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Sadie McKee

  • 1934
  • Approved
  • 1 घं 33 मि
IMDb रेटिंग
6.8/10
1.8 हज़ार
आपकी रेटिंग
Joan Crawford in Sadie McKee (1934)
ड्रामारोमांस

अपनी भाषा में प्लॉट जोड़ेंA working girl's fortunes improve when she marries into money, but happiness is not so easily won.A working girl's fortunes improve when she marries into money, but happiness is not so easily won.A working girl's fortunes improve when she marries into money, but happiness is not so easily won.

  • निर्देशक
    • Clarence Brown
  • लेखक
    • John Meehan
    • Viña Delmar
    • Carey Wilson
  • स्टार
    • Joan Crawford
    • Gene Raymond
    • Franchot Tone
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    6.8/10
    1.8 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Clarence Brown
    • लेखक
      • John Meehan
      • Viña Delmar
      • Carey Wilson
    • स्टार
      • Joan Crawford
      • Gene Raymond
      • Franchot Tone
    • 26यूज़र समीक्षाएं
    • 18आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • कुल 3 जीत

    फ़ोटो20

    पोस्टर देखें
    पोस्टर देखें
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    पोस्टर देखें
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    + 12
    पोस्टर देखें

    टॉप कलाकार52

    बदलाव करें
    Joan Crawford
    Joan Crawford
    • Sadie
    Gene Raymond
    Gene Raymond
    • Tommy
    Franchot Tone
    Franchot Tone
    • Michael
    Edward Arnold
    Edward Arnold
    • Brennan
    Esther Ralston
    Esther Ralston
    • Dolly
    Earl Oxford
    Earl Oxford
    • Stooge
    Jean Dixon
    Jean Dixon
    • Opal
    Leo G. Carroll
    Leo G. Carroll
    • Phelps
    • (as Leo Carroll)
    Akim Tamiroff
    Akim Tamiroff
    • Riccori
    Zelda Sears
    Zelda Sears
    • Mrs. Craney
    Helen Ware
    Helen Ware
    • Mrs. McKee
    Gene Austin
    Gene Austin
    • Cafe Entertainer
    Candy Candido
    Candy Candido
    • Cafe Entertainer
    • (as Candy and Coco)
    Otto Heimel
    • Cafe Entertainer
    • (as Candy and Coco)
    Norman Ainsley
    • Second Butler - at Downstairs Meeting
    • (बिना क्रेडिट के)
    Hooper Atchley
    Hooper Atchley
    • Intern with Dr. Briggs
    • (बिना क्रेडिट के)
    Nellie Bly Baker
    • Downstairs Laundress
    • (बिना क्रेडिट के)
    Jack Baxley
    • Short-Order Cook
    • (बिना क्रेडिट के)
    • निर्देशक
      • Clarence Brown
    • लेखक
      • John Meehan
      • Viña Delmar
      • Carey Wilson
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं26

    6.81.8K
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    फ़ीचर्ड समीक्षाएं

    8hildacrane

    Satisfying and trim

    I'm a big fan of the Crawford oeuvre, in all its permutations and occasional excesses. That said, her Sadie is refreshingly underplayed and sincere. The mid-Atlantic accent that she tended to is at a minimum here, and there is a fluidity that is in much contrast to the Greek tragic masks, riveting though they are, of some of her later performances. The wonderful Jean Dixon is on hand in a role that is a precursor to Eve Arden's pal of "Mildred Pierce" and "Goodbye My Fancy"--worldly, rueful, self-denigrating. (Mary Phillips took on a similar part in "The Bride Wore Red" several years later.) Esther Ralston does a fine job as the blowsy, sensuous man-stealer--at one point she practically does a Mae West with her intonations and stance. Solid performances also from Franchot Tone and Gene Raymond and the always-reliable, under-appreciated Edward Arnold. The very engaging Earl Oxford appears as "the Stooge" and one wonders why this charmer did not have a film career.

    The story is serviceable, and there is a motif of characters' taking responsibility for their lives, and, as best they can, making amends for wrongs. Note that at the start and end of the film there are scenes in which the camera follows a character from one room to the next in such a way that you realize that there is not any real partition between the two rooms--an enjoyable little breaking of the "fourth wall" premise of theater.
    Poseidon-3

    The stuff that Joan is made of...

    It's easy to see why films like this made Crawford the idol of millions of young women across the country. It's the epitome of a "vehicle".....a film designed to display all the talents of a star and make audiences fall for them. As in many of her early films, she begins at the bottom...the daughter of the cook for a wealthy family including Tone. She gets a hot scene right off the bat when she angrily defends her boyfriend, who is being derided by the aristocrats at the table, by telling them all off (this moment actually brings to mind Emily Watson's similar, yet much more subdued, scene in "Gosford Park".) Soon she and lover Raymond are off to NYC. This section is fascinating as it portrays the way diners were in that era. There's an astonishing coffee dispenser that is shown in one scene and the Automat is quite interesting to behold (not to mention the corned beef hash and 2 poached eggs for $0.35!) Circumstances progress to where she is working in a dance hall (and showing some positively scary legs! It amazing how times have changed in that, today, a similar dancer would have to have sticks for legs and breasts out to there, etc....) Here she becomes associated with a drunken millionaire (Arnold) who takes a major shine to her. Fortunately, for the viewer, she sticks with him, so she can wear an array of dazzling Adrien gowns and furs. Ultimately, each of the men in her life (Tone, Raymond, Arnold) presents her with a variety of conflicts and decisions....all of which she handles with the utmost nobility and grace. She is photographed magnificently throughout with her amazing profile and luminescent eyes featured repeatedly. It's a good thing the film is in black and white because she'd be too much to deal with in color! Everyone knows that Hurrell retouched his amazing portraits of her, but here she looks quite wonderful with just make up and good lighting. The plot is creaky and contrived and the film is just plain out of date, but it's great to see Joan in action in her quintessential role and there's a decent performance from Arnold and nice work by several other supporting players including Hitchcock favorite Carroll. One fun thing to watch for: As a precursor of the later, more antagonistic Crawford, Joan gets fed up with a nightclub singer, barks at her to "Shut up!" and shoves her backwards into a trunk! Fun stuff.
    7AlsExGal

    Nobody suffers quite like Joan Crawford

    This is often forgotten in Joan Crawford's filmography. It has lots of the ingredients of precode Hollywood, released a couple of month before the inception of the Production Code. It also has lots of the components of the films that Crawford made for MGM of the 1930s, but this one came relatively early in her career and thus seems fresh compared to later similar entries.

    Sadie is the daughter of the cook in the home of the wealthy Alderson family. One night when helping out with the serving at dinner, she listens to the son and lawyer of the family (Franchot Tone as Michael) talking about how her boyfriend, Tommy Wallace, is a thief and should get no second chance from the community now that he's been fired from his job. Sadie tells them off and takes off with Tommy (Gene Raymond) to New York City. They have about twenty dollars between them, and pretend to be married to the landlady, planning to be married the next day. Sadie has a job interview, so she and Tommy agree to meet at city hall at noon and be married. He never shows. But this is not an Affair to Remember. Instead, it's exactly what you'd suspect. Brassy nightclub singer Dolly Merrick hears Tommy singing in the boarding house bathroom and offers him a job singing in her act. But the audition would conflict with his wedding. Tommy picks the audition over the wedding, clears out his clothes, and doesn't even leave a note behind.

    Sadie, now a hardened jaded woman, gets a job dancing in a night club act where she meets the very wealthy Jack Brennan ( Edward Arnold). He's drunk when he meets her, drunk when he marries her, in fact the guy is perpetually drunk to the point I get tired of him, and it is so hard to get tired of the talented Edward Arnold. The complicating factor is that Michael Alderson is Brennan's lawyer, thinks the worst of Sadie, and is still a pompous glass bowl, although he was right about Tommy having no character. Sadie can't forgive him for that either.

    Then comes the day when Sadie is told Brennan will die if he doesn't quit drinking, Sadie sees Tommy again and the old feelings surface, and Michael AND all of the servants think she is just a scheming tramp trying to let Brennan die drinking so she can become the rich widow. Complications ensue.

    This film had lots of precode moments. There is the insinuation that Tommy and Sadie, in spite of their promises to each other to wait, do share a bed that one night they are in the rooming house. And there is the delightful Jean Dixon as Sadie's hard boiled friend who looks at the bedroom arrangements after Sadie marries Brennan and says "I've done a lot more for a lot less".

    Recommended if it ever comes your way. It packs a lot of plot into its running time.
    6blanche-2

    Joan Crawford, cook's daughter

    Joan Crawford is "Sadie McKee" in this 1934 film also starring Gene Raymond, Edward Arnold, Franchot Tone, and Jean Dixon. Crawford is the daughter of the cook for the wealthy Alderson family. The young man of the family, Michael (Tone) has obviously fallen for Sadie, but her heart belongs to loser Tommy Wallace (Raymond), who has just been fired for a malfeasance. Sadie runs off to New York with Tommy, and the two wind up in the rooming house of Mrs. Craney. The next day, they are to be married at City Hall at noon. But showgirl Dolly Merrick (Esther Ralston) who also lives at the rooming house, hears Tommy's dulcet tones and convinces him to forget marriage, leave town, and take a job in her traveling show.

    Another women rooming at Mrs. Craney's is Opal, who gets Sadie a job at her club. There Sadie meets the filthy rich, drunken Jack Brennan, whom she marries. It turns out that Jack's drinking has all but destroyed his health. Though Sadie can't stop thinking about Tommy, she is determined to help Jack quit drinking and regain his health.

    Pretty good melodrama, with Crawford wearing some fabulous outfits. Esther Ralston was a gorgeous blonde and is a lively Dolly Merrick, and Jean Dixon gives a good performance as Opal.

    The debonair Franchot Tone gives a smooth performance as Michael, and Gene Raymond sings and acts pleasantly enough as Tommy, who manages to be likable though he walked out on Sadie.

    Crawford made a lot of this type of film -- the working girl who moves up in class -- and they were very popular. She gives an appealing performance, and she was one actress who could look and act like a hard-working girl who came from a slum and also pull off being glamorous and wealthy.

    Worth seeing.
    tjonasgreen

    The Perfect Crawford Vehicle.

    Clarence Brown was an above average director and his pictures with Joan Crawford in the early and mid '30s are better than those she did with others. Brown had an eye and a sense of detail and he favors long takes with two or more performers interacting, which creates a certain tension where there might otherwise be none. Certainly this improbable script is not noticeably better than others Joan did around that time, but everything about this picture works perfectly.

    Having finally found her best 'look,' Crawford is undeniably gorgeous, the ravishing epitome of glamor. And Adrian does some of his best work for her in this, putting her in one stunning and flattering gown after another. She is also given a talented and varied supporting cast and all of the big set pieces work, though Edward Arnold's drunk scenes go on for too long.

    And there are a couple of fantastic sets, one of Arnold's mansion and the other of a glass sanitarium in the snow. Though the whole cast is more than adequate, a few players stand out: Jean Dixon is delightfully world weary in a leopard coat, Esther Ralston makes a perfect amoral siren, and it's a bit of a revelation to see how much Leo G. Carroll accomplishes by doing very little in his role as a nasty butler. There's also a fantastic jazz version of "After You've Gone" performed by Gene Austin, Candy Candido and Otto Heimel. As for the main players, Crawford, Franchot Tone and Gene Raymond don't dig very deep in their performances, but with a plucky, luscious Crawford at full tilt and with everything else about this movie clicking so well, it doesn't matter. It works.

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    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      One of the first films to treat alcoholism as a serious problem, instead of a comic device.
    • गूफ़
      When Tommy is in his hospital room he makes Dr. Briggs promise not to tell Sadie of his condition. However, when Dr. Briggs leaves the room, Sadie is there with the other doctors and she already knows. Dr. Briggs then says, "He made me promise he wouldn't tell her." This dialogue obviously makes no sense and is wrong. What he meant to say was, "He made me promise not to tell her."
    • भाव

      Sadie McKee Brennan: [showing off her bedroom] Here it is.

      Opal: Lady, when you say, "I do take thee," how you take him.

      Sadie McKee Brennan: [chuckles]

      Opal: Got this all to yourself?

      Sadie McKee Brennan: Yep, all to myself.

      Opal: Always all to yourself?

      Sadie McKee Brennan: Yep.

      Opal: Well, a whole lot of us do a whole lot more for a whole lot less.

    • कनेक्शन
      Featured in What Ever Happened to Baby Jane? (1962)
    • साउंडट्रैक
      All I Do Is Dream Of You
      (1934) (uncredited)

      Music by Nacio Herb Brown

      Lyrics by Arthur Freed

      Played during the opening credits

      Sung by Gene Raymond three times

      Sung also by Earl Oxford in a show

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल17

    • How long is Sadie McKee?Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 9 मई 1934 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • Vackra Sadie McKee
    • फ़िल्माने की जगहें
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., कल्वर सिटी, कैलिफोर्निया, यूएसए(Studio)
    • उत्पादन कंपनी
      • Metro-Goldwyn-Mayer (MGM)
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • बजट
      • $6,12,000(अनुमानित)
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    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      • 1 घं 33 मि(93 min)
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.37 : 1

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