

Citations
Richard Grant: [to his daughter] Barbara, this man you want to marry is a beast about women. I mean that literally, he's just an animal - so that your wedding night, instead of being a thing of beauty that you'll remember all your life long of great happiness will be a horror and shame, so that no matter what happens afterward, even after he's gone and dead, the memory of that time will stay with you, spoil your life. It's a thing that you can't live down - a horror you'll never forget. I won't let it happen to you!

Bandes originales
Believe Me If All Those Endearing Young Charms
(uncredited)
Traditional music
Played by Kay Francis on harp and Charles Crockett on bass violin

Commentaires des utilisateurs41

Commentaire en vedette

Riveting

The opening sequence is stylish, unusual, disorienting. We don't know where we are or what is going on for a few minutes, and that reflects the film's morally disorienting territory. The premise is excellent. Barrymore is not "hammy" but commanding in a very natural way; he's playing a successful lawyer who is used to declaiming his arguments for an audience. The script employs daring ambiguities: we partly want to see the rich man murdered and Barrymore get away with it, yet Barrymore is clearly not a moral character himself, and the woman who insists upon justice for the man she loved is a "tramp" mistress who would have been willing to carry on her affair with the scoundrel after his marriage. What a crew! The magnetism of Barrymore and Francis in their moral contradictions keeps us riveted even through the parts that are like any other old-dark-house mystery. The ending is both preposterous and brilliant. You can look back and see how they set it up, yet it's very difficult to predict!