IMDb रेटिंग
6.0/10
1.3 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंDuring World War I, a young French woman struggles to choose between two suitors: a blind soldier to whom she is engaged and an American serviceman.During World War I, a young French woman struggles to choose between two suitors: a blind soldier to whom she is engaged and an American serviceman.During World War I, a young French woman struggles to choose between two suitors: a blind soldier to whom she is engaged and an American serviceman.
- पुरस्कार
- कुल 3 जीत
Ernie Alexander
- One of the Doughboys
- (बिना क्रेडिट के)
Oscar Apfel
- Maj. Russart
- (बिना क्रेडिट के)
John Carroll
- Doughboy
- (बिना क्रेडिट के)
Drew Demorest
- Doughboy
- (बिना क्रेडिट के)
Sherry Hall
- Soldier in Russart's Office
- (बिना क्रेडिट के)
Seymour Kupper
- Teen-Age Boy
- (बिना क्रेडिट के)
George Magrill
- Military Policeman
- (बिना क्रेडिट के)
Douglas Scott
- Sylvestre
- (बिना क्रेडिट के)
Harry Tenbrook
- Doughboy
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
In the title role of Marianne was Marion Davies in her sound debut at MGM. In
this she plays a French waif who is engaged to a French soldier blinded in combat
played by George Baxter. That is until the sight of doughboy Lawrence Gray gets
her French mojo going.
It's not a great film by any means, but it does display the comedic talents that Davies he had. She's positively a pixie in this film flitting back and forth between Baxter and Gray.
Benny Rubin and Cliff Edwards get to do a comedic bit or two, but this film without a big male screen name opposite Davies allows the film to really be her show. As this film is pre-Code there are some truly risque lines and situations in it. There is also a French language version shot simultaneously with some cast alterations.
Marianne is not a great film, but a must for a Marion Davies fans.
It's not a great film by any means, but it does display the comedic talents that Davies he had. She's positively a pixie in this film flitting back and forth between Baxter and Gray.
Benny Rubin and Cliff Edwards get to do a comedic bit or two, but this film without a big male screen name opposite Davies allows the film to really be her show. As this film is pre-Code there are some truly risque lines and situations in it. There is also a French language version shot simultaneously with some cast alterations.
Marianne is not a great film, but a must for a Marion Davies fans.
With the current rush to assure us that Marianne Davies was the victim of a CITIZEN KANE hatchet, job her films are being rather weirdly up rated.
MARRIANNE creaks and what Davies shows here is guts rather than talent, performing in French (of a sort), singing, doing her impressions and delivering the awful `I present you with the air' dialogue with a scary determination, she registers like somebody's mum trapped into appearing in a local operetta society performance.
The studio have poured the best state of the art technique into the piece with varied angles, glossy sets and even a wobbly dissolve in camera to impress the voracious early talkie audience but they would have done better to flesh out the doughboys in Europe plot with more than the two gags they repeat endlessly.
Of the desperate cast, Benny Rubin manages to seem most at ease.
MARRIANNE creaks and what Davies shows here is guts rather than talent, performing in French (of a sort), singing, doing her impressions and delivering the awful `I present you with the air' dialogue with a scary determination, she registers like somebody's mum trapped into appearing in a local operetta society performance.
The studio have poured the best state of the art technique into the piece with varied angles, glossy sets and even a wobbly dissolve in camera to impress the voracious early talkie audience but they would have done better to flesh out the doughboys in Europe plot with more than the two gags they repeat endlessly.
Of the desperate cast, Benny Rubin manages to seem most at ease.
When most silent stars feared the talkies, Marion Davies jumped in with this saucy musical comedy, playing a WW I French girl wooed by 3 American doughboys (Lawrence Gray, Cliff Edwards, and Benny Rubin). Good songs, including title tune and 'Just You, Just Me," as well as Edwards' solo (I forget the title) keep this early talkie moving nicely. Davies was a consummate comedienne and proves it in her starring talkie debut, doing impressions of Maurice Chevalier and Sarah Bernhardt as well as singing and dancing. Edward and Rubin are good comic foils, and Gray is a handsome leading man. Solid MGM talkie with good production values and sound. Davies and Gray had starred together in the silent film, "The Patsy." And I SILL say that Davies ranks with Lombard, Loy, and Arthur as the 30s best comediennes.
French farm girl MARIANNE has constant difficulties with the American soldiers stationed in her barn after the Armistice.
This film was the starring talkie debut for Marion Davies, one of the most charming and talented actresses of her day. As the mistress of William Randolph Hearst, one of America's most powerful men, Davies probably could have had her pick of roles. In some respects, MARIANNE is an odd choice. There is virtually no action, most of the scenes take place in a kitchen and a barn, and Davies speaks her entire dialogue, often in French, with a very thick accent. But she is so lively and full of joie de vivre, so infectiously good-natured even when angry, even mimicking Chevalier & Bernhardt, and impersonating a young male officer, that she becomes the main reason for watching the film today. It is indeed unfortunate that Marion Davies' gifts have become obscured and her films nearly forgotten.
Lawrence Gray, who had shown much skill as a comic actor during Silent days and had worked with Davies then, here plays the American doughboy who falls for Marion. The funny business is handled by two of MGM's newest acquisitions, Yiddish dialect comedian Benny Rubin and ukulele-playing Cliff Edwards. Marion's noble French boyfriend is enacted by George Baxter.
As with many other early sound films, the movie suffers with too much talk. However, the recurring musical sequences are mostly quite welcome. The opening scene, with its idyllic look at Marion's village, shows the quality of art direction for which MGM was famous.
And pity the poor pig Anatole!
This film was the starring talkie debut for Marion Davies, one of the most charming and talented actresses of her day. As the mistress of William Randolph Hearst, one of America's most powerful men, Davies probably could have had her pick of roles. In some respects, MARIANNE is an odd choice. There is virtually no action, most of the scenes take place in a kitchen and a barn, and Davies speaks her entire dialogue, often in French, with a very thick accent. But she is so lively and full of joie de vivre, so infectiously good-natured even when angry, even mimicking Chevalier & Bernhardt, and impersonating a young male officer, that she becomes the main reason for watching the film today. It is indeed unfortunate that Marion Davies' gifts have become obscured and her films nearly forgotten.
Lawrence Gray, who had shown much skill as a comic actor during Silent days and had worked with Davies then, here plays the American doughboy who falls for Marion. The funny business is handled by two of MGM's newest acquisitions, Yiddish dialect comedian Benny Rubin and ukulele-playing Cliff Edwards. Marion's noble French boyfriend is enacted by George Baxter.
As with many other early sound films, the movie suffers with too much talk. However, the recurring musical sequences are mostly quite welcome. The opening scene, with its idyllic look at Marion's village, shows the quality of art direction for which MGM was famous.
And pity the poor pig Anatole!
Marianne (1929)
** 1/2 (out of 4)
Three American GI's (Lawrence Gray, Benny Rubin, Cliff Edwards) at the end of WW1 fall in love with a French woman (Marion Davies) but she wants none of it and has to fight all of them off even though her heart might change. Apparently this film was originally made as a silent but the studio went back and re-filmed the entire thing. I'm sure they scrapped an entire movie because of Davies' famous lover but it would be interesting comparing both versions. This one here has a lot of music sequences so it would be interesting seeing what they did in the silent version. Considering this is an early sound film you have to expect some of the rather poor sound quality but Davies performance will have her fans wanting to check this out. There's really not too much story here and certainly not enough to carry a 112-minute film. The movie runs a tad bit too long because it's quite predictable so getting to the ending takes quite a while especially when you know who she's going to fall in love with. The music sequences are all rather strange because they pop out of anywhere and the film doesn't try to hide the fact that many of those doing the singing really aren't that talented in the field. The rather bland singing makes for an interesting experiment and in some ways it makes the film seem almost surreal but at the same time the bad singing works against the "musical" aspect of the film. Davies gets to belt out a couple lines but they're hidden within some comedy. Either way, she turns in a fine comic performance even though her French accent isn't the greatest. The think accent is also hard to understand at times due to the sound quality but it's only a minor problem. The three male leads are all fine in a strange sort of way and they're certainly over the top in a campy but entertaining way.
** 1/2 (out of 4)
Three American GI's (Lawrence Gray, Benny Rubin, Cliff Edwards) at the end of WW1 fall in love with a French woman (Marion Davies) but she wants none of it and has to fight all of them off even though her heart might change. Apparently this film was originally made as a silent but the studio went back and re-filmed the entire thing. I'm sure they scrapped an entire movie because of Davies' famous lover but it would be interesting comparing both versions. This one here has a lot of music sequences so it would be interesting seeing what they did in the silent version. Considering this is an early sound film you have to expect some of the rather poor sound quality but Davies performance will have her fans wanting to check this out. There's really not too much story here and certainly not enough to carry a 112-minute film. The movie runs a tad bit too long because it's quite predictable so getting to the ending takes quite a while especially when you know who she's going to fall in love with. The music sequences are all rather strange because they pop out of anywhere and the film doesn't try to hide the fact that many of those doing the singing really aren't that talented in the field. The rather bland singing makes for an interesting experiment and in some ways it makes the film seem almost surreal but at the same time the bad singing works against the "musical" aspect of the film. Davies gets to belt out a couple lines but they're hidden within some comedy. Either way, she turns in a fine comic performance even though her French accent isn't the greatest. The think accent is also hard to understand at times due to the sound quality but it's only a minor problem. The three male leads are all fine in a strange sort of way and they're certainly over the top in a campy but entertaining way.
क्या आपको पता है
- ट्रिवियाFirst shot as a silent film (which exists), this was recast and re-shot as an all-talkie film. The silent version was released overseas and on a very limited basis domestically.
- गूफ़The soldiers ask Marianne to imitate Maurice Chevalier, so she sings "Louise." That song was written in 1929, more than a decade after WWI ended.
- इसके अलावा अन्य वर्जनAlthough two versions of this film were shot, a talkie and a silent, and both of them exist, there was also a third version that MGM used to show this film in Argentina. The majority of the footage was lifted from the silent version (with an added soundtrack with music and effects) and all of the songs from the sound version were also included.
- कनेक्शनEdited from The Big Parade (1925)
- साउंडट्रैकLa Marseillaise
(1792) (uncredited)
Written by Claude Joseph Rouget de Lisle
Played after French mobilization for World War I
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