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IMDbPro

Noite Inolvidável

Título original: The Big Night
  • 1951
  • Approved
  • 1 h 15 min
AVALIAÇÃO DA IMDb
6,3/10
1,3 mil
SUA AVALIAÇÃO
John Drew Barrymore and Joan Lorring in Noite Inolvidável (1951)
The Big Night: Jazz Club
Reproduzir clip3:11
Assistir a The Big Night: Jazz Club
1 vídeo
35 fotos
Filme NoirDramaSuspense

Adicionar um enredo no seu idiomaA teenager comes of age while seeking revenge on the man who beat up his father.A teenager comes of age while seeking revenge on the man who beat up his father.A teenager comes of age while seeking revenge on the man who beat up his father.

  • Direção
    • Joseph Losey
  • Roteiristas
    • Stanley Ellin
    • Joseph Losey
    • Hugo Butler
  • Artistas
    • John Drew Barrymore
    • Preston Foster
    • Joan Lorring
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,3/10
    1,3 mil
    SUA AVALIAÇÃO
    • Direção
      • Joseph Losey
    • Roteiristas
      • Stanley Ellin
      • Joseph Losey
      • Hugo Butler
    • Artistas
      • John Drew Barrymore
      • Preston Foster
      • Joan Lorring
    • 20Avaliações de usuários
    • 21Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Vídeos1

    The Big Night: Jazz Club
    Clip 3:11
    The Big Night: Jazz Club

    Fotos35

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    Elenco principal45

    Editar
    John Drew Barrymore
    John Drew Barrymore
    • George La Main
    • (as John Barrymore Jr.)
    Preston Foster
    Preston Foster
    • Andy La Main
    Joan Lorring
    Joan Lorring
    • Marion Rostina
    Howard St. John
    Howard St. John
    • Al Judge
    Dorothy Comingore
    Dorothy Comingore
    • Julie Rostina
    Philip Bourneuf
    Philip Bourneuf
    • Dr. Lloyd Cooper
    Howland Chamberlain
    Howland Chamberlain
    • Flanagan
    • (as Howland Chamberlin)
    Myron Healey
    Myron Healey
    • Kennealy
    Emile Meyer
    Emile Meyer
    • Peckinpaugh
    • (as Emil Meyer)
    Mauri Leighton
    Mauri Leighton
    • Terry Angelus
    • (as Mauri Lynn)
    Robert Aldrich
    Robert Aldrich
    • Ringsider at Fight
    • (não creditado)
    Walter Bacon
    • Boxing Match Spectator
    • (não creditado)
    Benjie Bancroft
    • Bar Patron
    • (não creditado)
    Robert Bice
    Robert Bice
    • Taxi Driver
    • (não creditado)
    Willie Bloom
    • Boxing Match Spectator
    • (não creditado)
    Chet Brandenburg
    Chet Brandenburg
    • Boxing Match Spectator
    • (não creditado)
    Lane Chandler
    Lane Chandler
    • Printer
    • (não creditado)
    Edmund Cobb
    Edmund Cobb
    • Cop
    • (não creditado)
    • Direção
      • Joseph Losey
    • Roteiristas
      • Stanley Ellin
      • Joseph Losey
      • Hugo Butler
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários20

    6,31.2K
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    10

    Avaliações em destaque

    robotman-1

    The Wrong Woman

    The story here is revenge, more real-life based, a 1950's version of the crime of passion. A teenager's good-hearted father is beaten to a pulp by a gangster, so the kid invades the streets to get some payback. The father's not worried about the floor-wiping, which leads to a mystery behind the teen's mother, who skipped out on the family long ago, and a woman the father knows who has committed suicide.

    Seeing this film, there's not much in terms of plot, but there are some notable scenes, particularly when the kid hears a beautiful night-club singer, becomes entranced, gets a chance to meet her on the street, and tells her how beautiful she is. Even though she's, you know,

    black. The pain in the singer's face rends the poor kid, who was transported by her voice, but can't get beyond her skin color.

    This film also has one of THE great lines ever in any film noir or any movie period, at least concerning the tragedy between a man and a woman, when there is love involved. There are no words more powerful or poignant, especially for a man who loves a woman beyond reason, who knows he has lost the love of his life. Unable to move on, to love or marry another woman after that one woman has destroyed him, and in fact still very much in love with his destroyer,

    Preston Foster tells his son, "Sometimes a man loves one woman in the whole world. If she turns out to be the wrong one, well...that's just tough." Truly, the heart of noir is not blackness, but the white-hot scars of passion.
    6amadman

    Decent B Noir, horrible audio quality

    As previous reviewer wrote, saw this on TCM and the sound was terrible. Good story in need of a cleanup. I like hearing dialogue.
    7elo-equipamentos

    The long revenge journey into the night!!

    Joseph Losey on his nightmare years on Hollywood accused of anti-American activities that famous black list, here made a small Noir picture starring the younger Barrymore's clan John Barrymore Jr, playing a teenager who testified his beloved father Andy La Main (Preston Foster) get beat up upon eyes of many customers without any defensive posture, it pulls out entrains of soul, seek revenge through the night against a notorious sportswriter Al Judge (Howard St. John) wherever he goes all night long, firstly on a box match where he bumps into a friendly guy Dr. Lloyd Cooper (Philip Bourneuf) who'll buy an extra ticket, stolen by a corrupt cop aftermaths, he is introduces for a Dr. Lloyd's lover Marion (Joan Loring) at night club, meanwhile looking around Al Judge's whereabouts.

    The young George La Main stalking Al Judge in every place, this journey actually is his prove of fire, due in that night George will see how the anger sometimes is silly over a so complex matter regarding his father's past happenings, he'll meets a gorgeous black singer girl, where the society barrier split apart, also on Marion's apartment he randomly faces a young girl whom cares about him, depressing and haunted George seeks Al Judge at your own apartment aiming for clear up and finally got his so awaited revenge, however the real reason will baffled him when the perpetrator claiming a fair reason.

    Aside the fine premise the outcome is faraway to be suitable, a lame screenplay lost a fair opportunity to allowed a convincing ending, what a waste, in other hand there are plenty of fine sequences at long night in several places, as the fabulous one at toilet, also on the box match when George watching Al Judge thru binocs one second later Al disappears from the sight, fantastic sequences worthwhile a look in this early Losey.

    Thanks for reading

    Resume:

    First watch: 2023 / How many: 1 / Source: DVD / Rating: 7.
    dougdoepke

    A Little Deeper Look at an Oddly Affecting Noir

    Uneven film that at times seems to drift. Still, there are genuinely compelling moments, as when burly dad LeMaine (Foster, in a fine performance) meekly submits to a brutal cane lashing that had me cringing. Why he's submitting remains a puzzle until the end. Because of the beating, Dad's insecure son George (Barrymore Jr.) spends the movie's remainder trying to avenge his father.

    Beneath the revenge narrative, however, is really a rite-of-passage story. For example, in a not very believable opening, a cringing George is pounded in humiliating fashion by his teenage peers. We're given no explanation, nor does actor Barrymore physically resemble an easy mark. It's not a promising beginning. Then, in a much more persuasive scene, Dad casts a slightly disapproving eye over his nervous son's birthday cake (symbolic of the story). So the kid must prove himself not only to Dad, but to himself.

    It's not a tight screenplay. Events more or less simply follow one another, tied together by the theme of vengeance. Happily, however, the narrative doesn't drag. Actor Barrymore Jr. had a rather brief career despite the pedigree. One thing for sure, he's certainly different looking. With a mop of unruly hair and slightly crooked mouth, he's no glamor boy. Nonetheless, his looks are perfect for the role, such that, when he dons a sport coat and hat, he still looks like a kid trying to take a big step up. All in all, the young actor does pretty well in the kind of difficult role that would later go to James Dean. I also like a de-glamorized Joan Lorring, who's a good match for him. My one real complaint is the way Al Judge (St. John) is written. His behavior is so crude and ugly, it's hard thinking of him as a respected sports writer. A racketeer would have been more credible and easier, so the scriptwriters must have had a reason.

    Then too, the screenwriters, Butler and Lardner Jr., along with director Losey, were all blacklisted during Hollywood's commie hunting period. I suspect it was their leftist leanings that are responsible for one of the film's most arresting sequences. George goes to a nightclub where a drop-dead beautiful black songstress (Mauri Lynn) entertains. Afterward, he encounters her outside and is compelled to compliment her looks and talent. She glows at the flattering remark. Trouble is his heartfelt momentum carries over to the unspoken qualification "for a Negro woman". She grasps the unfortunate hanging-in-the-air racial reference, and is reminded of her not-fully-equal status. Thus, disappointment clouds her former glow. It's a beautifully played moment and quite powerful in emotional impact. I wonder what happened to that fine actress.

    Anyway, the movie does have a number of effective noir touches, especially George's twilight escape through LA's towering industrial district. It's a mysterious world so much larger than himself. All in all, the film is oddly memorable, thanks, I think, to Barrymore's unusual presence. I know I sought it out on DVD, lo, so many years after having first seen it in a theatre.

    (In passing—the burly guy sitting next to Barrymore and Bourneuf ringside at the fights is Robert Aldrich, the great director of such classics as Kiss Me Deadly {1955} and Attack {1956}.)
    5bkoganbing

    Cop out ending

    A truly cop out ending really ruins what was potentially a great coming of age film. John Drew Barrymore gave an outstanding performance as our youth protagonist who does a lot of growing up in The Big Night.

    Young Barrymore celebrating his 17th birthday is horrified that at his birthday party sportswriter Howard St.John gives Barrymore's father Preston Foster one severe and public thrashing. And Foster who back in his prime Hollywood days in the 30s was one rugged tough guy just submits to it. A case of directolr Joseph Losey casting successfully against type. i do wish we saw a bit more of Foster in the film though.

    Looking to avenge the family honor Barrymore has quite an odyssey on his Big Night.

    I can't say more lest I spoil things, but the ending was a cop out. My guess was that the soon to be blacklisted Joe Losey made some concession to Hollywood convention. It was not over politics though.

    Not the best note Losey could have left America on.

    Interesses relacionados

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    Filme Noir
    Mahershala Ali and Alex R. Hibbert in Moonlight: Sob a Luz do Luar (2016)
    Drama
    Cho Yeo-jeong in Parasita (2019)
    Suspense

    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      According to interviews that director Joseph Losey gave in the mid-1970s to Michel Ciment, the FBI wanted to spy on him in Europe, where he relocated to work after being blacklisted by Hollywood because of his political activities. So they paid John Drew Barrymore (who became a good friend after this movie) to furnish information about Losey's political activities, if any, in London. Barrymore later met Losey in London and confessed to him about the money and expense account the FBI had given him to spy on Losey. Losey, recalling that the young actor had been under tremendous pressure at the time, forgave him and, in fact, suggested that they have several lavish meals together and put the cost on Barrymore's FBI expense account, which they promptly did.
    • Erros de gravação
      The magazine racks outside the corner store are mostly issues contemporary to 1951, with one glaring exception. A copy of the famous first issue of The New Yorker (published in 1925).
    • Citações

      Peckinpaugh: Next time you see somebody drop money, don't think about it so long before you decide to give it back.

    • Conexões
      Featured in Vampira: The Big Night 1951 (1956)
    • Trilhas sonoras
      Am I Too Young
      Music by Lyn Murray

      Lyrics by Sid Kuller

      Sung by Mauri Leighton (uncredited)

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    Perguntas frequentes14

    • How long is The Big Night?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 7 de dezembro de 1951 (Estados Unidos da América)
    • País de origem
      • Estados Unidos da América
    • Idioma
      • Inglês
    • Também conhecido como
      • The Big Night
    • Locações de filme
      • 218 East 12th Street, Downtown, Los Angeles, Califórnia, EUA(George goes to the old St. Joseph's Church - destroyed by fire and demolished in 1983)
    • Empresa de produção
      • Philip A. Waxman Productions Inc.
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 15 min(75 min)
    • Cor
      • Black and White
    • Proporção
      • 1.37 : 1

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