AVALIAÇÃO DA IMDb
7,0/10
1,8 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaAn abused orphan sinks into a life of crime.An abused orphan sinks into a life of crime.An abused orphan sinks into a life of crime.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 1 vitória no total
Ivan F. Simpson
- Tindle
- (as Ivan Simpson)
Charley Grapewin
- Clerk
- (as Charles Grapewin)
Ernie Adams
- Court Photographer
- (não creditado)
Reginald Barlow
- Trial Judge
- (não creditado)
Louise Beavers
- Anna - Mary's Maid
- (não creditado)
Lynton Brent
- Court Photographer
- (não creditado)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
Midnight Mary (1933)
Wow, you'll never see so many wipe transitions from one scene to the next, which is a big part of how this great little movie moves and moves. Loretta Young is terrific in a common role for the time--a woman who is good at heart getgin in trouble through circumstance and a little too much trust, or plain old willingness. She is surrounded by a mixed and twirling (and large) cast of secondary characters, a couple of them well known such as leading male Franchot Tone.
William Wellman is a director known most of all for being professional. He has no signature style, and unlike say William Wyler or Michael Curtiz, also accused of being professionally style-less, he has no truly amazing films to his name. But boy does have have a dozen really excellent ones. And few duds. In fact, one reason I went out of my way to see this, at a neighbor's house who gets TCM, is because of Wellman.
And also because of Young, who was a starlet and a beauty in her time. If she lacked some on screen spark to make her a superstar, she still had a lovable, solid, convincing presence every time. In a way, she was perfect for Wellman. Tone, in his come and go role, is fine, as is the quirky Andy Devine (the guy with the hoarse, high voice).
Another reason to see this is the freshness it has as a pre-code film. There is a natural acceptance of couples living together (and presumably sleeping together) that is not a salacious part of the film but just makes it true--or at least less artificial. It's a great aspect to many of this era's movies, in some ways my favorite era of all the 1930s, as great as the later and purposely artificial screwball comedies truly are.
What will hold this back at all for some viewers is a lack of total polish and storytelling finesse (filming and editing, as well as writing). It isn't that films in 1933 were always plagued by small flaws like these, but even the masterpieces of the time feel a little raw in spots. This is a charm, a benefit, if you look at it that way. Don't expect "Casablanca" or even "It Happened One Night" (from the next year) and you'll really enjoy this. The plot is familiar, the acting routine, the lighting bright (high key). But it's really fun and well done and a fast ride. Do it.
Wow, you'll never see so many wipe transitions from one scene to the next, which is a big part of how this great little movie moves and moves. Loretta Young is terrific in a common role for the time--a woman who is good at heart getgin in trouble through circumstance and a little too much trust, or plain old willingness. She is surrounded by a mixed and twirling (and large) cast of secondary characters, a couple of them well known such as leading male Franchot Tone.
William Wellman is a director known most of all for being professional. He has no signature style, and unlike say William Wyler or Michael Curtiz, also accused of being professionally style-less, he has no truly amazing films to his name. But boy does have have a dozen really excellent ones. And few duds. In fact, one reason I went out of my way to see this, at a neighbor's house who gets TCM, is because of Wellman.
And also because of Young, who was a starlet and a beauty in her time. If she lacked some on screen spark to make her a superstar, she still had a lovable, solid, convincing presence every time. In a way, she was perfect for Wellman. Tone, in his come and go role, is fine, as is the quirky Andy Devine (the guy with the hoarse, high voice).
Another reason to see this is the freshness it has as a pre-code film. There is a natural acceptance of couples living together (and presumably sleeping together) that is not a salacious part of the film but just makes it true--or at least less artificial. It's a great aspect to many of this era's movies, in some ways my favorite era of all the 1930s, as great as the later and purposely artificial screwball comedies truly are.
What will hold this back at all for some viewers is a lack of total polish and storytelling finesse (filming and editing, as well as writing). It isn't that films in 1933 were always plagued by small flaws like these, but even the masterpieces of the time feel a little raw in spots. This is a charm, a benefit, if you look at it that way. Don't expect "Casablanca" or even "It Happened One Night" (from the next year) and you'll really enjoy this. The plot is familiar, the acting routine, the lighting bright (high key). But it's really fun and well done and a fast ride. Do it.
Wow! What a movie! Definitely one of the best Pre-Codes I've seen. Swiftly paced, perfectly edited, with Loretta Young at her most beautiful and giving one of her most believable and honest performances.
After seeing many of Loretta's films from the early 1930s, now I think that she gave her best performances in this period of time. There is a quality of freshness and naturalness, that gives much more truth to Loretta's portrayals in the early 1930s than to her interpretations of the late 1930s and 1940s, with few exceptions. Besides, those huge, beautiful eyes of hers, that smile, those apple cheeks, that slender figure so perfect for those early 1930s gowns, never looked better than in this period.
Here she impersonates a doomed girl, who's known all the ugly aspects of life; the film begins when she's being tried for murder. The movie is told via-flashbacks and depicts how she got into this situation. It's so strange that this picture was produced by MGM; it could have been perfectly done at Warner Brothers. Well, the director, William Wellman, had been making lots of films on the Warner lot (Loretta as well), so he must have put much of the Warner's "Touch" and "mood" into it, perfectly blending it with MGM's gloss and top production values.
Ricardo Cortez is excellent as the "aparently" suave gangster in love with Loretta and Franchot Tone is aptly cast as a society lawyer who falls for her. An excellent cast of supporting actors include Una Merkel, Warren Hymer, Martha Sleeper and those usual reliable butlers: Robert Greig and Halliwell Hobbes.
I found this film so entertaining, so timeless, so modern in many ways. Pre-Code Fans don't dare to miss it!
After seeing many of Loretta's films from the early 1930s, now I think that she gave her best performances in this period of time. There is a quality of freshness and naturalness, that gives much more truth to Loretta's portrayals in the early 1930s than to her interpretations of the late 1930s and 1940s, with few exceptions. Besides, those huge, beautiful eyes of hers, that smile, those apple cheeks, that slender figure so perfect for those early 1930s gowns, never looked better than in this period.
Here she impersonates a doomed girl, who's known all the ugly aspects of life; the film begins when she's being tried for murder. The movie is told via-flashbacks and depicts how she got into this situation. It's so strange that this picture was produced by MGM; it could have been perfectly done at Warner Brothers. Well, the director, William Wellman, had been making lots of films on the Warner lot (Loretta as well), so he must have put much of the Warner's "Touch" and "mood" into it, perfectly blending it with MGM's gloss and top production values.
Ricardo Cortez is excellent as the "aparently" suave gangster in love with Loretta and Franchot Tone is aptly cast as a society lawyer who falls for her. An excellent cast of supporting actors include Una Merkel, Warren Hymer, Martha Sleeper and those usual reliable butlers: Robert Greig and Halliwell Hobbes.
I found this film so entertaining, so timeless, so modern in many ways. Pre-Code Fans don't dare to miss it!
Midnight Mary is the story of a girl who grows up poor, gets involved with people on the wrong side of the tracks, and tries to get out. The film opens and closes with Mary in a court room awaiting the verdict in her trial for murder.
Loretta Young plays Mary; Young is absolutely beautiful and proves to be a great actress in all of her scenes.
Ricardo Cortez plays her gangster boyfriend well enough. He is appropriately sinister at times and average in others.
Una Merkel plays Mary's best friend, a cute and funny smart-cookie type.
Franchot Tone is standout in this film, especially in his romantic scenes in which the kisses are long and passionate, the looks are meaningful, and the chemistry is hot and thick. Otherwise, Tone is sweet and lovable as always.
This film was beautifully photographed and employed great costuming resembling both late 1920s and early 30s styles.
This film was made before the production code that censored everything that came out of Hollywood, so it utilizes many racy scenes. One occurs when Young and Tone blatantly talk about the possibility of sex, another when the far from stiff kisses last longer than three seconds, another when Young whispers dirty things into Cortez's ear, and still another when a girl gets pregnant out of wedlock. There is also some abuse shown.
The ending of the film is very satisfying and concludes a great film.
Loretta Young plays Mary; Young is absolutely beautiful and proves to be a great actress in all of her scenes.
Ricardo Cortez plays her gangster boyfriend well enough. He is appropriately sinister at times and average in others.
Una Merkel plays Mary's best friend, a cute and funny smart-cookie type.
Franchot Tone is standout in this film, especially in his romantic scenes in which the kisses are long and passionate, the looks are meaningful, and the chemistry is hot and thick. Otherwise, Tone is sweet and lovable as always.
This film was beautifully photographed and employed great costuming resembling both late 1920s and early 30s styles.
This film was made before the production code that censored everything that came out of Hollywood, so it utilizes many racy scenes. One occurs when Young and Tone blatantly talk about the possibility of sex, another when the far from stiff kisses last longer than three seconds, another when Young whispers dirty things into Cortez's ear, and still another when a girl gets pregnant out of wedlock. There is also some abuse shown.
The ending of the film is very satisfying and concludes a great film.
Midnight Mary (1934)
** 1/2 (out of 4)
Famous Pre-Code has Loretta Young playing the title character, a woman who always finds herself in the wrong place at the wrong time. After a stint inside a reform school she winds up on the streets without a job but is taken under the wing of a gangster (Ricardo Cortez). She eventually tries to go straight with the help of a lawyer (Franchot Tone) but soon the gangster wants him dead. Young is one of my favorite actresses and there's no question this here is one of her most famous films but to me the story is really lacking and not too original. It really seems like MGM wanted to throw Young into the sex/vamp role but they didn't put too much thought into the screenplay. The movie certainly isn't bad but at the same time it's not the greatest that it could have been. The biggest issue with Young's vamp here is that she never does anything wrong. She's a good girl from head to toe so there's no point in trying to push her off as the vamp. What makes this film work so well are the incredibly strong performances from the three leads. Young is very sexy and believable in her role. Cortez even manages to deliver a strong performance but the scene stealer has to be Tone. Andy Devine and Una Merkel have supporting roles. To me this film works best as a love story because in heart that's exactly what it is. Throw in the sexy wardrobes of Young mixed with Wellman's direction and you've got a pretty good film that's worth watching.
** 1/2 (out of 4)
Famous Pre-Code has Loretta Young playing the title character, a woman who always finds herself in the wrong place at the wrong time. After a stint inside a reform school she winds up on the streets without a job but is taken under the wing of a gangster (Ricardo Cortez). She eventually tries to go straight with the help of a lawyer (Franchot Tone) but soon the gangster wants him dead. Young is one of my favorite actresses and there's no question this here is one of her most famous films but to me the story is really lacking and not too original. It really seems like MGM wanted to throw Young into the sex/vamp role but they didn't put too much thought into the screenplay. The movie certainly isn't bad but at the same time it's not the greatest that it could have been. The biggest issue with Young's vamp here is that she never does anything wrong. She's a good girl from head to toe so there's no point in trying to push her off as the vamp. What makes this film work so well are the incredibly strong performances from the three leads. Young is very sexy and believable in her role. Cortez even manages to deliver a strong performance but the scene stealer has to be Tone. Andy Devine and Una Merkel have supporting roles. To me this film works best as a love story because in heart that's exactly what it is. Throw in the sexy wardrobes of Young mixed with Wellman's direction and you've got a pretty good film that's worth watching.
A ravishingly beautiful 20-year-old Loretta Young is "Midnight Mary" in this 1933 melodrama directed by William Wellman. The film also stars Ricardo Cortez, Franchot Tone, and Una Merkel. Young, on trial for murder of Cortez character, a gangster, is waiting for the jury to come in. She tells her story in flashback. Down on her luck, recently out of prison, she meets Cortez, becomes his girl and gets the easy life. One night, during a shooting, the wealthy Tone helps her escape. After she receives secretarial training, he gets her a job in his law firm. But her past catches up with her.
Loretta Young is stunning and her clothes are fantastic. She gives a very good performance. Since it's a pre-code drama, there's talk of sex, suggestive scenes, and the women get slapped around.
Very entertaining and absorbing, with Young a class act all the way.
Loretta Young is stunning and her clothes are fantastic. She gives a very good performance. Since it's a pre-code drama, there's talk of sex, suggestive scenes, and the women get slapped around.
Very entertaining and absorbing, with Young a class act all the way.
Você sabia?
- CuriosidadesThe original working title "Lady of the Night" was changed after the Hays Office objected. (The title was thought to be obscene.)
- Erros de gravaçãoIn the beginning in the courtroom, the Cosmopolitan magazine edition that Mary is reading differs between the long and closeup shots. The edition she reads in long shots is the February 1933 edition and in closeups, she reads the May 1933 edition.
- Citações
Mary Martin: Sometimes I think if I don't get away from you, I'll go out of my mind.
Leo Darcy: That's only sometimes. You'll never get away. You belong to me!
Mary Martin: I've never belonged to you. Never! Do you hear?
- ConexõesFeatured in Complicated Women (2003)
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- How long is Midnight Mary?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Midnight Mary
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração
- 1 h 14 min(74 min)
- Cor
- Proporção
- 1.37 : 1
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