Aplausos

Título original: Applause

1929
Passed
1 h 20 min

AVALIAÇÃO DA IMDb

SUA AVALIAÇÃO

Adicionar um enredo no seu idiomaA burlesque star seeks to keep her convent-raised daughter away from her low-down life and abusive lover/stage manager.A burlesque star seeks to keep her convent-raised daughter away from her low-down life and abusive lover/stage manager.A burlesque star seeks to keep her convent-raised daughter away from her low-down life and abusive lover/stage manager.

Veja as informações de produção no IMDbPro

AVALIAÇÃO DA IMDb

7,1/10

1,6 mil

SUA AVALIAÇÃO

Veja as informações de produção no IMDbPro

Prêmios
- 3 vitórias no total

Fotos10

Avaliações de usuários30

7,11.5K

Avaliações em destaque

9marcslope

Mamoulian being great again.

Both in the theater and in movies, Rouben Mamoulian seems to have been present at the birth of several revolutions (talkies, the integrated stage musical, the populist opera "Porgy and Bess"); why isn't he revered as, say, Welles or Ford? This early talkie boasts remarkable use of camera and sound, interesting location shooting (though nominally made at Parmount's Astoria Studios, there is plenty of footage of 1929 New York), a hokey but touching mother-love story, much pre-Code sexual frankness, and Helen Morgan's finest hour on film. Consider it a companion piece to "Gypsy," and all the grittier for being made during the actual years of the waning of burlesque; in both movies, the mother forces the daughter into a tawdry stage career, but here the outcome is strikingly different. A fascinating curio for all the cinematic techniques that Mamoulian invented or perfected, and a most affecting melodrama in its own right.

9Dolly_Lo

Wow...

Applause is without a doubt the best early talkie I have ever seen. The inventive camera angles, the location shots (the Brooklyn Bridge!), the more realistic acting style, and even some pre-Busby Berkeley overhead shots of dancing girls put this film in the 'ahead-of-its-time' league.

Technical achievements aside, I recommend this film to anyone interested in early 1930s culture, backstage drama, hard-boiled slang, or New York City circa 1929 -- it's a great slice of history. Just seeing the Gothic Woolworth building when it was still the tallest structure in the world or hearing Tony's reaction to meeting a girl named April (an unusual name at the time) is a priceless history lesson in itself.

Even if you aren't interested in any of those elements, it's a touching, timeless, well-told story ... and it's available now on DVD. What more could you want?

bean-d

Not Your Average Musical

"Applause" (1929), directed by Rouben Mamoulian (who did the great "Dr. Jekyll and Mr. Hyde"), is a corny but surprisingly effective musical about Kitty Darling, a burlesque showgirl who sends her young daughter April off to a convent to be raised properly. Now that April's a fully blossomed teenager, Kitty's disreputable boyfriend Hitch lusts after the possibility of getting her into the burlesque business and demands that Kitty stop sending money to the convent. April comes back to New York City and is shocked to see where her mother works. However she cannot deny that she loves her mother or that her mother's burlesque money supported her in the convent. April struggles against Hitch's wishes and finally gives in and becomes a showgirl. One night she meets a nice sailor on leave named Tony. They fall in love and Tony proposes marriage and a nice life on a farm back in Wisconsin. At the same time, Kitty loses her job--she's just too old to perform anymore. What will happen? Will it all turn out for the good in the end? "Applause" is important in that it is one of the first great American musicals.

Interestingly, I've always been told that "Gone with the Wind" was the taboo-breaking picture that first transgressed the profanity barrier, but our villain Hitch says "damn" twice in this film, not to mention the surprisingly overt sexuality of the burlesque house.

9hfrank

A great example of early sound film.

Rouben Mamoulian established the possibilities the talkie, showing great flexibility in using location shots outdoors. A scene shot on the Brooklyn Bridge walkway just amazed me. Not the static feeling you expect from the first talkies at all. Helen Morgan gives a very moving performance as well, making the obsolete melodrama moving and in places quite modern in its way. With "Applause" and "Love Me Tonight" Mamoulian established the outline for the art of the talking picture.

jaykay-10

Where credit is due

Mamoulian's brilliance has been noted here and elsewhere - and properly so. But it should not obscure the poignant, sensitive and altogether touching performance of Helen Morgan. Best known for her singing, Morgan revealed in a number of films that she was a better actress than she was a singer. Here, as in "Show Boat" and "Go Into Your Dance," among others, she plays a woman whom life has mishandled: not quite reputable, doing what she must to hold her life together, seemingly tough on the outside but vulnerable to the wrong kind of man. If her best performances were of a type, she wasn't the first performer to achieve success by doing one thing well.

While it's doubtful if anyone would remember this picture if not for Mamoulian's creativity, Helen Morgan's marvelous contribution should not be overlooked.

Curiosidades
The film is remarkable for its creative use of sound in such an early period - the first all-talking movie had come out only shortly before this, and most other directors were concerned simply with providing audible dialogue and little else.

Mamoulian not only used complex background sound effect but also used them creatively and non-realistically in the case of Kitty's delirium. The technical aspect was very advanced for the time. The scene in which Kitty sings while her daughter prays was apparently the first time anyone had ever used two microphone at the same time. (This is generally noted about this scene, but in fact there would be no need for two mics. A much more likely candidate is an earlier scene in which Kitty is sitting on the floor surrounded by photos and papers and is singing: there is then a diagonal 'wipe' to a dialogue scene in another set, while the singing continues. This was probably filmed simultaneously with two cameras and would have needed two microphones.)

He also made his staff move the large box in which the cameraman was enclosed during shots to provide tracking with sync sound - unheard of at the time.

Most of the sound effects were created in the studio at the time filming of the action took place. The train moving off is plainly an artificial sound effect, and most of the traffic sound is horns and motors in the studio. Despite claims elsewhere that the scene in the railway station contains sync sound it doesn't - indeed the filming of that sequence was visibly done with a hand-cranked silent camera, the sound being created afterwards. The scene near the end in the subway station is indeed local sync sound, done quite extraordinary well considering the equipment available at the time.

The music was all done live. The extended scene between April and the sailor in the café is all one extended shot because the band seen at the opening of the shot was actually playing in the studio at the same time - indeed the music almost swamps the dialogue. There is sophisticated use of the stage music early on, keeping it in the far background during dialogue in the dressing room - again, advanced use of sound for 1929.

Erros de gravação
When April comes backstage to see Kitty after returning home from the convent, the shot from outside the dressing room shows Kitty sitting at her mirror and then turning to see April in the doorway. In the next shot, from inside the dressing room, she once again is sitting at her mirror and once again turns to see April entering.