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IMDbPro

Millie

  • 1931
  • Passed
  • 1h 25min
NOTE IMDb
6,2/10
932
MA NOTE
Helen Twelvetrees in Millie (1931)
TragedyTragic RomanceDramaRomance

Ajouter une intrigue dans votre langueMillie's life begins to crumble when she finds out her husband is having an affair.Millie's life begins to crumble when she finds out her husband is having an affair.Millie's life begins to crumble when she finds out her husband is having an affair.

  • Réalisation
    • John Francis Dillon
  • Scénario
    • Donald Henderson Clarke
    • Charles Kenyon
    • Ralph Murphy
  • Casting principal
    • Helen Twelvetrees
    • Lilyan Tashman
    • Robert Ames
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,2/10
    932
    MA NOTE
    • Réalisation
      • John Francis Dillon
    • Scénario
      • Donald Henderson Clarke
      • Charles Kenyon
      • Ralph Murphy
    • Casting principal
      • Helen Twelvetrees
      • Lilyan Tashman
      • Robert Ames
    • 29avis d'utilisateurs
    • 14avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire au total

    Photos11

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    Rôles principaux33

    Modifier
    Helen Twelvetrees
    Helen Twelvetrees
    • Millie Blake Maitland
    Lilyan Tashman
    Lilyan Tashman
    • Helen Riley
    Robert Ames
    Robert Ames
    • Tommy Rock
    James Hall
    James Hall
    • Jack Maitland
    John Halliday
    John Halliday
    • Jimmy Damier
    Joan Blondell
    Joan Blondell
    • Angie Wickerstaff
    Anita Louise
    Anita Louise
    • Connie Maitland
    Edmund Breese
    Edmund Breese
    • Defense Attorney
    Frank McHugh
    Frank McHugh
    • John Holmes
    Charlotte Walker
    Charlotte Walker
    • Mrs. Maitland
    Franklin Parker
    • Spring
    Charles Delaney
    Charles Delaney
    • Mike
    Harry Stubbs
    Harry Stubbs
    • Mark
    Marie Astaire
    Marie Astaire
    • Bobby
    • (non crédité)
    Hooper Atchley
    Hooper Atchley
    • District Attorney Sanders
    • (non crédité)
    Max Barwyn
    Max Barwyn
    • Max - Head Waiter
    • (non crédité)
    Louise Beavers
    Louise Beavers
    • Maid
    • (non crédité)
    Nora Cecil
    Nora Cecil
    • Helen and Angie's Landlady
    • (non crédité)
    • Réalisation
      • John Francis Dillon
    • Scénario
      • Donald Henderson Clarke
      • Charles Kenyon
      • Ralph Murphy
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs29

    6,2932
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    Avis à la une

    lawprof

    A Bit Disjointed, Kind of Dated, Mildly Interesting

    Prolific director John Francis Dillon's 1931 "Millie" is a curiosity piece, a pastiche of poor editing and some sprightly acting vignettes.

    Millie, Helen Twelvetrees, starts off as a swept-off-her-feet kid eloping with handsome and ambitious Jack Maitland, James Hall. Her shaking virgin-wedding night-do we have to go to bed?- scene is very funny, one of the best of its kind on old film.

    Ensconced in Westchester County outside NYC, Jack makes big bucks and Millie, now three years on and with a little girl, is neglected, bored and angry at her absent husband. A reunion with two girlfriends at a cabaret brings an encounter with an errant Jack and his foul-mouthed paramour who gets a sock in the jaw from Millie.

    Divorced and working in New York City, Millie leads a socially active life with fast-track friends and wild parties. Reflecting the hesitancy of many directors and script writers at the time it's never really clear if Millie goes beyond gay partying to hop into the sack with rabidly panting, pursuing men, some already married.

    Millie has one true male admirer, a reporter named Tommy, played by Robert Ames. A drunken twit tells Millie he's fooling around with another woman and she believes her, ending the best relationship she's had. Tommy's a sad case.

    The story turns melodramatic when an older man-about-Manhattan, long obsessed with Millie, shows an unhealthy interest in her now gorgeous teenage daughter, Connie. The denouement is predictable but there's a nice trial scene to wrap things up.

    "Millie" skirts on the border of dealing openly with adultery and promiscuousness. What is unusual is that the film has a clear sapphic subtext depicting Millie's two girlfriends as sexually involved - the first scene they're in shows them in bed in nightclothes. THAT was very unusual for the times. I wonder how many 1930s moviegoers picked up on that.

    Most of the cast isn't well known other than to aficionados of pre-war films. Joan Blondell, whose career was in the ascendancy, is young Angie, a flighty friend of Millie and probable lover of her other girlfriend.

    Better direction and editing would have improved a basically interesting story. It's a museum piece worth seeing if you care about how Hollywood portrayed extramarital flings, lechery, boozing and partying in the grand old Pre-Code Days.

    5/10.
    6bkoganbing

    Men Are Dogs

    Millie is one of those pre-code drama which starts with a pre-World War I setting and takes us deep into the Depression. Helen Twelvetrees is in the title role, but in fact this one could definitely be called a woman's picture. First for the fact that the best roles are for the women and that the men here are mostly dogs.

    Millie starts with Helen Twelvetrees as an eager young bride who's run away with the richest, handsomest boy in town. They have a kid, but he starts stepping out on her soon enough. She sacrifices in the way Stella Dallas did and gradually she goes through a variety of men all of whom disappoint her one way or another. Twelvetrees also has some gal pals like Joan Blondell and Lilyan Tashman always with an 'I told you so' for all occasions.

    But the mother instincts are aroused when one of her men, producer and rake, John Halliday starts moving on her daughter Anita Louise. Then this film starts resembling Madame X.

    Twelvetrees made a career of playing tragic parts like in Millie kind of mirroring her own life. There are some great lines coming from her, Blondell and Tashman. For them alone this film is worth a view.
    8movingpicturegal

    The Trials and Tribulations of a Red-Headed Woman

    Soap Opera following the exploits of Millie Blake (Helen Twelvetrees) and her "love parade" of heels. This film spans nearly twenty years as we watch our Millie go from jittery young girl scared to face her honeymoon bed (as her new hubby presses "Are you sleepy yet?"), to rich, bored, and lonesome wife and mother, to divorcée working the counter of a cigar stand fending off "offers" from men, to mother who will stop at nothing to help save her teenage daughter's virtue. Millie soon realizes that "all men are tramps" - and it's true, at least in her world - all the men in this film are just complete womanizing cads, and one man goes even further than that when he attempts to pursue a very innocent sixteen year old girl (who calls him "Uncle"), rubbing her ankles, ladling her with "cider", and getting her to put on one of his assortment of "Mandarin Coats".

    This pre-code film has it all - from a montage of a day at Coney Island to cat fights to divorce to bootleg cocktail parties to two blondes in negligees sharing a double bed all the way to the schemes of a lecher. It is really fun to watch the scenes with Millie's two blonde gal pals, childhood friend Angie and her bed friend Helen, a feisty, tough, wisecracking sort of gal - these two women run through men, booze, and outlandish fur, satin, and chiffon gowns like water. There is a nice musical number in one nightclub scene, a rendition of "Millie, the Red Head". This film actually becomes quite serious in later scenes, bringing it to a satisfying climax. Very good.
    6MikeMagi

    Men are beasts.

    It seems there was a curse on "Millie." Its four co-stars, Helen Twelvetrees, Lylian Tashman, Robert Ames and James Hall all died before they turned 50. As for the movie itself, its pre-code message is that all men are beasts who crave only one thing. The point is made through the saga of Millie Blake whom we first meet as a bashful bride on her wedding night (though even bucket loads of make-up can't hide the fact that Helen Twelvetrees is no teen-ager.) Nor is her paunchy husband an Adonis. Three years and a child later, she catches hubby canoodling with his mistress at a night club, files for divorce and valiantly (if stupidly) relinquishes the alimony she was entitled to. Plucky lass! From there on in, Millie fends off -- or gives in, depending on how you interpret the cutaways -- to a succession of over-age lotharios. But when one of them makes a play for her 16-year-old daughter, she has no choice. She has to shoot the dastard. By today's standards, Millie's sudsy exploits would be almost laughable. But by the standards of 1930/31, as movies were just learning to talk, it qualifies as an interesting (and sometimes downright entertaining) museum piece.
    6jjnxn-1

    Creaky plot

    This creaky antique reworking of Madame X is of interest mainly for its pre-code ingredients, blatant lesbianism, unpunished sex outside marriage etc., than any real value as a film. A lot of the film techniques are reminiscent of silents showing the growing pains of films continued into the early thirties. Part of the problem with the film is that all the men talk about how the heroine gets under a man's skin and they can't get over her but Helen Twelvetrees exudes none of the magnetism that makes that believable. The supporting players add more to the picture than the leads with Lilyan Tashman having the most fun as a party girl with Joan Blondell and Frank McHugh both starting out but already stealing scenes with their patented personas firmly in place. Except for the three of them the acting is extremely florid, especially towards the end. An almost unrecognizable Anita Louise, still beautiful but so young, is cast as Millie's daughter.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The film rights to the novel were first offered to MGM, but they passed due to its racy content. Charles R. Rogers purchased the rights in August 1930 and produced this as an independent film but sold the distribution rights to RKO after he was made chief executive of RKO-Pathé in January 1931.
    • Gaffes
      The beginning of the film is supposed to be set around 1914 and continues through the next 17 years until 1931, but the females of the cast wear strictly 1931 fashions all the way through. Likewise, the popular music played at the night club, as well as the interior design, is also strictly 1931, regardless of the year it's taking place.
    • Citations

      Connie Maitland: Oh! Oh! It tickles my nose!

      [giggles]

      Jimmy Damier: Does it?

      Connie Maitland: I like it.

      Jimmy Damier: Do you? Well, have some more.

    • Connexions
      Edited into Your Afternoon Movie: Millie (2022)
    • Bandes originales
      Millie
      (1931) (uncredited)

      Music and Lyrics by Nacio Herb Brown

      Played during the opening credits and at the end

      Played by a band at a nightclub and sung by an unidentified trio

      Reprised as dance music and as background music often

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    FAQ16

    • How long is Millie?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 8 février 1931 (États-Unis)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Милли
    • Lieux de tournage
      • Coney Island, Brooklyn, Ville de New York, New York, États-Unis(amusement park montage, featuring Luna Park)
    • Société de production
      • RKO Radio Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 25 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.20 : 1

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