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IMDbPro

Peso de Ódio

Título original: Taxi!
  • 1931
  • Approved
  • 1 h 9 min
AVALIAÇÃO DA IMDb
6,6/10
1,7 mil
SUA AVALIAÇÃO
James Cagney and Loretta Young in Peso de Ódio (1931)
CrimeDramaRomance

Adicionar um enredo no seu idiomaIndependent cabbie Matt Nolan is primed to let his fists and handgun deliver payback after a big taxi firm uses intimidation and violence to squeeze out small-timers.Independent cabbie Matt Nolan is primed to let his fists and handgun deliver payback after a big taxi firm uses intimidation and violence to squeeze out small-timers.Independent cabbie Matt Nolan is primed to let his fists and handgun deliver payback after a big taxi firm uses intimidation and violence to squeeze out small-timers.

  • Direção
    • Roy Del Ruth
  • Roteiristas
    • Kenyon Nicholson
    • Kubec Glasmon
    • John Bright
  • Artistas
    • James Cagney
    • Loretta Young
    • George E. Stone
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,6/10
    1,7 mil
    SUA AVALIAÇÃO
    • Direção
      • Roy Del Ruth
    • Roteiristas
      • Kenyon Nicholson
      • Kubec Glasmon
      • John Bright
    • Artistas
      • James Cagney
      • Loretta Young
      • George E. Stone
    • 49Avaliações de usuários
    • 16Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos38

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    Elenco principal37

    Editar
    James Cagney
    James Cagney
    • Matt Nolan
    Loretta Young
    Loretta Young
    • Sue Riley Nolan
    George E. Stone
    George E. Stone
    • Skeets
    Guy Kibbee
    Guy Kibbee
    • Pop Riley
    Leila Bennett
    Leila Bennett
    • Ruby
    Dorothy Burgess
    Dorothy Burgess
    • Marie Costa
    David Landau
    David Landau
    • Buck Gerard
    Ray Cooke
    Ray Cooke
    • Danny Nolan
    Joe Barton
    • Jewish Man with Cop - Matt's Pal
    • (não creditado)
    Berton Churchill
    Berton Churchill
    • Judge West
    • (não creditado)
    Donald Cook
    Donald Cook
    • Actor playing Ferdinand in Movie Clip
    • (não creditado)
    Jesse De Vorska
    Jesse De Vorska
    • Goldfarb
    • (não creditado)
    Bobby Dunn
    Bobby Dunn
    • Cab Driver at Meeting
    • (não creditado)
    Audrey Ferris
    Audrey Ferris
    • Dance Contestant
    • (não creditado)
    Eddie Fetherston
    • Dance Contest Emcee
    • (não creditado)
    Ella Hall
    Ella Hall
    • Trial Spectator
    • (não creditado)
    Henry Hebert
    Henry Hebert
    • Trial Spectator
    • (não creditado)
    Ben Hendricks Jr.
    • Moving Man
    • (não creditado)
    • Direção
      • Roy Del Ruth
    • Roteiristas
      • Kenyon Nicholson
      • Kubec Glasmon
      • John Bright
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários49

    6,61.6K
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    Avaliações em destaque

    lge-946-225487

    Enjoyable from a whole lot of angles.

    Other reviewers have covered main topics like plot, cast, etc. I'd just like to comment on some incidentals I enjoyed.

    Cagney always uses such colorful language, as he does in this movie. When a fat man stands on Cagney's foot in an elevator (and I mean STANDS on it for several seconds) Cagney gets mad. Loretta Young tries to calm him down, and Cagney bursts out, "Over nothing?!? What do you expect me to do -- let a big hippo like that plant his clod-hoppers all over me?"

    Incidentally, the elevator scene showed a good lesson for all would-be hat-wearers today. Young has to remind Cagney to take his hat off in the elevator -- a necessity of etiquette then, as was taking your hat off indoors, when you got where you were going. People who wear hats today, should wear hats like people who know HOW to wear hats.

    Leila Bennett -- some people don't appreciate her flavor of humor, but I get a big kick out of her. She drones on and on in that adenoidal, nasal monotone, completely oblivious to whether anyone's listening or not. In fact, Cagney asks her at one point to button her lip, and Bennett just drawls, "Oh, I ain't said much," and goes on with her story. She's just droll and comical because of her personality. (In the restaurant, she says, "Well, the fish died an unnatural death. It isn't fit to eat -- even in a restaurant.")

    And say -- isn't Buck Gerard a nasty, low-life villain! He's abominable! On Cagney's wedding night, he says, "I bet you HAD to marry the bim" (i.e., bimbo).

    Little touches enliven this movie throughout -- like Cagney throwing his hat into Young's apartment when she's mad at him, to see if she'll leave it in or throw it back out. Charming incidentals add to the richness of the mosaic. (How poetical!)
    61930s_Time_Machine

    Are You Lookin At Me?

    Nothing could be more typical of early 30s Warner Brothers than this. Daryl Zanuck was pumping out about fifty motion pictures a year - not for the learned, not for the artists, not for the sophisticated dinner party sets but for the ordinary people whom The Depression had chewed up and unceremoniously spat out. These films were about people and for people whom society, authority and big business had treated like dirt. Zanuck's Warner Brothers was the people's studio and James Cagney was the people's actor. TAXI is not as powerful as the more 'campaigning' WB films of that era but it still has Zanuck's familiar: "we're on you side, boys" feel about it which when watched today still feels warm and caring.

    What's fascinating watching this today is realising what a different race of people we are compared with those who lived here ninety years ago. It's amazing how different our attitudes were: how violence was so much more widespread and normalised. One could not imagine a scriptwriter today having a gentle old man (Guy Kibbee ) gunning down someone simply because he destroys his taxi - let alone the general casual use of guns, knives and fists used in response to things which today might just elicit 'a hard stare' (in the case of Paddington anyway!) Equally fascinating is how our attitudes, the way we treat each other - especially the relationship between men and women has changed. This is one of Cagney's least likeable characters, he's a violent, uncouth yob who treats Loretta Young absolutely horribly and yet he's the hero of the film. Loretta Young's feisty, self-assured character, Sue, is very much a modern woman and yet she simply accepts that that's just the way he is, this is how things are and so loves him just the same - different times!

    As stupid as it is, I find myself comparing this with Scorsese's masterpiece TAXI DRIVER. Of course that's an idiotic thing to do but there are some similarities (besides the obvious). They're both broken people struggling to survive and struggling to have a relationship. However whereas Robert De Niro is a lonely repressed psychopath about to explode, James Cagney's psychopath's pressure is constantly leaking out through his uncontrollable temper. This temper is uncontrollable and although all the misfortunes which befall him are all because of it, he shows no remorse, no acknowledgment that all this is his fault, no realisation that he needs to change his ways.

    However many times I see Loretta Young in these early 30s movies I am always shocked, amazing and astounded at how unbelievably pretty she is. Not in a sexual or saucy way, she's almost like a painting come to life. That aside, she seriously is an exceptional actress and portrays a very authentic believable young woman we can instantly empathise with and she is only 18! Can she change Cagney's character, if anyone can reform him, surely someone as optimistic, positive and sensible as she can? No, it's a hopeless task. The violence, the uncontrollable temper is as much a part of him as his own blood and bone. Like De Niro, where Cagney has come from, that cruel and brutal world has made him who he is. Growing up in the squalid slums of New York at the beginning of the century was especially tough for the Irish kids.

    Overall this is entertaining and reasonably exciting upbeat movie. It is snappily directed and as it's a cost conscious WB production where every millimetre of film has to be used efficiently, there no time wasted on padding so it zips along. It's well acted by everyone, even the bit players - Leila Bennett as the annoying friend who never shuts up is particularly good and offers a good contrast with Loretta Young's quiet and considered persona. Worth an hour of your time.
    7raskimono

    You don't see a lot of taxis but you do see a gangster movie

    Good gangster movie set in the world of taxis. The movie is really a character study of one and a half men and one and a half women. Two rival taxi companies are in a war to gain turf and territory. When the turf wars end, people die and revenge or forgiveness is the scorecard. The women represented by Loretta Young are willing to forgive and move on but the men represented by Jimmy Cagney won't and are on course to set their lives back. The love story is unequivocally well-written and the final scene escapes certain cliches that have come before within the movie to pack a powerful punch. It was a big hit for WB in 1932, and is definitely worth a see.
    7Handlinghandel

    This Has It All

    Roy Del Ruth's early movies are roller-coasters of nonstop excitement. He seemed to lose a lot of his style and passion once the Code was issued. His pre-Code movies, though, seem very modern: They're funny, naughty, touching, and shocking -- sometimes all at once.

    "Taxi" is one of his best. It's also one of my favorite James Cagney movies. In this, he weeps when he learns that a family member has died. It's a full-frontal shot and very daring. How many leading men of his era would dared this? In the same movie, he slugs his girlfriend Loretta Young (always very appealing here.) He's funny, believable, and violent.

    I like Guy Kibbee in the sort of sympathetic role he plays here. He is Young's father. Leila Bennett is an unlikely movie presence. She's gawky and goofy. But as Young's roommate, she's fun and adds to the general excellence of "Taxi."
    7utgard14

    "I wouldn't go for that dame if she was the last woman on Earth and I just got out of the Navy."

    James Cagney plays a cab driver whose quick temper causes problems in his relationship with Loretta Young, who hates violence. When his kid brother is killed, Cagney is out for vengeance. But getting it may cost him the woman he loves.

    Jimmy's great. He makes a sometimes unlikable character relatable. Loretta is very pretty and endearing. George E. Stone, Guy Kibbee, Leila Bennett, and David Landau are part of the nice cast. George Raft has a bit part where he gets socked out by Cagney. Opening scene where Cagney speaks Yiddish is a classic. This is the movie where Cagney yells at his brother's killer "Come out and take it, you dirty yellow-bellied rat, or I'll give it to you through the door!" This would later be misquoted as "You dirty rat, you killed my brother!" and would become a staple of Cagney impressions.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      James Cagney spoke fluent Yiddish, and in this film got the opportunity to demonstrate it.
    • Erros de gravação
      Although the story takes place in New York City, it's apparent the exterior scene with the three taxicabs was filmed in Los Angeles.
    • Citações

      Matt Nolan: Come out and take it, you dirty, yellow-bellied rat, or I'll give it to you through the door!

    • Conexões
      Featured in Brother Can You Spare a Dime (1975)
    • Trilhas sonoras
      The Darktown Strutters' Ball
      (1917) (uncredited)

      Music and Lyrics by Shelton Brooks

      Played by the band for the final number in the dance contest

      Danced by James Cagney, Loretta Young, George Raft and his unidentified partner

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    Perguntas frequentes13

    • How long is Taxi?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 23 de janeiro de 1932 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idiomas
      • Inglês
      • Iídiche
    • Também conhecido como
      • Peso do Ódio
    • Locações de filme
      • Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, Califórnia, EUA(Studio)
    • Empresa de produção
      • Warner Bros.
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 9 minutos
    • Cor
      • Black and White

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