Black Girl

1972
PG
1 h 37 min

AVALIAÇÃO DA IMDb

6,8/10

671

SUA AVALIAÇÃO

An aspiring dancer and her wicked sisters resent their mother's love for a foster daughter.

Reproduzir trailer2:00

1 vídeo

23 fotos

Drama

Uma dançarina em ascensão e suas irmãs cruéis ressentem-se do amor de sua mãe por uma filha adotiva.Uma dançarina em ascensão e suas irmãs cruéis ressentem-se do amor de sua mãe por uma filha adotiva.Uma dançarina em ascensão e suas irmãs cruéis ressentem-se do amor de sua mãe por uma filha adotiva.

Veja as informações de produção no IMDbPro

AVALIAÇÃO DA IMDb

6,8/10

671

SUA AVALIAÇÃO

Veja as informações de produção no IMDbPro

Vídeos1

Trailer 2:00

Trailer

Fotos23

+ 19

Avaliações de usuários16

6,8671

Avaliações em destaque

5cdbruce224

You have to live it to understand

This movie is one in which deserves a 2nd look (maybe a 3rd). You have to REALLY know what it's like to grow up black back in the 70's in a house w/ siblings who's father is different than your own and a mother who just does not get it until you are out the door (if then). The portrayal of many of the characters was REAL. While not in the brightest of light, they all have quite a bit of growing to do. At least a some growth was accomplished in this movie. The treatment of the child with a different father was very common. The mother's ignorance and anger at how her life turned out was truthful in every way. The father who pops in town flashing a new car and very new money was common. The siblings running to him to get what little he would provide was also common. Nowadays, children could very much care less. I doubt if he'd get the same reception in 2006. I too don't understand while Brock received headline status, other than his name. Peggy Pettit was the real star in this movie. I am proud to have found that she is doing wonderful work with her talent these days!

6unicornsxing

kind of a twisted Cinderella story about a foster girl and her wicked step-sisters that are jealous of her achievements and their 'mammy's' love for her.

i caught this movie on showcase awhile ago and absolutely loved it! i thought the relationship between the siblings was fairly realistic, especially considering their situation, and it really showed how jealousy brings the worst out of people no matter how good a person the victim may be. it also gives you a pretty good feel of what it was like to be a black girl living in the slums of America back in the 70's. anyway, it wasn't amazing, but it appealed to me mainly because i enjoyed that time period and i loved the way they spoke, the slang and the language sounded really cool. and billy jean is a really good dancer. there is a fight scene as well that was really intense. "girl you better turn her loose!" is this ten lines yet?

prose20770

Awesome

This was the first time I realized Ossie Davis had directed movies!! This is one of the best, angst-filled, coming of age stories I have ever seen. It should rank right up there with "A Member of the Wedding" and "To Kill A Mockingbird" as far as young girls seeking answers to life and trying to find their way. I miss Ossie Davis. He was an amazing talent to have been able to coalesce the right mood and tone for this movie from the perspective of a young girl. The cast was one of the most perfect I've seen since "A Raisin in the Sun" (Sidney Poitier version) and definitely, each actor seemed to squeeze the blood out of their respective roles. What perfection!

6Uriah43

When Misery Loves Company

This film essentially revolves around a woman by the name of "Mama Rose" (Louise Stubbs) who has three teenage daughters named "Norma" (Gloria Edwards), "Ruth Ann" (Rhetta Greene), "Billie Jean" (Peggy Pettit). The first two were fathered by a man named "Earl" (Brock Peters) who Mama Rose kicked out of the house because he cheated on her. Billie Jean, on the other hand, had a different father who apparently ran off when she was younger and as a result Mama Rose has had to raise all of her children with her own mother who everyone calls "Mu' Dear" (Claudia McNeil). Also living in this small house is Mu' Dear's elderly male companion by the name of "Herbert" (Kent Martin) who pays half the rent. It should also be noted that Mama Rose also has a foster daughter named "Netta" (Leslie Uggams) who she took in when she was quite young and who is currently in college trying to become a teacher. In that regard, both Norma and Ruth Ann have acquired a great dislike for her because she is trying to make something of herself. Likewise, neither of these two young women like their half-sister Billie Jean either because she is trying to pursue her own dream of becoming a dancer--while they feel destined for a life of poverty and hopelessness. As a result, both Norma and Ruth Ann do everything they can to make life miserable for Billie Jean and diminish Mama Rose's love for Netta. Now, rather than reveal any more, I will just say that this turned out to be a deep and interesting film which sheds a glimmer of light upon the struggles of ordinary people within the black community trying to make it in urban America in the early 70's. Admittedly, there were some scenes which seemed a bit too gloomy at times and the film is rather dated as well. Even so, I thought it was worth the time spent and I have rated it accordingly. Slightly above average.

7JohnSeal

Well acted adaptation of stage play

Black Girl, originally a play by Texas born writer J. E. Franklin, was adapted for the screen by Franklin and directed by the great Ossie Davis. The result is a stagey but effective extended family drama, with three sisters (Gloria Edwards, Loretta Greene, and Peggy Pettit) plotting against the successful adopted fourth daughter (Leslie Uggams). Brock Peters is top-billed as the father of the girls, but his performance is little more than a glorified cameo, and it's up to the women to carry the show. Most effective are Greene, as the pregnant middle daughter, Louise Stubbs as the mother, and Claudia McNeill as the grandmother and matriarch of the family. Less effective is Uggams, whose droopy eyed look simply doesn't evince much sympathy, and Edwards, who is over the top at times as the eldest and meanest sibling. There's a brief non-speaking appearance by Mrs. Ossie Davis, Ruby Dee, and a sterling performance by an uncredited gentlemen who plays Mr. Herbert, a boarder who has shacked up with McNeill's character. This film is all about the characters, and there are some meaty scenes, especially when Uggams returns home from college unannounced. The film was clearly a labour of love, and all things considered, is a simple but solid effort, quite moving at times and generally effective.

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Decisão Amarga

Curiosidades
This is Leslie Uggams's first feature film.

Erros de gravação
When Mama Rose takes her "change" from the collection plate, she drops bills on the floor. Even though her daughter, possibly just by human instinct, points to them, she does not pick them up.

Citações
Mama Rose: [Billie Jean is sulking in her bedroom. There is a knock at the door] Open this door, girl!
[Billie Jean opens the door to see Mama Rose carrying groceries across the room to the kitchen]
Mama Rose: Billie Jean, ain't I tell you to keep this door open? Now open that other door!
Billie Jean: [opening Kitchen door to let Mama Rose through to set bags on the counter] Oh Mama, sometimes I be in here undressin' and Mr. Herbert just walk in here without even knockin'.
Mama Rose: [putting groceries away throughout] You don't be undressin' all the time. You keep these doors locked, Billie Jean. And who you think you're talkin' to? Besides, Mr. Herbert done seen plenty kinds of whatever you tryin' to hide.
Billie Jean: If Mr. Herbert was married to Mu' Dear, that would be different, Mama. But he ain't no kin to nobody in this house.
Mama Rose: Now that ain't none of your business, Billie Jean. As far as you concerned, Mr. Herbert pay half the rent on this house and he's a roomer here.
Billie Jean: If he a roomer, how come he ain't got no room to hisself?
Mama Rose: Now that ain't none of your business, Billie Jean, who my mama has in her room. Now, you keep your trap shut about it, or get out and get a place of your own.
Billie Jean: You're mighty funny when Netta's momma went crazy and she ain't have no place to stay, you opened your big heart and welcomed her in this house. How come I got to get out...
Mama Rose: [Facing her] *Because* Netta's got sense enough to stay in school! And get somethin' in her head instead of her tail!
Billie Jean: [At this, Billie Jean walks back into her room where she sees two kids at the door sticking their tongues at her] You ugly bastards!
[She chases them out and slams the door]
Mama Rose: [Running in the room and grabbing Billie Jean] Girl! Do you want me to get a stick and beat all the black off of you? Now you must have forgotten what a good beatin' feel like. Now you better *snap* out of whatever it is that's on your mind. You hear me?
[Billie looks away for a second, then Mama Rose drags her to the bed and sits her down]
Mama Rose: Don't you roll your eyes at me. Now, this ain't Mu' Dear you playin' with. You understand me?
Billie Jean: Yes ma'am Momma, I wasn't rollin' my eyes at you.
Mama Rose: And Mu' Dear better not come to me no more and tell me you sassed her or Herbert or it's gonna be woe be onto you.
Ruth Ann: [coming in mad] Billie Jean, what did you call my baby?
Billie Jean: He was stickin' his tongue out at me.
Ruth Ann: Well, that don't give you no right to call him no bastard! A bastard is a child that ain't got no Daddy and my child got a Daddy!
[she walks away]
Mama Rose: She's just smellin' her piss, that's all. Now you're gettin' your tail out of here tomorrow and findin' yourself a job.
[Rose starts to go back to the kitchen]
Norma: [Standing at the door] She already got a job, Mama.
Mama Rose: Already got one? Where?
Norma: At the Groovy Bar and Grill down on Second and Ward.
Mama Rose: At the Groovy Bar and Grill? Doin' what?
Norma: Doin' that ballet dancin'.
Billie Jean: It ain't no ballet dancin'.
Norma: P-A-L-L-E-T is pallet, ain't it? Well, B-A-L-L-E-T gots to be ballet.
Billie Jean: It ain't even that kind of dancin'.