AVALIAÇÃO DA IMDb
7,1/10
1,6 mil
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.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 3 vitórias no total
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
I first half-watched this film on DVD while I was surfing the internet, never thinking it would be that good. Wrong. The next night I watched it again, no distractions. Helen Morgan drew me in with her soulful acting, Mamoulian had the camera man sweep in and out to highlight certain scenes and it just kept pulling me in. I watch a lot of film, mostly early film and this drama ranks up there with the best Mother-Daughter tragedies in the STELLA DALLAS style. But it is an original that has only been poorly copied since. I recommend you give this film your time and you too will be touched and amazed at the power of a very early talky. Like two other great films from 1929, LOVE PARADE & COCONUTS prove, some early sounds films are great not only standing the test of time
but they are great films for ALL TIME!
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.
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.
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?
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?
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.
WOW what a terrific film..... 27-year-old Helen Morgan is superb as the frowzy Kitty Darling, the burlesque queen who sends her daughter away to convent school only to have her fall into the clutches of her villainous lover.
Rouben Mamoulian does a spectacular job directing this VERY early all-talkie. Amazing camera angles and lighting, silhouettes, overlapping dialog, songs, music.... he completely captures the sleazy stage world on stage and off.
The film is a pleasure from the very opening with the playbill blowing across the street to Kitty's tragic ending and then ironic kiss between the lovers in front of her poster.
Joan Peers is very good as the daughter, Henry Wadsworth is also good as the young sailor, and Fuller Mellish Jr. is one rotten villain.
The DVD came with "extras" (which I usually never watch) that gave great background material on Helen Morgan, the censorship of the film, and the search for 200-lb former burlesque queens to "round out" the "Beef Trust." But Helen Morgan is just great.... she has all the pathos of Julie from SHOW BOAT (she starred in the original Broadway production) with a twinge of Shelley Winters.... Great performance!
Rouben Mamoulian does a spectacular job directing this VERY early all-talkie. Amazing camera angles and lighting, silhouettes, overlapping dialog, songs, music.... he completely captures the sleazy stage world on stage and off.
The film is a pleasure from the very opening with the playbill blowing across the street to Kitty's tragic ending and then ironic kiss between the lovers in front of her poster.
Joan Peers is very good as the daughter, Henry Wadsworth is also good as the young sailor, and Fuller Mellish Jr. is one rotten villain.
The DVD came with "extras" (which I usually never watch) that gave great background material on Helen Morgan, the censorship of the film, and the search for 200-lb former burlesque queens to "round out" the "Beef Trust." But Helen Morgan is just great.... she has all the pathos of Julie from SHOW BOAT (she starred in the original Broadway production) with a twinge of Shelley Winters.... Great performance!
Você sabia?
- CuriosidadesThe 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 gravaçãoWhen 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.
- Citações
April Darling: It's wonderful.
Tony: You're wonderful.
- ConexõesEdited into American Pop (1981)
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
- How long is Applause?Fornecido pela Alexa
Detalhes
- Tempo de duração1 hora 20 minutos
- Cor
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente