Niro
Iscritto in data gen 2001
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Valutazione di Niro
Just watched this today on TCM, where the other reviewers here saw it.
Sorry that I was the only one to find Davies a weak actress, with a truly awful attempt at an Irish (Irish-American or otherwise) accent. As she's the star, it was sort of hard for me to get past that -- especially as the other reviewers have said that this was her finest performance.
Another particularly terrible Davies performance was in "Marianne" (1929), which I also watched today. In this film, given a 9 of 10 rating here, her accent switches from that of a (correct) French woman to an odd combination of Italian and Swiss.
Interestingly, in TCM's one-hour bio of Davies -- "Captured on Film: The True Story of Marion Davies" (2001) -- film historian Jeanine Basinger claims that "one of the things that you note about Marion Davies in her sound work is how good she is at doing accents." Of course this bio also includes commentary by fans (make of that what you will).
Davies was a very attractive young woman, and by all accounts a terrific comedienne in real life.
And because a part of her anatomy added immeasurably to the real-life answer to Joseph Cotten's character's search for the meaning behind Kane's final word in the opening scene of the great "Citizen Kane," she's earned her spot among the great stories if Hollywood's history.
But I think Welles & Mankiewicz got it right for the most part with the "Susan Alexander" facsimile of the real article.
Don't bother voting as to whether you agree or disagree with this post as I really couldn't care less.
Sorry that I was the only one to find Davies a weak actress, with a truly awful attempt at an Irish (Irish-American or otherwise) accent. As she's the star, it was sort of hard for me to get past that -- especially as the other reviewers have said that this was her finest performance.
Another particularly terrible Davies performance was in "Marianne" (1929), which I also watched today. In this film, given a 9 of 10 rating here, her accent switches from that of a (correct) French woman to an odd combination of Italian and Swiss.
Interestingly, in TCM's one-hour bio of Davies -- "Captured on Film: The True Story of Marion Davies" (2001) -- film historian Jeanine Basinger claims that "one of the things that you note about Marion Davies in her sound work is how good she is at doing accents." Of course this bio also includes commentary by fans (make of that what you will).
Davies was a very attractive young woman, and by all accounts a terrific comedienne in real life.
And because a part of her anatomy added immeasurably to the real-life answer to Joseph Cotten's character's search for the meaning behind Kane's final word in the opening scene of the great "Citizen Kane," she's earned her spot among the great stories if Hollywood's history.
But I think Welles & Mankiewicz got it right for the most part with the "Susan Alexander" facsimile of the real article.
Don't bother voting as to whether you agree or disagree with this post as I really couldn't care less.
Just watched this today on TCM, where the other reviewers here saw it.
Sorry that I was the only one of two people to find Davies a weak actress, with a truly awful attempt at a French accent, which switches from French woman to an odd combination of Italian and Swiss.
She had the same problem with an equally fleeting Irish accent in 1932's "Peg O' My Heart." Interestingly, in TCM's one-hour bio of Davies -- "Captured on Film: The True Story of Marion Davies" (2001) -- film historian Jeanine Basinger claims that "one of the things that you note about Marion Davies in her sound work is how good she is at doing accents." Of course this bio also includes commentary by fans (make of that what you will).
Davies was a very attractive young woman, and by all accounts a terrific comedienne in real life.
And because a part of her anatomy added immeasurably to the real-life answer to Joseph Cotten's character's search for the meaning behind Kane's final word in the opening scene of the great "Citizen Kane," she's earned her spot among the great stories if Hollywood's history.
But I think Welles & Mankiewicz got it right for the most part with the "Susan Alexander" facsimile of the real article. And the drinking problem was spot-on, whether anyone at the time wanted to admit it or not.
Don't bother voting as to whether you agree or disagree with this post as I really couldn't care less.
Sorry that I was the only one of two people to find Davies a weak actress, with a truly awful attempt at a French accent, which switches from French woman to an odd combination of Italian and Swiss.
She had the same problem with an equally fleeting Irish accent in 1932's "Peg O' My Heart." Interestingly, in TCM's one-hour bio of Davies -- "Captured on Film: The True Story of Marion Davies" (2001) -- film historian Jeanine Basinger claims that "one of the things that you note about Marion Davies in her sound work is how good she is at doing accents." Of course this bio also includes commentary by fans (make of that what you will).
Davies was a very attractive young woman, and by all accounts a terrific comedienne in real life.
And because a part of her anatomy added immeasurably to the real-life answer to Joseph Cotten's character's search for the meaning behind Kane's final word in the opening scene of the great "Citizen Kane," she's earned her spot among the great stories if Hollywood's history.
But I think Welles & Mankiewicz got it right for the most part with the "Susan Alexander" facsimile of the real article. And the drinking problem was spot-on, whether anyone at the time wanted to admit it or not.
Don't bother voting as to whether you agree or disagree with this post as I really couldn't care less.
I watched Beverly Hills Cops 1 & 2 today, as well as Fletch. Harold Faltermeyer's extremely annoying synth-pop soundtracks for all three couldn't have been more distracting.
Did the producers of these films honestly believe that no one would want to see them twenty years later and enjoy them? Apparently so.
'80s synth should have stayed with Miami Vice and TV shows of that ilk, which were rooted in the sound.
Watch a great film from that era and immerse yourself in the lack of an annoying soundtrack. Taxi Driver, anyone? PS: Vote against this comment, as it has little to do with the film itself, but I make a valid point.
Did the producers of these films honestly believe that no one would want to see them twenty years later and enjoy them? Apparently so.
'80s synth should have stayed with Miami Vice and TV shows of that ilk, which were rooted in the sound.
Watch a great film from that era and immerse yourself in the lack of an annoying soundtrack. Taxi Driver, anyone? PS: Vote against this comment, as it has little to do with the film itself, but I make a valid point.