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La vieille fille

Titre original : The Old Maid
  • 1939
  • Approved
  • 1h 35min
NOTE IMDb
7,4/10
4,2 k
MA NOTE
Bette Davis, George Brent, and Miriam Hopkins in La vieille fille (1939)
Regarder Trailer [EN]
Lire trailer2:52
1 Video
23 photos
Drama

L'arrivée d'un ancien amant le jour du mariage d'une jeune femme déclenche une série d'événements qui vont changer sa vie et celle de son cousin à jamais.L'arrivée d'un ancien amant le jour du mariage d'une jeune femme déclenche une série d'événements qui vont changer sa vie et celle de son cousin à jamais.L'arrivée d'un ancien amant le jour du mariage d'une jeune femme déclenche une série d'événements qui vont changer sa vie et celle de son cousin à jamais.

  • Réalisation
    • Edmund Goulding
  • Scénario
    • Casey Robinson
    • Zoe Akins
    • Edith Wharton
  • Casting principal
    • Bette Davis
    • Miriam Hopkins
    • George Brent
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,4/10
    4,2 k
    MA NOTE
    • Réalisation
      • Edmund Goulding
    • Scénario
      • Casey Robinson
      • Zoe Akins
      • Edith Wharton
    • Casting principal
      • Bette Davis
      • Miriam Hopkins
      • George Brent
    • 47avis d'utilisateurs
    • 17avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 4 victoires au total

    Vidéos1

    Trailer [EN]
    Trailer 2:52
    Trailer [EN]

    Photos23

    Voir l'affiche
    Voir l'affiche
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    + 15
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    Rôles principaux32

    Modifier
    Bette Davis
    Bette Davis
    • Charlotte Lovell
    Miriam Hopkins
    Miriam Hopkins
    • Delia Lovell
    George Brent
    George Brent
    • Clem Spender
    Donald Crisp
    Donald Crisp
    • Dr. Lanskell
    Jane Bryan
    Jane Bryan
    • Tina
    Louise Fazenda
    Louise Fazenda
    • Dora
    James Stephenson
    James Stephenson
    • Jim Ralston
    Jerome Cowan
    Jerome Cowan
    • Joe Ralston
    William Lundigan
    William Lundigan
    • Lanning Halsey
    Cecilia Loftus
    Cecilia Loftus
    • Grandmother Lovell
    Rand Brooks
    Rand Brooks
    • Jim
    Janet Shaw
    Janet Shaw
    • Dee
    William Hopper
    William Hopper
    • John
    • (as DeWolf Hopper)
    Rod Cameron
    Rod Cameron
    • Undetermined Secondary Role
    • (scènes coupées)
    William A. Boardway
    William A. Boardway
    • Wedding Guest
    • (non crédité)
    Sidney Bracey
    Sidney Bracey
    • Charles - the Butler
    • (non crédité)
    Marlene Burnett
    • Tina as a Child
    • (non crédité)
    Frederick Burton
    Frederick Burton
    • Mr. Halsey
    • (non crédité)
    • Réalisation
      • Edmund Goulding
    • Scénario
      • Casey Robinson
      • Zoe Akins
      • Edith Wharton
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs47

    7,44.2K
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    Avis à la une

    sissymaletopman

    Best of Warner's Era Films Not Directed by William Wyler

    Everyone who is a fan of Davis' knows that William Wyler (director of Jezebel, the Letter, and the Little Foxes) was Davis' "best" director because he could put her in her place and control her, forcing her to not over-act and use too many bits of business and gestures, etc to distract. Davis did not need mannerisms to get emotion across on screen and Wyler seemed to be able to tell her how to control that; she learned from him, for after Jezebel in 1938, she very rarely acted in a manner displaying lack of control that matched her pre-Jezebel career.

    The Old Maid was directed by Edmund Goulding; I don't know much about him except that was considered a "women's film" director and was respected as a talented one. In any event, the Old Maid is the best of Davis' four 1939 films. which include Dark Victory, Juarez, and the Private Lives of Elizabeth and Essex.

    In the Old Maid, Davis with the help of Mr Goulding delivers a restrained yet compellingly provocative performance; the film spans a twenty year time period, beginning in 1861 or so with a young Davis ministering to her cousin Delia (played by the talented but very difficult Miriam Hopkins.) Although Miriam does her best to steal each scene from Davis, she never succeeds. Bette Davis is superb in this film; so much so that it really remains one of the few undated movies from the 1930s. True star quality is related to being able to connect with an audience over years and years of time. Ms. Davis certainly has this ability - never better displayed than in the Old Maid.

    Favorite scenes: Charlotte (Davis' character) wedding preparation and Delia's subsequent lie - along with the next scene that takes place when Davis realizes that Hopkins' character has lied and ruined her life - watch Davis' face as she utters "it was wicked of you" to Hopkins- (who, by the way delivers a disappointing response.) Now that's star-quality acting!
    Doylenf

    Bette is wonderful in period soap opera from Edith Wharton novel...

    Bette Davis vies with Miriam Hopkins for the affection of George Brent in this film version of Edith Wharton's 'The Old Maid'. As hard as Hopkins tries, she can't steal the film from Bette -- nor Bette's daughter (Jane Bryan), the love child being brought up by Delia (Hopkins). Basically the story of Bette being unable to tell her daughter that she's her real mother.

    There are some odd peculiarities about the film itself. George Brent makes a few brief appearances early in the film and then is suddenly killed off after going to fight in the Civil War. A montage shows the passage of time and suddenly we're given an abrupt change of scene and events before still another time transition. The continuity is choppy and leaves an unsatisfying impression of the film as a whole. It's as if events that should have been shown are compressed because of time constraints.

    Bette Davis gives one of her more restrained portrayals, aging rather realistically, showing the loneliness of the embittered woman who is cheated out of marrying another man when her cousin Delia (Miriam Hopkins) discovers that she bore Brent's child.

    The soap suds are pretty thick, all of them backed by a nice Max Steiner score and handsome sets and period costumes. Miriam Hopkins plays the selfish bitch with her customary skill and makes Davis seem even more sympathetic by comparison. I have seen this movie praised to the skies by some who consider it a work of art--but there are too many flaws, including a false and abrupt ending involving Bette Davis and daughter Jane Bryan, and time changes that seem more like a case of bad editing.

    There are fine performances in supporting roles by Donald Crisp, James Stephenson, William Lundigan and Jerome Cowan under Edmund Goulding's tasteful direction.

    A tear-jerker, 1930s style--but one that doesn't date too well.
    genericmovielover

    New Spin on an Old Maid

    This film would be just another period melodrama: over-scored,sugar-coated, and glossy-slick (especially for a Warners' film) -- except for two things: Bette Davis and Bette Davis.

    Bette is truly a revelation in this film, which required her to age twenty years in the flesh but many more than that in spirit - as she turned from a fresh, extremely sympathetic young girl to an "old maid" of forty or so, a bitter, intimidating woman.

    Her ability to integrate completely disparate human traits into one cohesive character is amazing - a must see.
    8harry-76

    A Warner Major Feature

    With Warner Bros. studio chief Jack L. Warner himself in charge of the production, "The Old Maid" is a fine example of what that studio's "stock company" was able to produce in the late '30s and early '40s. Here is Bette Davis and Miriam Hopkins, assisted by George Brent and Donald Crisp acting up a storm a very soapy piece of melodrama, and making it all very engrossing. Based on Zoe Akins' Pulitzer Prize play and Edith Wharton's novel, this drama of sacrifice, deception, and raging emotions is given a superlative treatment by this impressive company. The film even has the services of Max Steiner's score, underlying every scene with original and adapted source material. Edmund Goulding's direction is sure-footed and he has managed to curb histrionic accesses of the two stars nicely; their acting is quite restrained, yet powerful. Whatever sparks flew between the two ladies off-screen may be justified by what on-screen legacy is left for all to appreciate. Further, the drama depicts the limited and restrictive social/class mores of the period, undoubtedly imported from strict European values.
    7masonfisk

    I UNDERSTAND SACRIFICE BUT REALLY...?

    A soap opera from 1939 starring Bette Davis & Miriam Hopkins. In the lead up to the Civil War, one of a pair female cousins is about to marry when her old beau shows up. Davis, the loyal one (who also carries a torch for the jilted suitor), rushes to the train station to break the bad news to him. When the war breaks out, Davis feeling the now available man is fair game starts to see him & as he leaves to the war & tragically dies there, we find out she was pregnant by him & decides to mask the potentially scandalous offspring among a throng of war orphans which she is in charge of. Hopkins, the other cousin, discovers this & fearing her kin may become a social pariah decides to take her daughter as her own to raise along w/her brood (her husband has passed on since the end of the war) making her think Davis is an aunt rather than her own mother. Davis, ever the selfless one (I guess self crucifixion was considered taboo in those days), agrees to the ruse & has to bite her tongue as she has to see her child raised by her scheming cousin only letting out the occasion outburst when she finds any fault in her 'niece's' deportment. There's a lot of suffering for suffering's sake occurring when all Davis had to do was probably move away w/her child rather than endure such an unspeakable act of betrayal but she agreed to it & to a certain extent, we the audience have as well as we swallow this foulness whole all for the sake of shedding some precious tears.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      There was much bad blood between Miriam Hopkins and Bette Davis, who had won an Oscar for "Jezebel", a role that Hopkins had played on Broadway and expected to play in the movie. Making things works, Davis had had an affair with Hopkins' husband Anatole Litvak while making "The Sisters".
    • Gaffes
      Society women such as portrayed here would never have their names printed (on the many invitations and announcements throughout) as "Mrs. Delia ... Mrs. Henrietta" etc. but as "Mrs." before their husbands' names and as long as they remained widows.
    • Citations

      Charlotte Lovell: She thinks I can't understand her. She considers me an old maid.

      Delia Lovell Ralston: My dear.

      Charlotte Lovell: A ridiculous, narrow-minded old maid. What else can she ever think of me?

      Delia Lovell Ralston: Poor Charlotte.

      Charlotte Lovell: Oh, but you needn't pity me. Because she's really mine. If she considers me an old maid, it's because I've deliberately made myself one in her eyes. I've done it from the beginning so she wouldn't have the least suspicion. I've practised everything I've ever had to say to her, if it was important, so that I'd sound like an old maid aunt talking. Not her mother.

      Delia Lovell Ralston: Well, after all, darling, there isn't anything important to say to her now. She has every attribute of a modern successful woman - she's healthy, she's young, she's gay, she's attractive...

    • Crédits fous
      The opening credits are shown on facsimiles of wedding invitation cards.
    • Connexions
      Featured in AFI Life Achievement Award: A Tribute to Bette Davis (1977)
    • Bandes originales
      Yankee Doodle
      (uncredited)

      Traditional 18th-century tune

      Played in the score for the first scene

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    FAQ16

    • How long is The Old Maid?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 31 janvier 1945 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Flor marchita
    • Lieux de tournage
      • Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, Californie, États-Unis(Studio)
    • Sociétés de production
      • First National Pictures
      • Warner Bros.
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 35 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Bette Davis, George Brent, and Miriam Hopkins in La vieille fille (1939)
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    By what name was La vieille fille (1939) officially released in India in English?
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