IMDb रेटिंग
7.0/10
1.1 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंA female marriage broker attempts to do a little freelance matchmaking for her friend who is a beautiful unattached model.A female marriage broker attempts to do a little freelance matchmaking for her friend who is a beautiful unattached model.A female marriage broker attempts to do a little freelance matchmaking for her friend who is a beautiful unattached model.
- निर्देशक
- लेखक
- स्टार
- 1 ऑस्कर के लिए नामांकित
- कुल 1 नामांकन
Lucile Barnes
- Model
- (बिना क्रेडिट के)
Bunny Bishop
- Alice
- (बिना क्रेडिट के)
Robert Board
- Usher
- (बिना क्रेडिट के)
Harris Brown
- Conventioneer
- (बिना क्रेडिट के)
Kathryn Card
- Mrs. Kuschner
- (बिना क्रेडिट के)
Harry Carter
- Big Doug
- (बिना क्रेडिट के)
Ken Christy
- Mr. Kuschner
- (बिना क्रेडिट के)
Blythe Daley
- Receptionist
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
Thelma Ritter was a national treasure. She could combine humor and pathos, and the warmth beneath the crusty exterior was always in evidence. Her presence in any film was always one of the high points, but this one is totally hers; she probably has in it the most screen time of any film she was in and, but for the vagaries of Hollywood, should have been first-billed in the credits. She brings great compassion to the character of Mae, who has endured a great loss and as a result has found herself in a business whose goal is to help others.
Under Cukor's sensitive direction, a wonderful script is brought to life (and, in view of his purported concerns about his physical appearance, one wonders if the script's allusions to the lonely and less-than-beautiful people of the world had a particular resonance for him). Dennie Moore, who had played the saucy maid in Cukor's "Sylvia Scarlett" 16 years earlier, shows up and is again a delight.
Under Cukor's sensitive direction, a wonderful script is brought to life (and, in view of his purported concerns about his physical appearance, one wonders if the script's allusions to the lonely and less-than-beautiful people of the world had a particular resonance for him). Dennie Moore, who had played the saucy maid in Cukor's "Sylvia Scarlett" 16 years earlier, shows up and is again a delight.
I agree with other comments about this being a little-known gem with a terrific cast and that it is a pleasure to see Thelma Ritter in a leading role. Cukor's direction is efficient and he's particularly good with long, unbroken takes which help the actors gain momentum and relate to each other. What I found interesting was that the film is very direct about marriage as an economic proposition and how it is often a business arrangement. The other interesting quality is that many of the scenes are almost surreal in their grotesqueness. I really like seeing Scott Brady in a romantic lead, he's very fresh. The film is interesting as a Fox film made right before their turn to CinemaScope the next year with the somewhat similar, and inferior, How to Marry a Millionarie. This film would have been in color and 'scope if made later. It also has some location shooting which was a growing trend at Fox and other studios during this period yet the pacing and dialogue-driven quality of the film is much like a screwball comedy from 10 years earlier.
Whatever merit THE MODEL AND THE MARRIAGE BROKER has is due entirely to the caustic, funny performance of Thelma Ritter as Mae, the lady with the New York accent who went into the broker business to make other ladies happy (after her own unhappy romantic past).
And it's a good thing Thelma carries the film, with the expert help of a few very good character roles--one in particular being MICHAEL O'SHEA, as a card-playing friend prone to giving her advice. SCOTT BRADY does a nice job as an eligible bachelor who shares some good scenes with Ritter and JEANNE CRAIN.
But Jeanne Crain is the problem. She looks so cool and detached as the unhappy model that it throws the comedy aspects a little off focus. She seems to be walking through her part instead of conveying any real emotion.
Still, a worthwhile little gem strictly because of Thelma Ritter. She's finally got a leading role and she runs away with it.
Nicely directed at a brisk pace by George Cukor.
And it's a good thing Thelma carries the film, with the expert help of a few very good character roles--one in particular being MICHAEL O'SHEA, as a card-playing friend prone to giving her advice. SCOTT BRADY does a nice job as an eligible bachelor who shares some good scenes with Ritter and JEANNE CRAIN.
But Jeanne Crain is the problem. She looks so cool and detached as the unhappy model that it throws the comedy aspects a little off focus. She seems to be walking through her part instead of conveying any real emotion.
Still, a worthwhile little gem strictly because of Thelma Ritter. She's finally got a leading role and she runs away with it.
Nicely directed at a brisk pace by George Cukor.
George Cukor may well have directed more good movies than anyone else. Not to say that he was the greatest director of all time. Orson Welles was no slouch. Neither was Sam Fuller. But look at the list of movies Cukor directed and you will see an extraordinary oeuvre.
"The Model and the Marriage Broker" is one of the lesser known of his very good movies. It has beautiful shots of New York. The ensemble cast is uniformly superb. The story is appealing, thanks to Charles Brackett. And Thelma Ritter -- the great Thelma Ritter -- gets to play a title character! (She is the marriage broker -- two words and more letters -- rather than the model, of course.) She could light up a movie the same way Shirley Booth could. Some say she stole movies from others. Here that was not necessary, as she is the star. (Her best performance, for me, is still in "Pickup On South Street." But that is a supporting role.) Shirley Booth did so few. She must have been great on the stage. What a shame for posterity that she made only a handful of movies.
Ritter, however, made loads of them. And this is one of her best. It also is one of Cukor's best. Who could say which is his best? Probably there is no single best. I do feel he was generally better with black and white than in his color outings. And I have a particular fondness for "The Marrying Kind." But who knows? The Judy Holiday and Aldo Ray characters might originally have been brought together by the character Ms. Booth plays so beautifully in this story.
"The Model and the Marriage Broker" is one of the lesser known of his very good movies. It has beautiful shots of New York. The ensemble cast is uniformly superb. The story is appealing, thanks to Charles Brackett. And Thelma Ritter -- the great Thelma Ritter -- gets to play a title character! (She is the marriage broker -- two words and more letters -- rather than the model, of course.) She could light up a movie the same way Shirley Booth could. Some say she stole movies from others. Here that was not necessary, as she is the star. (Her best performance, for me, is still in "Pickup On South Street." But that is a supporting role.) Shirley Booth did so few. She must have been great on the stage. What a shame for posterity that she made only a handful of movies.
Ritter, however, made loads of them. And this is one of her best. It also is one of Cukor's best. Who could say which is his best? Probably there is no single best. I do feel he was generally better with black and white than in his color outings. And I have a particular fondness for "The Marrying Kind." But who knows? The Judy Holiday and Aldo Ray characters might originally have been brought together by the character Ms. Booth plays so beautifully in this story.
The movie's a showcase for Ritter's brand of cranky charm. She's a marriage broker, pairing up lonely people, and dispensing step-motherly advice. There's a parade of familiar supporting characters. Too bad they don't get more screen time, especially the poignant Nancy Kulp and the fast-talking Michael O'Shea. The film's too smooth to be genuinely funny. Still, there're amusing moments, occasional caustic charm, but the underlying theme of lonely people may be a reason director Cukor doesn't go for big laughs. I agree with the reviewer who thinks Crain too cool and detached to get into the swim. On the other hand, Brady surprised with a somewhat animated performance, unlike his usual stolid screen presence.
This is also a movie that really needs Technicolor. Instead the dull grays do nothing to underscore a lighter mood or heighten New York City locations. Anyway, Ritter certainly deserves top billing, which instead went to the better-known Crain who doesn't get much screen time until the last third. Plus, it's to someone's credit that a middle-age woman gets so much attention in a medium not known for the aging or plain-faced. Overall, it's an amiable film with an unusual central performance, a poignant topic, but also with an over-stretched script, likely to accommodate movie star Crain.
This is also a movie that really needs Technicolor. Instead the dull grays do nothing to underscore a lighter mood or heighten New York City locations. Anyway, Ritter certainly deserves top billing, which instead went to the better-known Crain who doesn't get much screen time until the last third. Plus, it's to someone's credit that a middle-age woman gets so much attention in a medium not known for the aging or plain-faced. Overall, it's an amiable film with an unusual central performance, a poignant topic, but also with an over-stretched script, likely to accommodate movie star Crain.
क्या आपको पता है
- ट्रिवियाOne of cinema's most stalwart supporting actors, Thelma Ritter enjoyed her only starring role in this film, in which she appears in nearly every scene prior to the one-hour mark, when Matt (Scott Brady) meets Kitty (Jeanne Crain) for their first date. The only other film that came close in terms of her screen time was The Mating Season (1951), in which she was also central to the plot.
- गूफ़(at around 1h 21 mins) Just after Mae pulls up the window shade, out of frame a crew member apparently moves something that casts a tall vertical shadow on the apartment wall at the right edge of the frame. The shadow looks like that of a coat rack, but might be of equipment such as a stand to support something else.
- भाव
Dan Chancellor: Beautiful up here, isn't it? Those trees. I've always liked that poem that said, "Only God can make a tree."
Mae Swasey: Yeah, but on the other hand, you gotta figure, who else would take the time?
- कनेक्शनVersion of The 20th Century-Fox Hour: The Marriage Broker (1957)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is The Model and the Marriage Broker?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- भाषाएं
- इस रूप में भी जाना जाता है
- La modelo y la casamentera
- फ़िल्माने की जगहें
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
- चलने की अवधि1 घंटा 43 मिनट
- रंग
- पक्ष अनुपात
- 1.37 : 1
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टॉप गैप
By what name was The Model and the Marriage Broker (1951) officially released in India in English?
जवाब