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The Postman Always Rings Twice

  • 1946
  • Approved
  • 1 घं 53 मि
IMDb रेटिंग
7.4/10
24 हज़ार
आपकी रेटिंग
Lana Turner and John Garfield in The Postman Always Rings Twice (1946)
Home Video Trailer from MGM
trailer प्ले करें2:28
1 वीडियो
99+ फ़ोटो
अपराधट्रेजेडीड्रामाथ्रिलरफ़िल्म नोयररहस्यरोमांस

अपनी भाषा में प्लॉट जोड़ेंA married woman and a drifter fall in love and plot to murder her husband.A married woman and a drifter fall in love and plot to murder her husband.A married woman and a drifter fall in love and plot to murder her husband.

  • निर्देशक
    • Tay Garnett
  • लेखक
    • Harry Ruskin
    • Niven Busch
    • James M. Cain
  • स्टार
    • Lana Turner
    • John Garfield
    • Cecil Kellaway
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.4/10
    24 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Tay Garnett
    • लेखक
      • Harry Ruskin
      • Niven Busch
      • James M. Cain
    • स्टार
      • Lana Turner
      • John Garfield
      • Cecil Kellaway
    • 193यूज़र समीक्षाएं
    • 82आलोचक समीक्षाएं
    • 84मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • कुल 3 जीत

    वीडियो1

    The Postman Always Rings Twice
    Trailer 2:28
    The Postman Always Rings Twice

    फ़ोटो126

    पोस्टर देखें
    पोस्टर देखें
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    पोस्टर देखें
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    + 119
    पोस्टर देखें

    टॉप कलाकार51

    बदलाव करें
    Lana Turner
    Lana Turner
    • Cora Smith
    John Garfield
    John Garfield
    • Frank Chambers
    Cecil Kellaway
    Cecil Kellaway
    • Nick Smith
    Hume Cronyn
    Hume Cronyn
    • Arthur Keats
    Leon Ames
    Leon Ames
    • Kyle Sackett
    Audrey Totter
    Audrey Totter
    • Madge Gorland
    Alan Reed
    Alan Reed
    • Ezra Liam Kennedy
    Jeff York
    Jeff York
    • Blair
    Philip Ahlm
    • Photographer
    • (बिना क्रेडिट के)
    John Alban
    John Alban
    • Photographer
    • (बिना क्रेडिट के)
    Don Anderson
    Don Anderson
    • Orderly Pushing Wheelchair
    • (बिना क्रेडिट के)
    Morris Ankrum
    Morris Ankrum
    • Judge
    • (बिना क्रेडिट के)
    King Baggot
    King Baggot
    • Courtroom Spectator
    • (बिना क्रेडिट के)
    Betty Blythe
    Betty Blythe
    • Customer
    • (बिना क्रेडिट के)
    Paul Bradley
    Paul Bradley
    • Man
    • (बिना क्रेडिट के)
    Barbara Brewster
    Barbara Brewster
    • Danielle - Ben's Twin Girl
    • (बिना क्रेडिट के)
    Gloria Brewster
    Gloria Brewster
    • Yvette - Ben's Twin Girl
    • (बिना क्रेडिट के)
    Wally Cassell
    Wally Cassell
    • Ben
    • (बिना क्रेडिट के)
    • निर्देशक
      • Tay Garnett
    • लेखक
      • Harry Ruskin
      • Niven Busch
      • James M. Cain
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं193

    7.424.1K
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    फ़ीचर्ड समीक्षाएं

    8NewEnglandPat

    A solid murder mystery with star power

    Lana Turner and John Garfield are great in this classic tale of deception and murder and its hard to imagine that another actress, save Barbara Stanwyck or Joan Crawford, could have played the role of the wayward wife as well as did Turner. Cecil Kellaway has a thankless role and it's hard to believe that he was as clueless as he was about the fires burning around him as Turner and Garfield carry on their affair. Kellaway seems more preoccupied with pinching pennies than noticing how his young, attractive wife is bursting with sexual energy. Turner is as beautiful as ever but she and Kellaway don't make a credible married couple. Hume Cronyn is good as the smug attorney but the courtroom drama is a bit of a letdown. Garfield brings a restless energy to his role and matches Turner's smoldering sexuality.
    9clanciai

    There is no postman here but karma plenty enough

    It is wrong to compare this film with Visconti's masterpiece three years earlier, although they are both made on the same story. They are two totally different films. They start on an equal basis, but while Visconti concentrates on sticking to hard core realism and staying firmly on the ground with basics all the way, this film soon grows more romantic as a real noir feature and then turns into extensive complications of court procedures with two lawyers involved, one smarter than the other and both with agenda of their own. It is impossible to say which one is better, I haven't read book, but I presume both films follow the book rather accurately although they diverge into their own elaborations of the case. It's a great film with great actors and great music, the cinematography is superb, there can be no complaints, but the question is who makes the better performance, Lana Turner or John Garfield. They are both at their best, while my favorite actually is Cecil Kellaway as the adorable old fool Nick. Who could ever have the heart to kill such a nice and totally amiable guy?
    8classicalsteve

    Slightly Softened from Cain's 1930's Novel but Still Holds Its Own as a Noir Classic

    The original book published in 1934 by James M. Cain (author of "Double Indemnity") was a gritty unsentimental story of a low-class drifter and bum, Frank, who is taken in by a German immigrant, Nick, who owns a roadside café and his beautiful wife, Cora, who turns out to be much darker on the inside than the facade of her pure white skin. Cora, we learn, is dissatisfied with her life married to this older immigrant and the drifter becomes her catalyst to change her situation. The movie adaption of twelve years later is a slightly sentimentalized version of Cain's noir classic. That said, the movie still holds its own as a noir tale of betrayal and murder, but doesn't quite have the edge of Billy Wilder's adaption of "Double Indemnity".

    Still, the movie works very well under its own terms, particularly because of the outstanding chemistry between the leads John Garfield and Lana Turner. In fact, the star of the show is really Turner who turns in a tour-de-force performance. Turner continually shows us the many faces of her character Cora Smith who is sometimes weak and vulnerable and other times resolute and stubborn, even unsympathetic, and yet oozing with unrealized sexuality. We gather that Cora is no ordinary woman, or at least not the soft sentimental Doris Day type. More like a cross between Eva Peron and Madonna. Sometimes hard and mean and other times sweet and feminine, she is the complex epitome of the Cain femme fatale of this era. She remains enigmatic from beginning to end which is I think what Cain would have wanted. Garfield, in probably the role of his career, is equally superb, at first rejecting the murder scheme and then later embracing it. Although lacking the enigmatic complexity of Cora, Frank is equally ambiguous and ambivalent to his life choices, and Garfield well conveys the multi-sidedness of Frank.

    The story concerns a young man looking for work, finds a roadside café up a few hours north of Los Angeles, probably up the 101 freeway, and becomes the hired help. He is employed by Nick, a simple German-stock older-than-middle-age man, who simply wants to make enough money to be comfortable and occasionally play his little guitar. His wife, Cora, is about 40 years younger and wants to make something of their café instead of just eking out a meager living. But fleeing with Nick and beginning from ground zero is not what she wants. She would like to have the café and make something of it. And when the hired help Frank falls for her, she realizes he is the perfect means to get both of them out of their hellish existence.

    A fine example of 1940's film noir with many of the stylistic considerations, such as the camera panning from feet-to-face when we first meet the woman Cora, the many unexpected twists and turns, and of course the dark desires of the leads. Every series of scenes leaves you guessing as to what will happen next. A couple of scenes were contrived that were superfluous to the book. Unfortunately, the film suffers slightly because of the stringent ethics codes that started to be imposed on films of that time. Probably film noir offerings suffered more than most because of their probing the darker sides of human nature. However, Postman still ranks as classic film noir.
    Doylenf

    Garfield and Turner are terrific...steamy version of the James M. Cain novel is still the best...

    Someone previously questioned the meaning of the title. In my view, it refers to the double twist imposed on the story's ending by the author--especially once the legal wrangling between opposing lawyers (near the conclusion) is exposed. Then, finally, after winning a victory of sorts, the unexpected happens--thus, the irony of the title. Anyway, this is as good as it gets--you won't find a better version of this story than this 1946 film. I'm always amused to read that someone on these posts "never looks at black-and-white films", a total putdown of all the great classics that came before color was even possible. How dumb can you get? For fans of complex, hard-bitten murder yarns with gritty background and suspense that tightens slowly like a knot, this is for you. Watch as the two leads get more and more entangled in their own web of deception and lies. Turner established herself as a strong actress who could play a role to the hilt when she identified with it. Garfield, of course, was always at his best in tough guy roles. Watch for my article on Lana Turner in an upcoming issue of FILMS OF THE GOLDEN AGE--much of the inspiration for it came from this particular film noir.
    bob the moo

    Atmospheric story of lust, desire and murder

    Drifter Frank Chambers applies for a job at a road side café belonging to Nick Smith, only to fall under the spell of Nick's wife Cora. He falls into desire which leads to deceit and eventually murder. Too late he falls in love but by then things have gone too far. He tells his story to us with the hindsight of a condemned man.

    A classic bit of noir light. Based on Cain's sexual novel this underplays the explicit references but turns the subtle stuff way up - the film opens with a `Man Wanted' sign, while Cora is so well played that there's no doubt what she's offering. Without the explicit sex of the remake this story is a lot freer to be interesting rather than explicit. The court case and the mistrust between the lovers is as good as the early desire giving rise to murder.

    Lana Turner is excellent as the femme fatale, she is smouldering and very, very desirable. Garfield is also excellent as the man trapped in her web. The two are the very center of the film and are both superb. If the film has any weakness then it may be that modern audiences need more than very subtle stuff, but that's probably our problem rather than the film's.

    Overall this is very enjoyable, it has a great sense of mood and builds well to the inevitable conclusion.

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      James M. Cain was so impressed with Lana Turner's performance he presented her with a leather-bound copy of the book inscribed, "For my dear Lana, thank you for giving a performance that was even finer than I expected."
    • गूफ़
      When Cora opens the cash register to leave a note, the bill in the register is a Confederate one-dollar bill.

      This is not an "Anachronism", as Confederate money certainly existed in the 1940s, though it might be considered odd that the proprietor accepted it.
    • भाव

      Cora Smith: It's too bad Nick took the car.

      Frank Chambers: Even if it was here, we couldn't take it, unless we'd want to spend the night in jail. Stealing a man's wife, that's nothing, but stealing a man's car, that's larceny.

    • क्रेज़ी क्रेडिट
      Opening and ending credits are shown over the hardcover book of the same name.
    • इसके अलावा अन्य वर्जन
      Also available in a computer colorized version.
    • कनेक्शन
      Edited into Dead Men Don't Wear Plaid (1982)
    • साउंडट्रैक
      She's Funny That Way
      (1928) (uncredited)

      Music by Neil Moret

      Lyrics by Richard A. Whiting

      Played on guitar and Sung by Cecil Kellaway

    टॉप पसंद

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

    अक्सर पूछे जाने वाला सवाल21

    • How long is The Postman Always Rings Twice?Alexa द्वारा संचालित
    • What does the title mean?
    • How was James M. Cain's book received?
    • What did Fred Allen write after he received a copy of the book?

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 6 सितंबर 1946 (ऑस्ट्रेलिया)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • El cartero llama dos veces
    • फ़िल्माने की जगहें
      • लगुना बीच, कैलिफोर्निया, यूएसए(beach scenes)
    • उत्पादन कंपनी
      • Loew's
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • बजट
      • $16,83,000(अनुमानित)
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    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      • 1 घं 53 मि(113 min)
    • रंग
      • Black and White
    • पक्ष अनुपात
      • 1.37 : 1

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