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Liliom

  • 1930
  • 1 घं 34 मि
IMDb रेटिंग
6.5/10
539
आपकी रेटिंग
Charles Farrell in Liliom (1930)
ड्रामा

अपनी भाषा में प्लॉट जोड़ेंLiliom learns his wife is pregnant and robs a bank. During the getaway, he is killed and given a chance to return to Earth. He quickly learns the only way to make his wife and daughter happy... सभी पढ़ेंLiliom learns his wife is pregnant and robs a bank. During the getaway, he is killed and given a chance to return to Earth. He quickly learns the only way to make his wife and daughter happy is to leave them with cherished memories.Liliom learns his wife is pregnant and robs a bank. During the getaway, he is killed and given a chance to return to Earth. He quickly learns the only way to make his wife and daughter happy is to leave them with cherished memories.

  • निर्देशक
    • Frank Borzage
  • लेखक
    • Ferenc Molnár
    • S.N. Behrman
    • Sonya Levien
  • स्टार
    • Charles Farrell
    • Rose Hobart
    • Estelle Taylor
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    6.5/10
    539
    आपकी रेटिंग
    • निर्देशक
      • Frank Borzage
    • लेखक
      • Ferenc Molnár
      • S.N. Behrman
      • Sonya Levien
    • स्टार
      • Charles Farrell
      • Rose Hobart
      • Estelle Taylor
    • 21यूज़र समीक्षाएं
    • 19आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • कुल 2 जीत

    फ़ोटो26

    पोस्टर देखें
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    + 20
    पोस्टर देखें

    टॉप कलाकार20

    बदलाव करें
    Charles Farrell
    Charles Farrell
    • Liliom
    Rose Hobart
    Rose Hobart
    • Julie
    Estelle Taylor
    Estelle Taylor
    • Mme. Muscat
    H.B. Warner
    H.B. Warner
    • Chief Magistrate
    Lee Tracy
    Lee Tracy
    • The Buzzard
    Walter Abel
    Walter Abel
    • Carpenter
    Mildred Van Dorn
    • Marie
    Guinn 'Big Boy' Williams
    Guinn 'Big Boy' Williams
    • Hollinger
    • (as Guinn Williams)
    Lillian Elliott
    • Aunt Hulda
    Anne Shirley
    Anne Shirley
    • Louise
    • (as Dawn O'Day)
    Bert Roach
    Bert Roach
    • Wolf
    James A. Marcus
    James A. Marcus
    • Linzman
    • (as James Marcus)
    Harvey Clark
    Harvey Clark
    • Angel Gabriel
    Frankie Genardi
    Oscar Apfel
    Oscar Apfel
    • Stefen Kadar
    • (बिना क्रेडिट के)
    Sidney D'Albrook
    Sidney D'Albrook
    • Suicidal Train Passenger
    • (बिना क्रेडिट के)
    June Gittelson
    June Gittelson
    • Buttercup
    • (बिना क्रेडिट के)
    Martha Mattox
    Martha Mattox
    • Housekeeper
    • (बिना क्रेडिट के)
    • निर्देशक
      • Frank Borzage
    • लेखक
      • Ferenc Molnár
      • S.N. Behrman
      • Sonya Levien
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं21

    6.5539
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    फ़ीचर्ड समीक्षाएं

    6planktonrules

    Ouch...this didn't age well--it's a strange and very uneven film.

    I can now see why this particular film directed by Frank Borzage is not one of his more famous ones. It simply isn't a very good film by today's standards. Much of this can be attributed to when it was made. Borzage was a fine director--particularly of silents. This one, however, is one of his early talking pictures--and it suffers from several problems relatively common in early talkies. The sound quality is only fair (you'll want to use the optional captions), some of the actors way over-annunciate and the dialog is, at times, poor. However, it was up to the director to re-shoot scenes where lines were flubbed--and too often they were used as-is and the film looks a bit rough because of it. A few examples are Julie's girlfriend and her often lousy style of delivering her lines (bizarre is more like it), the awkward way Farrell knocks down Hobart at 35 minutes into the film and the subsequent stilted dialog between Hobart and her male friend, the Carpenter.

    As for the plot, "Liliom" is an odd film. Unlike some of Borzage's films where the nobility of the common man is demonstrated (such as in "Street Angel" and "Seventh Heaven"), here in "Liliom" the characters are poor but very earthy. Liliom is a ne'er-do-well--a leech who feeds off his girlfriend, knocks her up and hangs with low-life friends--a type plot you'd never see once the Production Code was strengthened in 1934. It's rather odd to see Charles Farrell (Liliom) in such a role--not the usual nice guy and a bit odd looking underneath his gypsy-like hair and mustache. As a result, it's harder to connect with his character and, in fact, you find yourself hating him. As for his poor girlfriend, Julie (Rose Hobart), she just seems weak and pathetic--and incredibly needy. Put in psychological terms, he seems like an antisocial personality and she like a dependent personality.

    When the film begins, Liliom meets Julie and he seems taken with her but also very indifferent at the same time. As for the quiet Julie, she is clearly smitten and allows him to move in with her. He doesn't work and soon she becomes pregnant. All the while, one of Liliom's old girlfriends keeps popping in and out of the picture. When Liliom learns that Julie is pregnant, he finally tells the girlfriend to take a hike and he wants to be responsible. So, he does what such a guy would do--plans on a robbery with his friend to get cash. What happens next you'll just need to see for yourself--and I pretty much suspect that you will never guess! And does it get weird!!

    While I found the plot at first unpleasant due to the annoying characters, sub-par acting for a Borzage film and disliked the sloppy scenes needing re-takes, there still was a lot to like in the film. Borzage was a master at cinematography and used black & white film in an ingenious manner--and the film's use of shadows and wonderful sets are impressive. This is something Borzage perfected in the silent years and it clearly carries over here. Also, while some noted that the rear-projected backgrounds were not very good, it was the first film to use this technique--and you need to give the film makers credit for this. I particularly loved the scene where the train came through the window--it was surreal, beautiful and impressive. And speaking of this, the plot does change and picks up considerably towards the end--and must be seen. As a result of so much good and bad, the overall film is bizarrely uneven. I cannot hate it, but I really couldn't unequivocally recommend it either (even with a cool second half). Simply put, it should have been a lot better.

    By the way, it is interesting and fitting that H.B. Warner was cast as the Magistrate in the film considering only a few years before he played Jesus in "The King of Kings". And, didn't the plot seem to justify and even romanticize domestic violence?!
    7dbdumonteil

    He hit me and I felt like a kiss.

    Although Lang's version is more famous,Borzage's work is not devoid of interest ,far from it:its "celestial" sequences are even better.The metaphor of the train (perhaps borrowed from the ending of Abel Gance's "la roue" ) is eventually more convincing than the "up above" heavenly world.

    Borzage's tenderness for his characters shows in Marie's character and love beyond the grave is one of his favorite subjects (the ending of "three comrades" ).The amusement park seems to be everywhere: we see it even when we are in Marie's poor house.I do not think that the sets are that much cheesy,they are stylized to a fault.The fair from a distance almost gives a sci-fi feel to the movie.

    Borzage never forgets his social concerns: in the heavenly train going up,the Rich cannot stand to be mixed up with the riffraff but as "chief magistrate" tells :"here there's no more difference" .

    Not a major work for Borzage (neither is Lang's version),but to seek out if you are interested in the great director's career.
    8boblipton

    Studio Bound But Just Borzage's Meat

    There is indeed much to complain about this movie version of Molnar's mystical play --Farrell looks good in his title role, but his line readings, frankly, stink. This also suffers, in large part, from this being credited as the first movie that makes use of rear projection. The sets look phony.

    There are two great strengths in this show, however: although the dialogue readings limp, the visual performances are perfect. Rose Hobart, as Julie, is little remembered today: mostly for ROSE HOBART, in which Joseph Cornell cut down the programmer EAST OF BORNEO to simply shots of her: credit Melford's stylish visual direction of the original. Her great beauty and simple (although stagy) performance help repair some of the damage to the earth-bound sections of this movie.

    However, one of Borzage's themes is the mystical power of love, and it is the handling of the celestial sections that make this great, from the arrival of the celestial train to the journey to 'the Hot Place'. H.B. Warner's performance here is, as always, perfect.

    So we have here a flawed but very interesting version. I think that Lang's 1934 version is better, as well as the celestial scenes in the Henry King version of CAROUSEL, the watered-down musical remake. But I still greatly enjoyed this version and think you should give it a chance.
    8Manton29

    A beautiful potent, unforgettable dream.

    Charles Farrell stars as the titular Liliom, a no-good 'barker', enticing people - especially pretty young ladies – to ride the carousel at the fairground. Along come servant Julie (Rose Hobart) and her colleague Marie and, to cut a long story short, Lil' and Jules find themselves unemployed, drinking in a beer-garden. Thus begins a not quite beautiful relationship. Liliom, being an 'artist', has trouble turning provider and Auntie-in-(common)law is running out of patience for the loafer on the sofa. Furthermore, Lil's former employer/lover, the sultry carousel owner Louise, wants him to come back to the fair, and his 'friend', 'The Buzzard', is never far off with his easy-money schemes… If you haven't had someone spoil the film for you, you're in for one hell of a surprise up ahead.

    This is an early sound film and by jiminy it shows. The line readings are like children's TV – you know, sort of wooden and VERY clearly pronounced just in case the wee ones are still learning to understand their native tongues. BUT this film should be enjoyed as a sort of fairy tale anyway, so that isn't quite the problem here that it might be in a more conventional drama. The characters all come across intensely as living souls here and I found myself deeply affected by them. Visually it's other worldly, German expressionist, with the lights of the seemingly omnipresent carnival twinkling through the night and beautiful use of lighting throughout, bringing out the delightful faces of the leads. Some have objected to the film's offensive, out-dated gender politics – there's a possible reading that spousal abuse is fine if it was done for the right reasons; and that 'boys will be boys' and that's fine, even good! – but this wasn't the way I chose to read it. For me this was far from a moral/message film; more like an unforgettable surrealist's dream. Later remade in 1934 by Fritz Lang, and then again in 1956 by Henry King, as Carousel. Highly recommended.
    6oOgiandujaOo_and_Eddy_Merckx

    strange strange fruit, Borzage in excess

    This is a film based on a classic story reworked elsewhere by Fritz Lang, amongst others. It's a love story set in old Budapest about a carnival barker called Liliom, and a servant called Julie (pronounced with a decidedly odd "dj" sound throughout the movie) who is smitten with him. Julie is a remarkably attractive young lady who we first see toiling amongst an exuberance of glass vases, one of the more charming shots in the movie (wasn't life better when directors composed shots like painters?).

    In this film and others, Borzage sets out his stall regarding love, his "faint heart never won fair lady" principles. I can live with that though he is rather brutal on the subject, quite happy to let the Fates unravel the threads of any man even faintly milksoppish. He really surpasses himself this time though, there's a carpenter who proposes to Julie and is knocked back, seemingly every week for a decade; perhaps he carries on after the end of the film until the undertaker is measuring him, who knows? The carpenter is an honest hard-working man who however is not the exciting razzmatazz individual we see with Liliom. There's a philosophy here. Liliom is lazy and a brute, Borzage shows no distaste even at the idea of him beating a woman. But he is carefree and charming. Borzage is telling us that there is no other value for a man in life than to be a rascal, beloved of the crowd. Indeed Liliom, absolutely without precedent, is selected as the first human to be allowed to return to earth after dying. That's the level of value that's associated with his lifestyle by the filmmaker.

    My opinion is that Borzage stretches his philosophy too far with this movie and ends up seeming obnoxious. Love is a prize that women dangle from on high and men must make superhuman existential efforts to leap for. There's something antediluvian about his attitudes to gender. In Lucky Star, for example, it's charming, because you have a goodie up against a baddie, and it's a feel-good story with a spunky female. But here I just feel sorry for the carpenter, a much kinder man than Liliom, who works hard at life. I get the feeling from watching a few of his movies that he has fairly skewed ideas and would have a lot of sympathy with social Darwinists and also Objectivists like Ayn Rand.

    It's an exasperating movie because it really is so beautiful, the fairground set is marvellous for example, and there is some beautiful heavenly footage. On the other hand Borzage hadn't managed to come to terms with sound here, at times it's almost like the actors are being prompted, that's how leaden the delivery can be. More fairly perhaps I should say that he hadn't come to terms with dialogue, because the sound design is actually very good in all other respects, the music in the beer garden is time wonderfully well with the conversation. What's really very nice to hear is the hammer dulcimer, which has a very unusual sound.

    All in all a very mixed bag. In my opinion it's still totally unforgettable though.

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      This is the first film to use rear projection for backgrounds.
    • भाव

      Chief Magistrate: [to Liliom] The memory of you makes them much happier than you could ever make them.

    • कनेक्शन
      Featured in Rodgers & Hammerstein: The Sound of Movies (1996)
    • साउंडट्रैक
      Dream of Romance
      Music by Richard Fall

      Lyrics by Marcella Gardner

    टॉप पसंद

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

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 5 अक्टूबर 1930 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • Frank Borzage's Liliom by Franz Molnar
    • उत्पादन कंपनी
      • Fox Film Corporation
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    • चलने की अवधि
      1 घंटा 34 मिनट
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.20 : 1

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