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IMDbPro

La signora del blues

Titolo originale: Lady Sings the Blues
  • 1972
  • R
  • 2h 24min
VALUTAZIONE IMDb
7,0/10
5098
LA TUA VALUTAZIONE
La signora del blues (1972)
Available Now on Blu-Ray
Riproduci trailer1: 18
1 video
99+ foto
Showbiz DramaBiographyDramaMusicRomance

Aggiungi una trama nella tua linguaThe story of the troubled life and career of the legendary Jazz singer, Billie Holiday.The story of the troubled life and career of the legendary Jazz singer, Billie Holiday.The story of the troubled life and career of the legendary Jazz singer, Billie Holiday.

  • Regia
    • Sidney J. Furie
  • Sceneggiatura
    • Chris Clark
    • Suzanne De Passe
    • William Dufty
  • Star
    • Diana Ross
    • Billy Dee Williams
    • Richard Pryor
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,0/10
    5098
    LA TUA VALUTAZIONE
    • Regia
      • Sidney J. Furie
    • Sceneggiatura
      • Chris Clark
      • Suzanne De Passe
      • William Dufty
    • Star
      • Diana Ross
      • Billy Dee Williams
      • Richard Pryor
    • 63Recensioni degli utenti
    • 27Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 5 Oscar
      • 5 vittorie e 8 candidature totali

    Video1

    Lady Sings the Blues
    Trailer 1:18
    Lady Sings the Blues

    Foto154

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    Interpreti principali51

    Modifica
    Diana Ross
    Diana Ross
    • Billie Holiday
    Billy Dee Williams
    Billy Dee Williams
    • Louis McKay
    Richard Pryor
    Richard Pryor
    • Piano Man
    James T. Callahan
    James T. Callahan
    • Reg Hanley
    • (as James Callahan)
    Paul Hampton
    Paul Hampton
    • Harry
    Sid Melton
    Sid Melton
    • Jerry
    Virginia Capers
    Virginia Capers
    • Mama Holiday
    Yvonne Fair
    • Yvonne
    Isabel Sanford
    Isabel Sanford
    • The Madame
    Tracee Lyles
    • The Prostitute
    Ned Glass
    Ned Glass
    • The Agent
    Milton Selzer
    Milton Selzer
    • The Doctor
    Norman Bartold
    Norman Bartold
    • The Detective #1
    Clay Tanner
    • The Detective #2
    Jester Hairston
    Jester Hairston
    • The Butler
    Bert Kramer
    Bert Kramer
    • The Policeman
    Paul Micale
    • The Maitre d'
    Mavis
    • The Singer
    • (as Michele Aller)
    • Regia
      • Sidney J. Furie
    • Sceneggiatura
      • Chris Clark
      • Suzanne De Passe
      • William Dufty
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti63

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    Recensioni in evidenza

    6EUyeshima

    Ross's Truly Once-in-Her-Lifetime Turn as Lady Day Dominates Overly Customized Biopic

    The recent death of Richard Pryor prompted me to look at the 2005 DVD package of 1972's "Lady Sings the Blues", which proves the then-young comedian to be a fine actor in the meaty supporting role of Piano Man. Even though he was a master stand-up comic, it's still too bad he never pursued roles of a similar dramatic caliber since he obviously had the talent. Similarly, Diana Ross never fulfilled the promise of her big screen debut in the title role as legendary jazz singer Billie Holiday (1915-59).

    Bearing no physical and little vocal resemblance to Holiday, Ross somehow gets under her true-life character's skin much like Joaquin Phoenix does in "Walk the Line" or Jamie Foxx in "Ray". Thirty-three years have elapsed since I first saw this movie, and it is with a certain amount of regret that I report that Ross as an actress has not been anywhere near this good since then. Granted she only has three features under her belt, 1975's "Mahogany" reflected an ego run amok, and she was disturbingly miscast in 1978's "The Wiz". From the opening scene where she is suffering through heroin withdrawal in raw, harrowing detail to her sultrier nightclub performances, she manages to be incendiary by her sheer will. She is even convincing in the early scenes where she is barely a teenager. Her vocal performances really don't evoke Holiday's earthier style, though to Ross's credit, her vivid renditions of standards such as "Mean to Me", "Fine and Mellow" and "Gimme a Pigfoot (and a Bottle of Beer)" don't sound like Supremes redux either.

    This achievement is all the more impressive since director Sidney J. Furie, a journeyman filmmaker at best, has surrounded Ross with an unwieldy rags-to-riches biopic that should have been edited down from its 144-minute running time. The screenplay - credited to Chris Clark, Suzanne De Passe and Terence McCloy (none of whom wrote a movie script before or since) based in part on Holiday's autobiography - plays fast and loose with the facts and piles on the clichés in true Oscar-baiting fashion. The drug-related scenes are powerful, though they eventually start to feel like condescending plot devices to make the viewer sympathize with Holiday for the persecution she experienced at the hands of abusive men and a bigoted society. Moreover, as Furie discloses on the accompanying audio commentary, the dialogue for several scenes is improvised by the actors, for example, the unnecessarily lengthy Club Manhattan sequence, where the lack of discipline becomes wearing.

    Contrary to the fact that Holiday's true life story has been well documented and interest in her legacy increased, the filmmakers altered events and people in order to maintain interest from what they thought were mainstream audiences at the time. Consequently, the character of Louis McKay, Holiday's love interest and eventual husband, played with toothsome charm by Billy Dee Williams, synthesizes a lot of men who came into her life and helped shape her career. The dramatized results leave out key figures of the jazz world like saxophonist Lester Young, trombonist Jimmy Monroe to whom Holiday was married, and record producer John Hammond, as well as Benny Goodman, Count Basie, Artie Shaw and Teddy Wilson--all important colleagues and mentors during the period covered in the film. Instead, we are given Holiday's story as filtered through Ross's own story, an observation confirmed by Ross herself on the accompanying 2005 making-of featurette.

    When the music is true to the period, it's quite wonderful, but composer Michel Legrand composed some gauzy, anachronistic interludes that sound like symphonic outtakes from his work on "Brian's Song". The costumes also have a Vegas revue feel, no surprise since designer Bob Mackie's flamboyant, early 1970's style is on full display here. For such an overlong movie, the ending feels quite truncated as newspaper clips are used to telegraph her eventual fate as Ross triumphantly sings her signature song, "God Bless the Child", in Carnegie Hall. Credit Motown mogul and Ross's Svengali, Berry Gordy, for having the fortitude, foresight and tenacity to oversee the project, and the DVD hammers that point in not only the overemphatic, only partially insightful commentary by Furie, Gordy and artists' manager Shelly Berger but also the making-of featurette which features Ross looking strangely youthful and Williams at least looking his age. There are several deleted scenes included in the DVD with no additional commentary from Furie, none refurbished and all understandably excised from the final cut.
    7view_and_review

    Beauty Born From Tragedy

    I know very little about Billie Holiday; she was well before my time. After now watching her story it is such a tragic and familiar tale. Change her name to Whitney Houston and make her contemporary and little is different between the two. Little is different between her story and that of countless other entertainers.

    Billie was immensely talented, but she had her demons. This is a recurring theme in the entertainment industry. Diana did an exceptional job playing Billie Holiday. Pryor and Billie Dee were good as well, but Diana shined. It's too bad she had to play such a tragic role.
    6moonspinner55

    Meandering biography of Lady Day...

    Diana Ross is quite superb as jazz singer Billie Holiday, but even so this clichéd bio-drama of the drug-addicted torch diva from the 1930s is hardly convincing. After an enjoyably overwrought prologue (with Holiday brutally incarcerated like a gangster out of a Jimmy Cagney flick), the movie sputters along familiar territory, and the burnished, brackish look of the picture--probably meant for prestige--is a visual downer. The tone wavers at times (a comedic sequence with Scatman Crothers is either a distraction or a relief), and the film's flashback structure is a cheap gimmick (you know you're in for it when the filmmakers start super-imposing headlines across the screen--it's movie shorthand for "we're running out of time"). Ross is a spectacular drawing card, but this vehicle for her debuting acting talents leaves much to be desired. **1/2 from ****
    7eddax

    The movie was unfortunately not as good as Diana Ross.

    The first question that would run across the mind of anyone who'd watch this movie is: "Can Diana Ross act?" The answer, I'm glad to say, is an unequivocal "Yes." And I think that's what the director wanted to clear up right from the very first scene, with a flash forward to Billie Holiday's drug bust while the credits were still on. Ms. Ross, devoid of make-up and with "crazy hair," put on an extremely convincing performance of heroin (or coke) withdrawal, replete with howling.

    Her performance is the highlight of the movie, which unfortunately felt like it ran way too long, and I found myself constantly checking the run time. It wasn't bad as a musical. As I had read previously, Ms. Ross didn't seek to imitate Billie Holiday's style, and instead created a distinct and appropriate - yet similar - jazz style of her own just for the movie (check out "Good Morning Heartache"), and I, being a fan, didn't mind the song interludes.

    What dragged the movie was the constant focus on Holiday's drug addiction (to showcase more of Ms. Ross's acting?). It felt like there was scene after scene of her being drug-addled, whining, and screaming, which began to abrade after a while. It's too bad, since with better direction and screenplay, coupled with Ms. Ross's capable acting and singing, this could've been one of the truly great musical biopics.
    9Rupe-5

    Ross Totally deserved the Oscar over Liza Minelli

    I would be the first to agree that it was standard fare as far as a musical bio...and Cabaret was a superior film. But Diana Ross' performance was a stunning film debut. This is the kind of overlooked performance that makes it so clear that pure ability is not what the Academy Awards are all about. I tend to think really great acting always sneaks above the voting members scope of being able to truly reccognize great acting.

    But anyone who hasn't seen Diana Ross' performance in Lady is in for a treat. To think that she went through so many transitions within the film: from youngster, to a drug addict, to a grand singer...it's a truly great performance.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      According to Diana Ross, Richard Pryor instructed her on how to behave during the scenes of drug use.
    • Blooper
      Some of the African-American male characters and extras sport modern (1972) hair styles with Afros or sideburns which were not in style in the 1930s.
    • Citazioni

      Billie Holiday: [after Louis discovers that Billie shoots up] Sure I've taken a few shots, but only when I needed it,

      [Louis sighs]

      Billie Holiday: but i'm not hooked, Louis. I'm not.

      Louis McKay: Only when you needed it. What do you think hooked is? All I had to do is listen to your voice on the telephone and I knew. Who the hell do you think you're talking to? One of those ofay cats you be running around with? I've been on those streets all of my life. I know what that shit is!

      Billie Holiday: It's good, ain't it?

      [Louis then gets up and takes her suitcase and starts packing her stuff]

      Billie Holiday: Wait, Wait, Baby! Oh, no.

      Louis McKay: We're going home. Now!

      Billie Holiday: [Stopping him] Wait, hey, baby, wait. See, you don't understand. Now, you don't know how it is when people are looking down at you and laughing at you and think that I'm a loser. And if I go home now, I'll think that I'm one, too. I gotta prove it to them. I gotta prove it to myself.

      Louis McKay: What're you proving with that needle? That you're not woman enough to make it without a crutch? A magic way out when the going gets a little too rough? I want you to make it, too, baby. But not this way. Not this way.

    • Connessioni
      Featured in Lady Sings the Blues (Featurette) (1972)
    • Colonne sonore
      Tain't Nobody's Business
      Written by Porter Grainger and Everett Robbins

      Sung by Blinky (as Blinky Williams)

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    • How long is Lady Sings the Blues?Powered by Alexa
    • Midwest Premiere Happened When & Where?

    Dettagli

    Modifica
    • Data di uscita
      • 12 ottobre 1972 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • El ocaso de una estrella
    • Luoghi delle riprese
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, Stati Uniti(Studio)
    • Aziende produttrici
      • Jobete Productions
      • Motown Productions
      • Paramount Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Lordo Stati Uniti e Canada
      • 6.028.486 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      2 ore 24 minuti
    • Colore
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 2.39 : 1

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