Incentivada por seu pai idealista, porém azarado, uma jovem brilhante e imaginativa cresce em um cortiço no Brooklyn no início dos anos 1900.Incentivada por seu pai idealista, porém azarado, uma jovem brilhante e imaginativa cresce em um cortiço no Brooklyn no início dos anos 1900.Incentivada por seu pai idealista, porém azarado, uma jovem brilhante e imaginativa cresce em um cortiço no Brooklyn no início dos anos 1900.
- Direção
- Roteiristas
- Artistas
- Ganhou 1 Oscar
- 9 vitórias e 1 indicação no total
- Augie
- (não creditado)
- Nurse
- (não creditado)
- Mr. Creckenbox
- (não creditado)
- Girl
- (não creditado)
- Old man on second floor landing
- (não creditado)
- Grandma Rommely
- (não creditado)
- Cheap Charlie
- (não creditado)
- Miss Tilford
- (não creditado)
Avaliações em destaque
It is like the anti-"Meet Me In St. Louis" of the previous year. This American family is one of second generation Americans, descended from European immigrants, who have no particular skills and live in the tenements of Brooklyn. The central character is the daughter, Francie, who is a bit of a dreamer like her father, and in fact she adores her father. She wants to be a writer and has a great thirst for knowledge. There is a very cute exchange between herself and the local librarian when she says she is trying to read her way through the library alphabetically by author but has reached a book that is probably just too much for an eleven year old girl. The brother - hard to tell if he is a year older or younger - is very different from her, not that interested in learning, and would probably not go to school if he was not forced, but that doesn't mean he is a bad kid.
You meet the mother in the family first -Katie Nolan (Dorothy McGuire). This first scene is skillfully written, and you immediately get, before even meeting him, that Katie is always doing battle with the family budget and must scrub floors for a living because her husband is a bad provider. In short she is tired of his nonsense but feels trapped.
Then you meet the father and husband - Johnny (James Dunn). He is a singing waiter when he can find work. He has a good voice, but he has neither gotten serious about singing as a career or outright abandoned it in favor of learning some other trade. Instead he is always dreaming about his ship coming in. He is an alcoholic but not a mean one. And he is exactly the kind of guy who would sweep a girl off her feet when she is 18, but who will never pan out as far as getting serious about work and whom you will be acutely impatient with by age 30. James Dunn won an Oscar for his performance here, and ironically he actually was fired by Fox in the 1930s because of his drinking and Fox was reluctant to take him on again for this role because they did not want a repeat performance.
Katie's sister, Sissy, is played by the boisterous Joan Blondell. Sissy seems to have money - she is always well dressed. And she has just entered into a third marriage without really being sure she was divorced from the second. She has money but no children, which she wants badly. However, she has had several miscarriages. Katie has children but not enough money to really support them. So you feel like some of the undercurrents of tension between the two sisters is that each badly wants something that the other one has and feels that they take it for granted.
One of the great things about this film is that it takes time to go about the neighborhood and let you meet all of the people who live there - the barber, the local saloonkeeper (James Gleason), the sick little girl who lives downstairs, and the local beat cop. Together this weaves an interesting tapestry of atmosphere.
So this is "one year in the life of an American family", but that year is full of hard knocks and also some complete tragedies, but some good events too. It is absolutely worth watching.
Much of the story centers on a couple of interesting relationships. In both cases they are well-acted, and in both cases the relationships suggest a number of themes worth thinking about. Having these two relationships so well-defined and memorably portrayed raises the movie well above the level of a mere sentimental family story.
The relationship between Francie and her father probably makes the movie, and it is wonderfully acted by James Dunn as the somewhat unsteady but thoroughly endearing father, and Peggy Ann Garner (in one of the finest child performances you will see) as the loyal, intelligent daughter.
Dorothy McGuire plays the important but thankless role of Katie, the stern, dour, yet sincere mother, the kind of role that few actresses can handle well. Katie's relationship with her sister (Joan Blondell) is another of the strengths of the movie. Blondell's flamboyant but sensitive portrayal of Sissy wins all the scenes that she is in, yet McGuire is also essential to making them work and to bringing out the themes implied.
The adaptation to the screen is pretty well-conceived. Naturally, much of the depth is going to be lost when you distill a worthwhile novel into a two-hour movie, but the screenplay highlights some very good material, and if it encourages anyone to read the book, so much the better.
Você sabia?
- CuriosidadesAfter being so impressed by the dailies of the film, executives at Fox wanted to re-shoot the entire movie in Technicolor, but Elia Kazan refused.
- Erros de gravaçãoThe portrait of General Washington in Francie's classroom was issued nationwide to public schools and buildings in 1932 to mark the bicentennial of his birth. The chronology of the story has events taking place at least 20 years earlier.
- Citações
Francie Nolan: Out the window, our tree they killed it!
Johnny Nolan aka The Brooklyn Thrush: Well, would you like at that now.
Francie Nolan: They didn't have any right to kill it did they papa!
Johnny Nolan aka The Brooklyn Thrush: Now wait a minute. They didn't kill it. Why they couldn't kill that tree.
Francie Nolan: Promise?
Johnny Nolan aka The Brooklyn Thrush: Why sure baby. Don't tell me that tree is gonna lay down and die that easily. Look at that tree. See where it's coming from. Right up outta that cement! Didn't nobody plant it. Didn't ask the cement to grow. It just couldn't help growing so much it just pushed that old cement out of the way. Now when you bust it with something like that, can't anybody help it, like... like that little ole bird up there. He didn't ask anybody could he sing and he certainly didn't take any lessons. He's so full of singing it just has to bust out someplace. Why they could cut that ole tree right down to the ground and a root would push up someplace else in the cement.
- ConexõesFeatured in Elia Kazan: A Director's Journey (1995)
- Trilhas sonorasI've Got Rings on My Fingers (Mumbo Jumbo Jijjiboo J. O'Shea)
(1909) (uncredited)
Music by Maurice Scott
Performed by a calliope
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Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Lazos humanos
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
- Tempo de duração2 horas 9 minutos
- Cor
- Proporção
- 1.37 : 1