Adicionar um enredo no seu idiomaLiliom learns his wife is pregnant and robs a bank. During the getaway, he is killed and given a chance to return to Earth. He quickly learns the only way to make his wife and daughter happy... Ler tudoLiliom learns his wife is pregnant and robs a bank. During the getaway, he is killed and given a chance to return to Earth. He quickly learns the only way to make his wife and daughter happy is to leave them with cherished memories.Liliom learns his wife is pregnant and robs a bank. During the getaway, he is killed and given a chance to return to Earth. He quickly learns the only way to make his wife and daughter happy is to leave them with cherished memories.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 2 vitórias no total
- Hollinger
- (as Guinn Williams)
- Louise
- (as Dawn O'Day)
- Linzman
- (as James Marcus)
- Stefen Kadar
- (não creditado)
- Suicidal Train Passenger
- (não creditado)
- Buttercup
- (não creditado)
- Housekeeper
- (não creditado)
Avaliações em destaque
Borzage's tenderness for his characters shows in Marie's character and love beyond the grave is one of his favorite subjects (the ending of "three comrades" ).The amusement park seems to be everywhere: we see it even when we are in Marie's poor house.I do not think that the sets are that much cheesy,they are stylized to a fault.The fair from a distance almost gives a sci-fi feel to the movie.
Borzage never forgets his social concerns: in the heavenly train going up,the Rich cannot stand to be mixed up with the riffraff but as "chief magistrate" tells :"here there's no more difference" .
Not a major work for Borzage (neither is Lang's version),but to seek out if you are interested in the great director's career.
There are two great strengths in this show, however: although the dialogue readings limp, the visual performances are perfect. Rose Hobart, as Julie, is little remembered today: mostly for ROSE HOBART, in which Joseph Cornell cut down the programmer EAST OF BORNEO to simply shots of her: credit Melford's stylish visual direction of the original. Her great beauty and simple (although stagy) performance help repair some of the damage to the earth-bound sections of this movie.
However, one of Borzage's themes is the mystical power of love, and it is the handling of the celestial sections that make this great, from the arrival of the celestial train to the journey to 'the Hot Place'. H.B. Warner's performance here is, as always, perfect.
So we have here a flawed but very interesting version. I think that Lang's 1934 version is better, as well as the celestial scenes in the Henry King version of CAROUSEL, the watered-down musical remake. But I still greatly enjoyed this version and think you should give it a chance.
There is no commentary, but an impressive collection of still photos is included as an extra.
The film is still the stilted, downbeat, badly paced film it was before, but for "Carousel" aficionados, or fans of early talkies, this is a very interesting movie, which can now be experienced in a much more pleasurable manner. I would give the movie a 5-star rating, and the print 8 or 9. Amazingly good for its vintage!
"Liliom" is one such film, based on a 1919 play of the same title by Hungarian author, Ference Molnar, known mostly by his professional name, Franz Molnar. This 1930 film is the first movie made of that play, with a screenplay by S.N. Behrman and Sonya Levien. The story takes place in Molnar's Budapest. Frank Borzage directed the Fox film with Charles Farrell in the lead role. Just four years later, Fox would remake the film with a major rewrite of the story, though still set in Budapest, and starring Charles Boyer.
The next major production of the story would be the Rodgers and Hammerstein 1956 musical, Carousel, again with a major revision of the story. It starred Gordon MacRae in the lead role and was directed by Henry King.
As the original play on film this is a good strory of love and drama, set around a carnival atmosphere. As it's a very early sound film, most of the cast seem somewhat wooden, probably due to the early sound techniques with stationary microphones. The sets also seem quite stagy. Still, itt's a fair film for a look at the original story as written by Molnar for his Austro-Hungarian stage of the time.
With the rudimentary production equipment and settings, this would probably not interest many movie goers of the 21st century.
As for the plot, "Liliom" is an odd film. Unlike some of Borzage's films where the nobility of the common man is demonstrated (such as in "Street Angel" and "Seventh Heaven"), here in "Liliom" the characters are poor but very earthy. Liliom is a ne'er-do-well--a leech who feeds off his girlfriend, knocks her up and hangs with low-life friends--a type plot you'd never see once the Production Code was strengthened in 1934. It's rather odd to see Charles Farrell (Liliom) in such a role--not the usual nice guy and a bit odd looking underneath his gypsy-like hair and mustache. As a result, it's harder to connect with his character and, in fact, you find yourself hating him. As for his poor girlfriend, Julie (Rose Hobart), she just seems weak and pathetic--and incredibly needy. Put in psychological terms, he seems like an antisocial personality and she like a dependent personality.
When the film begins, Liliom meets Julie and he seems taken with her but also very indifferent at the same time. As for the quiet Julie, she is clearly smitten and allows him to move in with her. He doesn't work and soon she becomes pregnant. All the while, one of Liliom's old girlfriends keeps popping in and out of the picture. When Liliom learns that Julie is pregnant, he finally tells the girlfriend to take a hike and he wants to be responsible. So, he does what such a guy would do--plans on a robbery with his friend to get cash. What happens next you'll just need to see for yourself--and I pretty much suspect that you will never guess! And does it get weird!!
While I found the plot at first unpleasant due to the annoying characters, sub-par acting for a Borzage film and disliked the sloppy scenes needing re-takes, there still was a lot to like in the film. Borzage was a master at cinematography and used black & white film in an ingenious manner--and the film's use of shadows and wonderful sets are impressive. This is something Borzage perfected in the silent years and it clearly carries over here. Also, while some noted that the rear-projected backgrounds were not very good, it was the first film to use this technique--and you need to give the film makers credit for this. I particularly loved the scene where the train came through the window--it was surreal, beautiful and impressive. And speaking of this, the plot does change and picks up considerably towards the end--and must be seen. As a result of so much good and bad, the overall film is bizarrely uneven. I cannot hate it, but I really couldn't unequivocally recommend it either (even with a cool second half). Simply put, it should have been a lot better.
By the way, it is interesting and fitting that H.B. Warner was cast as the Magistrate in the film considering only a few years before he played Jesus in "The King of Kings". And, didn't the plot seem to justify and even romanticize domestic violence?!
Você sabia?
- CuriosidadesThis is the first film to use rear projection for backgrounds.
- Citações
Chief Magistrate: [to Liliom] The memory of you makes them much happier than you could ever make them.
- ConexõesFeatured in Rodgers & Hammerstein: The Sound of Movies (1996)
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Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Frank Borzage's Liliom by Franz Molnar
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração1 hora 34 minutos
- Cor
- Proporção
- 1.20 : 1