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IMDbPro

Safira, a Mulher Sem Alma

Título original: Sapphire
  • 1959
  • Not Rated
  • 1 h 32 min
AVALIAÇÃO DA IMDb
7,2/10
2,8 mil
SUA AVALIAÇÃO
Safira, a Mulher Sem Alma (1959)
WhodunnitCrimeDramaMysteryThriller

Adicionar um enredo no seu idiomaThe murder of a young woman in London exposes deep racial tensions and prejudices inherent in the area.The murder of a young woman in London exposes deep racial tensions and prejudices inherent in the area.The murder of a young woman in London exposes deep racial tensions and prejudices inherent in the area.

  • Direção
    • Basil Dearden
  • Roteiristas
    • Janet Green
    • Lukas Heller
  • Artistas
    • Nigel Patrick
    • Yvonne Mitchell
    • Michael Craig
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,2/10
    2,8 mil
    SUA AVALIAÇÃO
    • Direção
      • Basil Dearden
    • Roteiristas
      • Janet Green
      • Lukas Heller
    • Artistas
      • Nigel Patrick
      • Yvonne Mitchell
      • Michael Craig
    • 54Avaliações de usuários
    • 23Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
    • Ganhou 1 prêmio BAFTA
      • 3 vitórias e 4 indicações no total

    Fotos138

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    Elenco principal43

    Editar
    Nigel Patrick
    Nigel Patrick
    • Chief Inspector Hazard
    Yvonne Mitchell
    Yvonne Mitchell
    • Mildred Farr
    Michael Craig
    Michael Craig
    • Police Inspector Learoyd
    Paul Massie
    Paul Massie
    • David Harris
    Bernard Miles
    Bernard Miles
    • Mr. Ted Harris
    Olga Lindo
    Olga Lindo
    • Mrs. Ted Harris
    Earl Cameron
    Earl Cameron
    • Dr. Robbins
    Gordon Heath
    • Paul Slade
    Jocelyn Britton
    • Patsy
    Harry Baird
    Harry Baird
    • Johnnie Fiddle
    Orlando Martins
    Orlando Martins
    • Tulip Barman
    Rupert Davies
    Rupert Davies
    • Ferris
    Freda Bamford
    Freda Bamford
    • Police Sgt. Cook
    Robert Adams
    • Horace Big Cigar
    Yvonne Buckingham
    Yvonne Buckingham
    • Sapphire Robbins
    Thomas Baptiste
    Thomas Baptiste
    • Man on the Street
    • (não creditado)
    Victor Brooks
    • Police Sergeant
    • (não creditado)
    Marie Burke
    Marie Burke
    • Second landlady
    • (não creditado)
    • Direção
      • Basil Dearden
    • Roteiristas
      • Janet Green
      • Lukas Heller
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários54

    7,22.7K
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    Avaliações em destaque

    dougdoepke

    Needs Re-Discovery

    So who killed Sapphire. That's the movie's plot; however, the underlying theme is racial prejudice, a generally touchy topic at the time, even for British films. As I recall, the movie got more coverage than usual for a foreign release, at least in the LA area. The lovely Sapphire may look White, but genetically she's half-Black. Her troubles start when she "passes for White" in a London society still riven by prejudice. Engaged to the son of a reputable White family, her racial make-up causes rifts within the circle once her heritage is known. Naturally, the suspects start off with the family of her intended.

    The twin threads of race and murder are skillfully woven into a difficult screenplay that nevertheless compels attention from start to finish. Credit a highly efficient performance from Nigel Patrick for holding together the disparate elements as his chief investigator works his way through London's many precincts. I like the way the screenplay portrays levels of racial dislike from both Whites and Blacks without getting too judgmental. Also, it looks like the exteriors were shot on location without any prettifying. Some of the neighborhoods in fact amount to about the last word in urban decay. Happily, director Deardon keeps things moving in unobtrusive fashion right down to the rather surprising finish. Anyway, the 90-some minutes amount to a topically compelling package that deserved its initial hoopla and still does.
    7adrianovasconcelos

    Honest film at heart let down by some over the top characterization

    SAPPHIRE (UK 1959) takes a honest and brutally realistic approach to racism: it exists in everyone, white, black or of mixed race. Sadly, that continues to be the case today even if now intermarriage is more acceptable and no longer prevents people renting accommodation, joining creches or schools, and it is less visibly frowned upon.

    Director Basil Dearden had already distinguished himself with social comment films as THE BLUE LAMP (UK 1950), in which Dirk Bogarde plays an unrepentant criminal hunted by police in postwar London, THE SQUARE RING (UK 1953), which does not pull any punches analyzing the brutality of boxing and of the people in it, and VIOLENT PLAYGROUND (UK 1958), an ongoing duel between police and an arsonist.

    Pity that six decades later racism remains a problem everywhere, and the movie industry, and life in general, continues to try to address that problem with the mendacity of political correctness.

    SAPPHIRE does well to show how limited we, the human race, are in dealing with that issue. Even policemen like Learoyd (Michael Craig) are racist at heart, so there is an institutional side to the problem, too.

    Direction is very good, although it allows characterization to go over the top in some cases; color photography is outstanding; screenplay is concise and objective; and acting reflects the high competence for which British filmmaking of the 1940s-1960s period was famous for, although I thought Yvonne Mitchell a little bit too unnecessarily hysterical in the key scene in which Sapphire's dark-skinned brother handles a child's doll.

    Nigel Patrick's acting is particularly praiseworthy. Detective Hazard (odd surname, nothing hazardous about his character or actions) is an extremely professional, restrained, and experienced policeman standing as the emotional stabilizer in a film of many social and racial angles. He is seldom critical, he just wants justice done regardless of who must pay.

    In light of mankind's above mentioned limitations, I suppose that, however incomplete, the pursuit of justice is the best, most practical solution to the continuing problem of racism in today's society, and it is to this film's credit that it highlights it at a time when the UK was beginning to receive a large number of people of other races from its former colonies.

    In some ways, SAPPHIRE is well ahead of its time, and it remains very much up to date today.
    8blanche-2

    very good

    Excellent film, directed by Basil Dearden, who directed Dead of Night and Victim, two marvelous movies.

    Sapphire takes place in the '50s - the film was released in 1959 - in England. A young woman is found dead in a park. It turns out her name is Sapphire Robbins, and she was engaged to a young man, David Harris (Paul Massie). The autopsy shows that she was three months' pregnant, and David admits that he was the father.

    When Sapphire's brother (Earl Cameron) shows up, the superintendent in charge of the case (Nigel Patrick) is surprised that he's black. Sapphire was passing. The detective wonders if the Harris family knew - - and when they knew it.

    David had won a scholarship and was to go off to school - could he be saddled with a wife and child? His father (Bernard Miles) is very protective of him, and his sister (Yvonne Mitchell) is somewhat abrasive.

    This is the story of underlying prejudice and assumptions about black people that were pervasive at the time, particularly when this film was made. Notting Hill race riots took place in 1958. These prejudices are expressed by the inspector on the case (Michael Craig), especially the myths of black sexuality.

    Dearden liked to tackle these tough subjects, which he does very well, showing it as an underlying constant. Landladies have "white" houses, black friends dropped by Sapphire when she found out she could pass seem to understand her dropping them.

    The scene at the Tulips Club is the best in the film, with pulsating bongos and wild dancing. The camera veers all over the room, showing twirling skirts, legs, black people dancing with women who appear to be white. There a man tells the superintendent no matter how white a woman is, you can tell she is actually black because she can't resist the sound of the bongos.

    Very strong acting throughout, particularly by stage actress Yvonne Mitchell. One thing that shows that Dearden knew what he was doing -- people's reaction to death. When the woman in the park discovers the body, she doesn't scream. And when David learns of the death of Sapphire, he seems shell-shocked and numb. Sapphire's brother seems very calm, finally breaking down and asking, "How could anyone do this?" All very realistic, all not over the top.

    A must see - it is available on Netflix and on Amazon instant video.
    7robert-temple-1

    Deeply shocking crime investigation thriller exposing race hatreds

    This is one of the most shocking films ever made about the true depths of colour prejudice in Britain in the 1950s, and the violent hatreds of black people harboured at that time by the white British working classes, especially in London. The film is well-scripted, and boldly directed by Basil Dearden, and it shows without flinching the true state of feeling as it was in those days (with some strong anti-white prejudice by blacks thrown in, to demonstrate that things are never only one way). What is so utterly horrifying about watching all of this now is, that it really was all true then. It is inevitable that some of the characters both white and black should resemble stereotypes, perhaps for the reason that at that time, people genuinely were stereotypes. The story concerns a police investigation of a murder of a young girl who was a student at the Royal Academy of Music (half way through the film a policeman calls it the Royal College of Music; Londoners are always confusing the two separate institutions in that way, so perhaps this script flaw merely reflects real life). Her body is found on Hampstead Heath in London, and there are no clues apart from the initial 'S' (her name is eventually discovered to be Sapphire). As a crime investigation thriller, the film is solid and extremely well done. A spectacular cameo performance is given by the black actor Robert Adams as 'Horace Big Cigar', not long before he died. The acting is all reliable and convincing. Dearden is especially good at not allowing any of the women and children to scream when discovering a body or having a horrible experience: his technique was extremely subtle, and they instead stifle screams, a scream begins to form, and then they put their own hands over their mouths in horror. When identifying a corpse, the actor behaves as one would naturally do, with numb paralysed shock, remaining silent and staring. All the ridiculous Hollywood histrionics and stock reactions of approved hysteria and screaming females are eliminated from this very British film, in which there is no place for hysteria except with one black character who panics for story reasons. Sociologists should really see this film. However, it is so incendiary that I cannot see it ever being released again or even being shown on television, at least not in Britain. In fact, some of the comments in the film may even have become 'illegal' under the harsh new race relations laws, even in a fictional context! Anyone who thinks race problems have gone away does not know human nature. Sensitivity to small differences, such as skin colour, is so firmly rooted in animal behaviour (the isolation by the herd of the black sheep, the driving away of albino animals from the pack), that race hatreds are inescapable, and can only be suppressed, never eradicated. Seeing this film reminds one of this depressing aspect of life by a blatant portrayal of it which is almost too painful to watch.
    8Peter22060

    A really intense experience.

    The real problem with television broadcasting is that the better movies of the last century are held from the viewers. SAPPHIRE could be shown as a double bill with AN INSPECTOR CALLS. There are not enough movie buffs to push some of these classics so that they can be shown to today's audiences ..which would really appreciate them.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      The success of this movie, in spite of its controversial themes, encouraged Janet Green to write Meu Passado me Condena (1961), and Basil Dearden to direct it.
    • Erros de gravação
      The ripped photo used as a clue appears in two versions from the first time it's discovered. The first version shows Sapphire laughing as she dances, with her mouth open. The second shows her smiling broadly with her jaw closed.
    • Citações

      [last lines]

      Superintendent Robert Hazard: We didn't solve anything, Phil. We just picked up the pieces.

    • Conexões
      Featured in Hollywood U.K. British Cinema in the Sixties: A Very British Picture (1993)
    • Trilhas sonoras
      Sapphire
      Music by Philip Green

      Lyrics by Sonny Miller

      Sung by Jimmy Lloyd (I)'

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    Perguntas frequentes17

    • How long is Sapphire?Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 17 de agosto de 1959 (Dinamarca)
    • País de origem
      • Reino Unido
    • Idioma
      • Inglês
    • Também conhecido como
      • Sapphire
    • Locações de filme
      • Tufnell Park, Londres, Inglaterra, Reino Unido
    • Empresa de produção
      • Artna Films Ltd.
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 400.000 (estimativa)
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 32 minutos
    • Proporção
      • 1.66 : 1

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