Avaliações de usuários

For many fans of classic films, this is a fun favorite, mainly because of the performances of Bette Davis as Maggie and Mary Astor as Sandra. George Brent plays a playboy, Pete, who marries concert pianist Sandra, only to find out a few days later that her divorce wasn't final. Apparently (though this isn't explained) he was involved with Maggie shortly before, but she refused to marry him because he's a drunk. However, she does marry him.

There's a problem, though, which is that Sandra turns up pregnant. Then Pete is missing in Brazil somewhere and is believed dead. Maggie talks Sandra into having the baby and letting her and Brent raise it, in exchange for supporting Sandra financially, and she can continue with her concert career unfettered. The two go to a cabin in Arizona where Sandra, a big drinker with other lousy habits, can be supervised.

Well, it's pretty hilarious and only gets better. Davis and Astor give as good as they get to each other, with Sandra screaming that she's an artist who can't get nourishment from a lettuce leaf, and Maggie offering to make her a sandwich. And we all know what happens - Sandra is a nasty you know what and reneges big time.

This is truly a wonderful movie for some reason - actors in those days were able to make you believe anything and go right along with it, and take the plight of the characters seriously. This is probably because the stories were character-driven and audiences invested in the people and therefore bought the story.

Well-directed by Edmund Goulding, the performances are wonderful from the women, Davis, Astor, and Hattie McDaniel as Maggie's maid, who again proves her strong acting abilities. Brent, who made a career out of supporting these huge female stars, is good.

Can't beat this one for entertainment.

The Great Lie (1941)

This is really a fabulous mixture of great movie themes, and it pulls it together to make its own amazing statement about fidelity and love. And class. And pre-war America, seemingly isolated but actually trapped by world events.

Within ten minutes there is first an echo of My Man Godfrey (George Brent in this case making a more mainstream Powell) and then a swoop down for a taste of Gone with the Wind or even closer, Jezebel (the plantation south, even though it's 1940 or so). Then it's a melodrama straight up, and tragedy, and even if the plot is improbable, you go with it and get swept away.

Brent plays Pete, a man caught between two women, both of money, but one cosmopolitan and used to being in charge, and one a lively, warm woman living a more earthy life. At the start it seems Pete is married to the urbane one, a concert pianist, Sandra, played with typical poise and ice by Mary Astor (compare this to her more famous role in The Maltese Falcon from the same year). She's a professional woman, in charge of her life, and, lately, Pete's. She wants independence and culture, and man with his feet on the ground.

But Brent's country girl, an ex-love (and true love, it seems) Maggie is played to perfection by Bette Davis. The music here, and the support cast is African American, which makes for a more heart warming, and wrenching, background. He pays a visit to Maggie the day after his wedding (for reasons that slowly clarify) and the dynamic is set. And the twists begin. We have a contemporary drama between recognizable stereotypes as World War II looms for the U.S.

Early on, Sandra asks Pete after his visit to Maggie, "Did you get it?" He says, "What?" Sexual innuendo intact, the Hays code chaffing, she clarifies, "The air?" What a great simple example of how movies so often played brilliantly with innuendo because the code wouldn't allow a straighter interplay.

Director Edmund Goulding is not as well known as some of his contemporaries, but he has a few masterpieces in his lot, including the Bette Davis Dark Victory and the later Razor's Edge. For me, The Great Lie is maybe short of perfect--the plot does intrude on our sense of suspending disbelief--but it's really fast, moving, well written, and well directed. No question.

To my mind this film is perfect - a classic example of what the studio system of the golden years of Hollywood could achieve. Strong direction, witty dialogue, beautiful music, sublime cinematography, crisp editing, gorgeous production design and costuming, brilliant performances - every element of this film is perfect.

Add to all that the daring (for its day) story-line, Bette Davis at the height of her dramatic powers and at her most beautiful, and Mary Astor delivering what I think is one of the great screen performances of all time, and you have a very special film indeed.

Although the film may seem to have dated elements, especially in the depiction of the African-American characters, if you let yourself watch the film with 1941 eyes you will be richly rewarded. Besides which the wonderful Hattie McDaniel brings so much depth to what could have been a simple stereotype.

As you can tell, I love this film. I understand Bette Davis and Mary Astor loved working together - and you can see that on the screen. The scenes between the two of them are electric, with so much being said beyond the words. Thank God Astor won an Oscar for her work here. She truly deserved it.

"The Great Lie" provides an example of what the Warner

Bros. stock company could produce during the early 40s.

Bette Davis is her usual strong character, George Brent

his standard wooden but creditable personality, and Mary

Astor in a surprisingly fiery turn, is a performance which

contributes a winning balance.

The best scenes are confrontations and interactions between Davis and Astor, and they play the dramatics for

all they're worth.

It's an entertaining film, with an array of fine character

actors (including scene-stealing Hattie McDaniel) to bolster the proceedings. Max Steiner's score is on hand to

add atmosphere to the action.

An amazing unfolding story that arises out of a ridiculously implausible plot that nevertheless is a classic film. Who needs a plot anyway when you have Mary Astor and Bette Davis fighting over the quietly cool George Brent? Throw in an unexpected pregnancy and a trip to the Arizona desert to keep the mother from having a miscarriage due to her bad habits, with boredom, sand storms, and endless cigarettes. The way it sounds is not at all like the impact it produces. There's one point in the film's second half when people might be thinking that it would be a good place to end the film, keeping the lie intact. But Edmund Goulding makes the absolute most of what follows, hitting the real ending with power and precision.

Though some may say the plot's too far-fetched, I say what Hollywood story isn't, to some extend or another? Even so-called bio pics stretch and bend the truth. Anyway, when you have actors that give great performances, and keep the drama from becoming melodrama, and make the implausible seem plausible, and keep your attention to the end, well, what the heck?

Mary Astor gets to show off her musical talent, as concert pianist Sandra Kovak, who married Peter Van Allen (George Brent) after a drunken whirlwind fling (and while he was rebounding from his breakup with Maggie Petersen, played by Bette Davis), only to discover her divorce from her previous husband wasn't final yet. When Peter's offer to marry her for real (and sober) this time is rejected in favor of her planned concert tour, they break up, and he realizes his heart still belongs to Maggie. Soon, they're back together and married, but they haven't heard the last of Sandra.

There's a lot of soap opera elements here: a baby, a presumed death, a bargain, a lie, a threat, a confession, and a lot of entertainment.

And as a bonus, there's Hattie McDaniel as Violet.

This is also the movie that gave rise to the idea that Bette spoke a ridiculous line, where she repeated the name "Peter, Peter, Peter!" Actually, she said the name "Pete" twice, while thinking wistfully of her husband. And it was spoken with melancholy, not in rapid-fire succession, like a stuck record needle.

For that alone, the film's worth watching, though the story will keep you entertained.

Bette Davis and Mary Astor take place in one of filmdoms greatest bitch-fests, The sappy sweet Davis and obnoxious concert pianist Astor both love the same man(George Brent). He goes back and forth between them. Slick and soapy, the performances are great and Astor walked away with an Oscar. Great classical score, too.

This is a soaper supreme that has all the makings to be overwrought and overdone. But surprise! Bette Davis and Mary Astor yank the material to the A level, and their scenes together simply crackle with tension, and subtext. It's amazing how their presence (and creative input no doubt) take what could have been maudlin, and make it something You don't want to miss! And the Tchaikovsky Piano Concerto throbbing in the background certainly doesn't hurt. Astor won a well deserved Oscar for her role and said Bette's input was a major reason why, having insisted the part be built up and polished. Just watched it again a few hours ago, and man, was it fun! Make sure you see it, and I'm not going to spoil it for you by giving away plot details!

The chief reason to watch this highly implausible melodrama is the bravura supporting performance of the stunning Mary Astor, ably abetted by Bette Davis, the lead actress, both at their cinematic peaks. Astor plays a passionate but emotionally fickle concert pianist with lusty appetites who battles decent and simple Bette for the affections of George Brent. No need to detail the plot about one woman persuading another to give up her baby. Suffice it to say that whenever these two powerhouse actresses occupy the screen, especially together, the viewer can accept anything. Outstanding is a sequence shot at least in part on location in the desert where the battling ladies reach a climax of sorts in their emotional duel. It is said that the two performers rewrote some of Lenore Coffee's script to spike it up; if so, they succeeded brilliantly. Their contrasting natures - physically, vocally, emotionally and, thanks to wise costume design, sartorially - make them an exciting and volatile combination. Astor has never been more ravishing and even Davis photographs unusually well in many scenes. The always entertaining Hattie McDaniel and Lucile Watson are on hand as the maid and a matronly aunt, respectively, though they do nothing here they haven't done better elsewhere. Astor, in addition to her expert histrionics, is said to have actually played – as opposed to faking - classical piano pieces throughout, adding substance, emotional coloring and much-needed authenticity. If she was faking, then it was dazzling fakery!

The Great Lie in its own way is quite daring for the time. There were not too many films in which motherhood was seen as a burden rather than a sacred obligation. In that sense Warner Brothers was taking quite a chance with this film.

The one thing I don't understand is Bette Davis taking the role of the noble one in the triangle that involves her with George Brent and Mary Astor. Astor's part is clearly the showier one which she proved by taking home the Best Supporting Actress for 1941. Perhaps it was simply a matter of screen time and that Davis was not going to be in support of anyone.

Be that as it may, The Great Lie involves a possible lie to come when a certain infant comes of age. George Brent's got both these women on the string. He marries Mary Astor who is a renowned concert pianist in a whirlwind courtship as soon as the ink on her divorce became dry.

Turns out it wasn't quite that dry yet. But nature taking its course Astor gets pregnant. But before she and we find that out, Brent whose marriage to Astor was technically invalid runs off with Davis who's a member of the rich Maryland horsey set.

Later on Brent goes missing in a plane crash in the Amazon rain forest and Davis comes up with a marvelous proposition. If Astor will give up the kid when it's born, she'll raise it as her own. Astor who is career minded to the last exponential degree agrees to this until Brent finds his way out of the rain forest.

The Great Lie is one potboiler melodrama which is lifted above its worth by these two women. Davis does what she can with the part, though I think she would have been better as the pianist. But Mary Astor just dominates the film. Her performance is the best thing by far in The Great Lie. This was the pinnacle year in Mary Astor's career. She also co-starred in 1941 in her best known screen part, that of Brigid O'Shaunessy in The Maltese Falcon.

Given the mores of the time there are only certain directions this plot can take. The Great Lie would be one great flop, but for Bette and Mary. See it for them.

Betty Davis, (Maggie Patterson Van Allen) was a very wealthy young woman who was very much in love with a man named Pete who liked to drink and got married to a woman named Sandra Kovack, (Mary Astor). However, Sandra was not really divorced from her first husband and therefore her marriage to Pete was unlawful. Sandra & Pete confront each other and decide to get married once again, but Pete decides he really loves Maggie Patterson and makes her his bride and they are very happy together. Sandra Kovack is an accomplished pianist and is well known through out the world for her great performances. There is an event that happens between Maggie Patterson Van Allen and Sandra Kovack which turns this film in a different direction that causes many problems and will turn into one Great Lie. Great acting by Hattie McDaniel, (Violet) who gave a great supporting role to these great veteran actors. Don't miss this film, it is truly a great film classic from 1941.

Am a great fan of "classic" film, and films made in "The Golden Age". While George Brent has always been hit and miss for me, Bette Davis has always been wholly deserving of her legendary reputation and director Edmund Goulding directed her to great effect in 'The Old Maid' and 'Dark Victory'. Have liked a good deal of other Mary Astor performances and Hattie McDaniel and Lucile Watson were always watchable regardless of the overall quality of the film.

'The Great Lie' is very impressive in many areas and did find myself liking and enjoying it a lot. Considering what it had going for it, part of me was also a little disappointed and thought that 'The Great Lie' could have been even better than it turned out. Instead of the great film it could easily have been, it was instead good to very good with great elements. It represents Goulding, Davis (do prefer the mentioned films of theirs), composer Max Steiner and especially Astor are well represented. Have seen a lot better from Brent though.

Will agree that the story is often implausible and in particularly credibility-straining parts truly ridiculous and some strands from another happen too fast. As can be the case with melodramas, parts of the script lay it on a little too thick on the soap.

Brent is for my tastes rather bland in a pretty colourless part.

Davis however is great. Not quite one of her finest performances, but she is beautifully retrained while very much engaged with the increasing intensifying drama, as the intensity increases she increasingly pulls out all the stops. McDaniel and Watson shine in support in roles perfect for them and ones they always played very well. Best of all is Astor, who is brilliant. While she was a fine actress, did find myself being amazed at how much ruthlessness and fire she had in her and it was absolutely thrilling to watch. She and Davis are dynamite together. Goulding directs sympathetically while allowing Davis and Astor to have fun without being too laid back about it.

It is a lush-looking film, the photography, the costumes, the sets, all lovely on the eyes. Steiner's score showcases his unmistakable style in a sweeping and dramatic but not too overpowering score beautifully orchestrated. The script is not perfect, but has more than enough wit, poignancy and intensity to spare. While the story could have been better, it wasn't dull at least and the character interaction kept it engrossing.

Overall, good but could have been great. Davis and Astor are the main reasons to see it. 7/10

A rich woman Maggie (Bette Davis) is in love with Peter Van Allen (George Brent) who is married to famous concert pianist Sandra Kovak (Mary Astor). Them Van Allen finds out his marriage to Kovak isn't legal--they got married before her divorce was final. So he marries Maggie which infuriates Kovak. Then Kovak discovers she's pregnant and Van Allen disappears when his plane crashes in the jungle...

As you can see this is more than a little silly. The above plot just covers the first 30 minutes or so--the story gets even more ridiculous. This is wildly overly melodramatic and has an ending where reality totally disappears, but production values, music and performances pull it over.

It was lushly made (Warners Brothers spared no expense on this one) and there's some great music here--LOVE the piano solos that Astor is supposedly playing. Brent is good in his role--handsome and intelligent. Davis is (as always) good--she ALMOST overdoes it but is pulled back. Astor is GREAT--she deservedly won a Best Supporting Actress Oscar for this. She takes her role and runs with it--she's playing an almost totally evil, self-absorbed woman and enjoys it.

So it IS silly but worth seeing. I watched the film with a smirk on my face the whole time but I DID keep watching. I give it a 7.

THE GREAT LIE (Warner Brothers, 1941) directed by Edmund Goulding, teams Bette Davis and George Brent for the tenth time. Though DARK VICTORY (1939) is often hailed as their finest achievement on film, THE GREAT LIE is most memorable not so much for their fine chemistry, but for Mary Astor, whose performance not only steals it from her leading performers but won the Academy Award as Best Supporting Actress for her fine achievement playing the other woman to her husband.

The story opens with Peter Van Allen (George Brent), an aviator and wealthy playboy, married to Sandra Kovak (Mary Astor), a famous concert pianist. Called by his attorney, Jeffrey H. Thompson (Jerome Cowan), Peter is given the news he's not legally married to Sandra. Her divorce from her previous husband has not been finalized at the time of their wedding. Though Peter is willing to wed her all over again, Sandra refuses to marry the day of her upcoming concert in Philadelphia and insists their wedding will have to be postponed to another date. Finding her career more important than their lives together, Peter, who earlier had taken his plane to Maryland to visit with his former fiancée, Maggie Patterson (Bette Davis), her outbursts prevent him from giving her the news of his freedom. Eventually Maggie learns of the matter and becomes his wife after all. Later Peter is called away on an assignment to Brazil. During his absence, Maggie meets with Sandra in New York with startling news she's pregnant with Pete's child and intends on getting him back. Receiving news of Peter being killed in an airplane crash in the jungle, Maggie comes to Sandra with a cash settlement allowing her to have her baby in a secluded Arizona ranch on the condition she can return to Maryland and raise the child as her own. Time passes. Maggie is now the "mother" of little Pete while Sandra is free to go on her world concert tours. With the surprise news of Pete having survived the crash and returning home to her, their lives together are happy until Sandra returns. Also in the supporting cast are Lucile Watson (Aunt Ada); Hattie McDaniel (Violet); Grant Mitchell (Joshua Mason); J. Farrell MacDonald (Doctor Ferguson) and Sam McDaniel (Jefferson).

Though an interesting concept, THE GREAT LIE might have failed had it not been for its three veteran performers making the story better for what it is. George Brent plays his usual caught between two women husband while Bette Davis and Mary Astor are equally matched as "friendly" rivals out for the affection of the man they both love. The year 1941 proved to be a turning point for Mary Astor's career with this and her outstanding role opposite Humphrey Bogart in THE MALTESE FALCON being the two movies she is best remembered. As much as I always felt Astor should have at least been nominated as Best Supporting Actress for her wonderful performance in DODSWORTH (United Artists, 1936), at least the award she won for THE GREAT LIE makes up for that oversight. The truth about THE GREAT LIE is how Mary Astor makes her self-centered role so likable. Along with her shorter hair-cut to appear older yet appealing to her character without losing her attractiveness, her high point is not so much her piano playing to Tchaikowski's Piano Concerto # 1 in B Flat Minor, but how her tense and slightly amusing confrontation with her rival and former husband, good enough for that well-deserved Academy Award win.

Available on both video cassette and DVD format, THE GREAT LIE can be seen occasionally on Turner Classic Movies cable channel. (***)

Bette Davis and George Brent had a lot of fun with this one, and it shows. Edmund Goulding may have left in some brief out takes, as it's apparent in one scene where Bette and George are havin' a good ole time, rekindling their old romance, whether it be on screen or off.

Over the decades, being an armchair movie buff, the distinct conclusion I have drawn is the very best movies are so because the cast is enjoying each other's company. Its a combination of team work and the shear love of what you are doing. Only a theory, but it sure makes a lot of sense. Interestingly, at first both Davis and Astor thought the screenplay was poison!

Here, as soap opera mythology dictates, our gallant hero (Brent) is presumably lost in a convenient plane crash, of course the object of affection of both ladies.

What fun those smart writers and casting people had at Warner Brothers back in the day. But is Brent really dead? Tune in for the next chapter... And so it goes, without giving too much away... which, you have to admit, is kind of corny, but with that stellar cast whose complaining. Just watch this for what its worth; superior acting, particularly Oscar winner Astor. And the great debate (along with the Great Lie) is Astor could have walked off with TWO Oscars had she also won for THE MALTESE FALCON. An audience pleaser if there ever was Thank you again Warner Brothers.

Forever and a day on dvd and remastered blu ray. Applause to TCM for running this gem for years.

In New York, the playboy Peter 'Pete' Van Allen (George Brent) marries the famous pianist Sandra Kovak (Mary Astor) after a party. A couple of days later, his lawyer Lock Thompson (Jerome Cowan) tell him that their marriage is not valid, since Sandra's divorce of the previous husband is not concluded. Pete is a distinguished pilot and he flies to Maryland to meet his former fiancée Maggie Patterson (Bette Davis) in her farm. Maggie tells that her uncle has offered a position of pilot to work for the government. Pete returns to New York and tells Sandra that they need to marry again on the next week. However she has a concert in Philadelphia and tells that she cannot marry him on that date. Pete travels to Maryland and tells Maggie that he is free to marry her. They get married and soon Maggie learns that Sandra is pregnant. However Pete is missing and the search party does not find him. Maggie seeks out Sandra and proposes to adopt her baby; in return she would give a generous amount for the pianist. However when Pete is found in Manaus, Sandra visits Maggie and Pete and blackmails Maggie, expecting to have the child and Pete back.

"The Great Lie" is an exaggerated melodrama with Bette Davis, Mary Astor and George Brent. Pete is a shallow character that does not work and leaves Sandra in a ridiculous way to stay with Maggie. The rivals do not have much reason to be with Pete. The conclusion is dull, with Pete giving up of his son. My vote is six.

Title (Brazil): "A Grande Mentira" ("The Great Lie")

One of Bette Davis' more colorless entries. Here she spars with concert pianist Mary Astor over playboy George Brent (the "lie" of the title involves one of the women raising the other's child as if it were her own). Somewhat plodding melodrama does pick up steam in its second-act, but it may lose non-devout viewers before then. The film's biggest obstacles are the awkward direction by Edmund Goulding and Lenore Coffee's soapy screenplay. Mary Astor won a Supporting Actress Oscar, yet her bitchiness occasionally seems forced (she's a good sport when being used for comedic relief, but even this doesn't fully come off). Hattie McDaniel is always nice to have around (albeit stuck in her proverbial role as the mouthy maid). As for Davis, she certainly looks good, however the star is trapped performing in a dishearteningly subdued key nearly throughout. ** from ****