Aggiungi una trama nella tua linguaA female blackmailer with a disfiguring facial scar meets a plastic surgeon who offers her the possibility of looking like a normal woman.A female blackmailer with a disfiguring facial scar meets a plastic surgeon who offers her the possibility of looking like a normal woman.A female blackmailer with a disfiguring facial scar meets a plastic surgeon who offers her the possibility of looking like a normal woman.
- Regia
- Sceneggiatura
- Star
- Premi
- 3 vittorie totali
Recensioni in evidenza
The story progresses in an interesting way, with the plot unfolding during a murder trial. Each witness builds the story line, and the script has many unexpected plot twists, making this film anything but predictable.
This film is a good example of how skillful film makers create special effects without high-tech gadgetry. It's wonderful that we have films like this to show us what real movie-making is like.
Certain sequences have a stark, no holds barred manner of storytelling, grim and suspenseful--as when Anna Holm considers pushing a child to his death from a cable car. The wintry landscapes and glittering interiors are all handsomely photographed. Melvyn Douglas doesn't register too strongly at all. It's strictly Crawford's picture with some superb help from Conrad Veidt.
The pace is rather leisurely under George Cukor's direction but quickens midway to a smashing climax. By all means, see it. A strong melodrama with some unexpected twists.
Melvyn Douglas is perfectly cast as the handsome and heroic Dr. Segert, and Conrad Veidt plays Torsten Barring, the despicable charmer. Crawford's interpretation of a genuinely mean-spirited and heartless Anna develops into a complex character who wins our sympathy despite her evil intentions. It's a breath of fresh air to see Crawford not made up glamorously. There are no dazzling gowns or mascara-ed lashes to distract the viewer from Crawford's fabulous performance.
With a brilliant supporting cast (including the adorable Richard Nichols as the 4 year-old Lars-Erik, and Marjorie Main as the suspicious housekeeper), `A Woman's Face' ranks among the best Crawford films of all time. It is a must-see for anyone who wishes to see a well-made, fascinating tale of intrigue, love and human frailty.
With the operation, Anna can now lead a normal life, except her cruel boyfriend Torsten (Veidt) has a hold on her, and dispatches Anna to kill his toddler nephew who stands to inherit the fortune Torsten would otherwise inherit. So what's she going to do now that she has a chance to lead a normal life. Will Torsten's hold cause a relapse into her former criminal life.
The sleigh chase and roaring cataract below may be the most exciting sequence in any of Joan's many dramatic films. It's certainly the high point here. Douglas and Veidt are excellent in their roles; however, Massen's over the top as Douglas's unfaithful wife. On the whole, the MGM production is excellent, especially the ballroom scenes. However, some of the outdoor process shots and miniatures are sometimes apparent. Director Cukor's a little out of his usual sophisticated element, but keeps things moving seamlessly.
Too bad the film has drifted around in the Crawford canon because it's one of Joan's best, both for her and for the audience.
This film belongs to Joan Crawford, who carries it with style and panache. This role ranks as one of the most complex Ms. Crawford ever played in the movies. Her characterization was molded by Mr. Cukor who clearly understood how to get a good performance from his star. In fact, Ana Holm, is one of the best things Ms. Crawford portrayed in the movies and she is seen without the excessive makeup.
Conrad Veidt is also one of the assets of the film. He is perfect for his part and holds his own playing against Joan Crawford. Melvyn Douglas, on the other hand, doesn't fare as well, perhaps because of the way his character is written. There are also wonderful performances by Richard Nicholas who is seen as the young boy Lars-Erik. Marjorie Main. Osa Masser, and Reginald Owen are seen in supporting roles.
The film is a must see for all Joan Crawford and George Cukor fans.
Lo sapevi?
- QuizDirector George Cukor wanted Anna's recital of her life story to be done in a tired, mechanical fashion, so he had Joan Crawford repeat the multiplication tables over and over until he got the monotonous tone he was looking for. Then, he rolled the cameras.
- BlooperWhen Anna visits Barring, he pours himself a drink and places it on the table without drinking it. On the following cut after speaking with Anna, he again picks up the bottle and pours himself a drink.
- Citazioni
Vera Segert: Gustaf. Gustaf. Can't I... Can't we... I made such a mistake.
Dr. Gustaf Segert: I'm sorry, Vera.
Vera Segert: Oh, but Gustaf... Just for one tiny little mistake?
Dr. Gustaf Segert: Which one are you referring to?
Vera Segert: Why that miserable little Robert... Oh, who else were you thinking of?
Dr. Gustaf Segert: I was thinking of George.
Vera Segert: Oh, I hate George now.
Dr. Gustaf Segert: And wasn't there a man named Eric?
Vera Segert: Oh Gustaf, next week is our anniversary.
Dr. Gustaf Segert: You celebrate it, dear. I'm afraid I can't.
- Versioni alternativeThere is an Italian edition of this film on DVD, distributed by DNA Srl: "VOLTO DI DONNA (1941) + DONNE (1939) + L'isola del diavolo (1940)" (3 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- ConnessioniFeatured in You Can't Fool a Camera (1941)
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Dettagli
- Data di uscita
- Paese di origine
- Lingua
- Celebre anche come
- Un rostro de mujer
- Luoghi delle riprese
- Sun Valley, Idaho, Stati Uniti(Snow scenes)
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 1.343.000 USD (previsto)
- Tempo di esecuzione1 ora 46 minuti
- Colore
- Proporzioni
- 1.37 : 1