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IMDbPro

Haute société

Titre original : Our Betters
  • 1933
  • Passed
  • 1h 23min
NOTE IMDb
6,1/10
928
MA NOTE
Constance Bennett and Charles Starrett in Haute société (1933)
SatireComedyDramaRomance

Ajouter une intrigue dans votre langueAn American heiress marries a lord, and shocks London society.An American heiress marries a lord, and shocks London society.An American heiress marries a lord, and shocks London society.

  • Réalisation
    • George Cukor
  • Scénario
    • W. Somerset Maugham
    • Jane Murfin
    • Harry Wagstaff Gribble
  • Casting principal
    • Constance Bennett
    • Violet Kemble Cooper
    • Phoebe Foster
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,1/10
    928
    MA NOTE
    • Réalisation
      • George Cukor
    • Scénario
      • W. Somerset Maugham
      • Jane Murfin
      • Harry Wagstaff Gribble
    • Casting principal
      • Constance Bennett
      • Violet Kemble Cooper
      • Phoebe Foster
    • 26avis d'utilisateurs
    • 15avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire au total

    Photos56

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    Rôles principaux19

    Modifier
    Constance Bennett
    Constance Bennett
    • Lady Pearl Grayston
    Violet Kemble Cooper
    Violet Kemble Cooper
    • Duchess
    • (as Violet Kemble-Cooper)
    Phoebe Foster
    Phoebe Foster
    • Princess
    Grant Mitchell
    Grant Mitchell
    • Thornton Clay
    Charles Starrett
    Charles Starrett
    • Fleming Harvey
    Anita Louise
    Anita Louise
    • Bessie
    Gilbert Roland
    Gilbert Roland
    • Pepi D'Costa
    Minor Watson
    Minor Watson
    • Arthur Fenwick
    Hugh Sinclair
    Hugh Sinclair
    • Lord Bleane
    Alan Mowbray
    Alan Mowbray
    • Lord George Grayston
    Harold Entwistle
    Harold Entwistle
    • Pole
    Virginia Howell
    Virginia Howell
    • Mrs. Saunders
    • (scènes coupées)
    Walter Walker
    • Mr. Saunders
    • (scènes coupées)
    Finis Barton
    Finis Barton
    • Diana - George's Mistress
    • (non crédité)
    Bunny Beatty
    • Lady Helen
    • (non crédité)
    May Beatty
    May Beatty
    • Duchess of Hightower
    • (non crédité)
    Tyrell Davis
    Tyrell Davis
    • Ernest
    • (non crédité)
    Bradley Metcalfe
    Bradley Metcalfe
    • Little Boy
    • (non crédité)
    • Réalisation
      • George Cukor
    • Scénario
      • W. Somerset Maugham
      • Jane Murfin
      • Harry Wagstaff Gribble
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs26

    6,1928
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    Avis à la une

    6boblipton

    No Better Than They Ought To Be

    American hardware heiress Constance Bennett marries English lord Alan Mowbray. Then she overhears him remarking to his mistress he only married her for her money. She's heartbroken, but becomes a pillar of British society. When her sister, Anita Louise, comes to visit, Miss Bennett engineers a breakup with Miss Louise's American fiance, and an engagement to a British nobleman.

    This definitely pre-code movie is based on a W. Somerset Maugham play, with lots of snide business and the sort of arch comments that passed for wit in a post-Oscar Wilde theater. Director George Cukor has mediocre success in convincing his cast that this is no longer being performed on the boards. The result is that the Americans are rather quiet, while the British are over the top... which may have been a deliberate choice, given that at this time, British movies seemed to have a lot of appearances by Finlay Currie as an American (invariably named 'Hiram' or some such), flattening his vowels with a sledge hammer and being obnoxious about money. Minor Watson is outstanding as an admirer of Miss Bennett, and Tyrell Davis is flamboyant as he teaches Violet Kemble Cooper to dance.
    9aberlour36

    Delightful play

    This is a delightfully bitter and witty play by Maugham, adapted to film almost exactly as it appeared on stage. Kemble as Minnie steals the show. And the last scene, between Minnie and the dance instructor, is simply hilarious. Charles Starrett, later a Western star in "B" movies, is wooden, and poor Gilbert Roland doesn't have a lot to work with in the script. But the others sparkle and shine, telling us what sophisticated light comedy can be at its best. What a shame this has not appeared on VHS.
    5AlsExGal

    Plays out like a 1930's version of a reality show

    Constance Bennett plays Pearl, an heiress bride who, on her wedding day immediately after the ceremony, overhears her new husband tell his lover that he married Pearl only for her money as he and his lover are penniless. However, he does have a British title, and Constance goes to live in Britain with him, with their lavish lifestyle at first financed by her money. When that runs out, she has a lover who supplies her with cash.

    I generally watch these old films to escape the cynicism of today's world, and this film fails in that respect. The entire cast behaves in a despicable and inhuman manner like something out of ancient Rome, with the exception of Pearl's young sister Bessie, who is a wide-eyed innocent about to make the same mistake as Pearl did when she married her faithless husband. We all figure that Pearl behaving like a manipulative pleasure-addicted ice queen is rooted in her husband's betrayal, but nothing is said about motivation at all until the end of the film. George Cukor generally did a great job in these "women's films", especially if Katharine Hepburn was starring. But then Kate was such an excellent actress that she could get her motivation across without the use of explicit dialogue. Constance Bennett usually could do so too, so why things don't pan out here theatrically I have no idea.

    As an aside, it is interesting that Gilbert Roland and Constance Bennett play lovers in this and one other film from 1933 - "After Tonight" - yet don't marry until eight years later. I wonder if there's a story there?
    6blanche-2

    The immoral behavior of British society

    Constance Bennett is a disillusioned socialite in "Our Betters," based on Somerset Maugham's play. Bennett plays a beautiful woman (in absolutely knockout gowns) who, on her wedding day, discovers that her husband has a mistress, a Charles-Diana-Camilla thing. Bennett's got the cash, and the girlfriend's poor. Constance, who plays Lady Pearl, throws herself into the London social scene, where nobody behaves. Her husband is always off with his girlfriend, and she has a lover who keeps her since her husband went through her money. And everyone else behaves the same way. The only thing that matters is knowing the right people, having money, getting invited to the right parties, and marrying titles. When Pearl's sister arrives from America, she's dazzled by the life and brushes off an old beau, played by Charles Starrett, who is the moral voice of the movie.

    This was the world of Elliot Templeton in "The Razor's Edge" and it's visited here fully with a brittle humor but not a great deal of energy. Bennett is perfect in her role. There are some scenes between Violet Kemble, who plays Minnie, and her much younger gigolo boyfriend, Gilbert Roland, where he manipulates her, that are overly long but quite funny. The final scene, with the dancing Ernest, is the best in the film.
    8inkboy1

    Dandies in Aspic

    This movie haunts me in a way and fills me with questions. Why did Selznick make this screen version of a 1917 Maugham play right in the middle of the Great Depression in America? I wonder what was on his mind -- to make people angry enough to bring their friends for another look? To let them scoff at the foibles of the impossibly idle rich? This movie primarily is about American expats who've found a place among a jaded British aristocracy (which, at the time of Maugham's stage play, were, with the rest of England, at the height of a bloody world war that would cost Britain almost an entire generation of its young men). But this film version was brought to the screen in 1933, at the height of a crushing Depression that left so many millions jobless and homeless and lucky to have the price of a night at the movies. Contrast that with the sly comic turnings of a very young Gilbert Roland as the Chilean idler Pepi, whose pouty side-glances as he manipulates his very rich and titled benefactress were elegantly applied and flawlessly aimed, no doubt, at enraging most any Depression-oppressed American of the day. I'm sure Roland (no idler himself) and Cukor had a lot of fun filming Pepi. I loved the steady Grant Mitchell, elegantly playing a happy snob who unashamedly admits that he'd come to England from Ohio, and has "lost any trace of an American accent." No apologies from his character, who lends the picture a decorum and good-humored tolerance, all in the cause of maintaining these high-blown dodgy "friendships," deftly working to keep things on a happy note, despite bothersome indiscretions. Others have written here of the remarkable performance of Violet Kemble Cooper as the Duchess, and I heartily agree. And what a happy surprise was the very late entrance in the picture of Tyrell Davis (one of the famous tailors from Wellman's "The Public Enemy" two years earlier) as the unabashedly delightful pouffe Ernest, brought in by Bennett's character to salvage a nearly wrecked country weekend. Ernest was summoned hastily from a busy Sunday schedule in London, still attired in his city-best, flawlessly coiffed, with dark heart-shaped lip rouge, more eye shadow than Bennett, and powdered like a pastry. He carried his look as proudly, happily and effortlessly as did the elegant Bennett in her timelessly smashing Hattie Carnegie gowns. Across the Channel, he'd have been exterminated by the Nazis, but in his place among a protective British aristocracy, Ernest was obviously a most happy man, allowed to act out himself completely and taking his place as a favorite among the ladies. I'm astonished that Davis, whose Ernest hilariously capped the picture and who uttered its naughty closing line, was not credited for this fresh and pleasing (or shocking) performance. Have you ever seen such a face in the movies? Or anywhere else? Such a happy individualist in a society that outlawed some of his assumed after-hours behavior. Without the protection of the aristocracy, Ernest, like Wilde, likely would have spent part of his life in prison. This picture contains some dated stage business and moves a bit too slowly for us today, but I'm so happy that it survives. I still wonder, though, what was the aim of making this movie at this time in the American experience? Hughes and Selznick wanted and expected an audience and a profit, after all. Was a Maugham play burning a hole in their pockets? Were generous eyes-full of Constance Bennett in clingy satin gowns enough to draw 'em in? I suspect there was a social aim here, but I'm not sure what it is.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Elsa Maxwell was brought in as technical advisor for this film because of her vast experience in hosting events for royalty and high society. She also assisted Hattie Carnegie in the designs for the evening gowns worn by the principle actresses.
    • Gaffes
      Although Bessie is supposed to be from New York, Anita Louise plays her with an affected British accent.

      A person's accent is are not "cast in concrete". Accents change due to a change in environment or because a person is trying to blend in (or even acting). Regardless, a questionable accent certainly wouldn't be considered a "Plot hole".
    • Citations

      [last lines]

      Minnie, Duchess of Sourae: You know, you're very naughty sometimes, Pearl, but you have a good heart and I can't help being fond of you.

      Lady Pearl Saunders Grayston: Minnie!

      Minnie, Duchess of Sourae: Pearl!

      [they embrace]

      Ernest: Ah! What an exquisite spectacle! Two ladies of title, kissing one another!

    • Connexions
      Featured in Celluloid Closet (1995)
    • Bandes originales
      The Wedding March
      (1843) (uncredited)

      from "A Midsummer Night's Dream, Op.61"

      Written by Felix Mendelssohn

      Played by an offscreen organ during the wedding

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    Détails

    Modifier
    • Date de sortie
      • 16 novembre 1934 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Lodo y armiño
    • Lieux de tournage
      • RKO Studios - 780 N. Gower Street, Hollywood, Los Angeles, Californie, États-Unis(Studio)
    • Société de production
      • RKO Radio Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 23 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Constance Bennett and Charles Starrett in Haute société (1933)
    Lacune principale
    By what name was Haute société (1933) officially released in India in English?
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