[go: up one dir, main page]

    Calendário de lançamento250 filmes mais bem avaliadosFilmes mais popularesPesquisar filmes por gêneroBilheteria de sucessoHorários de exibição e ingressosNotícias de filmesDestaque do cinema indiano
    O que está passando na TV e no streamingAs 250 séries mais bem avaliadasProgramas de TV mais popularesPesquisar séries por gêneroNotícias de TV
    O que assistirTrailers mais recentesOriginais do IMDbEscolhas do IMDbDestaque da IMDbGuia de entretenimento para a famíliaPodcasts do IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthPrêmios STARMeterCentral de prêmiosCentral de festivaisTodos os eventos
    Criado hojeCelebridades mais popularesNotícias de celebridades
    Central de ajudaZona do colaboradorEnquetes
Para profissionais do setor
  • Idioma
  • Totalmente suportado
  • English (United States)
    Parcialmente suportado
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista de favoritos
Fazer login
  • Totalmente suportado
  • English (United States)
    Parcialmente suportado
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usar o app
  • Elenco e equipe
  • Avaliações de usuários
  • Curiosidades
  • Perguntas frequentes
IMDbPro

O Despertar de Uma Mulher Apaixonada

Título original: The Rainbow
  • 1989
  • R
  • 1 h 53 min
AVALIAÇÃO DA IMDb
6,3/10
1,9 mil
SUA AVALIAÇÃO
O Despertar de Uma Mulher Apaixonada (1989)
A young woman deals in her own personal way with the trials of adolescence and young adulthood in early 1900s England.
Reproduzir trailer1:44
1 vídeo
32 fotos
AçãoDramaDrama de épocaRomance

Adicionar um enredo no seu idiomaA young woman deals in her own personal way with the trials of adolescence and young adulthood in early 1900s England.A young woman deals in her own personal way with the trials of adolescence and young adulthood in early 1900s England.A young woman deals in her own personal way with the trials of adolescence and young adulthood in early 1900s England.

  • Direção
    • Ken Russell
  • Roteiristas
    • Ken Russell
    • Vivian Russell
    • D.H. Lawrence
  • Artistas
    • Sammi Davis
    • Amanda Donohoe
    • Paul McGann
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,3/10
    1,9 mil
    SUA AVALIAÇÃO
    • Direção
      • Ken Russell
    • Roteiristas
      • Ken Russell
      • Vivian Russell
      • D.H. Lawrence
    • Artistas
      • Sammi Davis
      • Amanda Donohoe
      • Paul McGann
    • 17Avaliações de usuários
    • 21Avaliações da crítica
  • Veja as informações de produção no IMDbPro
    • Prêmios
      • 1 indicação no total

    Vídeos1

    Trailer
    Trailer 1:44
    Trailer

    Fotos32

    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    Ver pôster
    + 24
    Ver pôster

    Elenco principal26

    Editar
    Sammi Davis
    Sammi Davis
    • Ursula Brangwen
    Amanda Donohoe
    Amanda Donohoe
    • Winifred Inger
    Paul McGann
    Paul McGann
    • Anton Skrebensky
    Christopher Gable
    Christopher Gable
    • Will Brangwen
    David Hemmings
    David Hemmings
    • Uncle Henry
    Glenda Jackson
    Glenda Jackson
    • Anna Brangwen
    Dudley Sutton
    Dudley Sutton
    • MacAllister
    Jim Carter
    Jim Carter
    • Mr. Harby
    Judith Paris
    Judith Paris
    • Miss Harby
    Kenneth Colley
    Kenneth Colley
    • Mr. Brunt
    • (as Ken Colley)
    Glenda McKay
    • Gudrun Brangwen
    Mark Owen
    • Jim Richards
    Ralph Nossek
    • Vicar
    Nicola Stephenson
    Nicola Stephenson
    • Ethel
    Molly Russell
    • Molly Brangwen
    Alan Edmondson
    • Billy Brangwen
    Rupert Russell
    Rupert Russell
    • Rupert Brangwen
    Richard Platt
    Richard Platt
    • Chauffeur
    • Direção
      • Ken Russell
    • Roteiristas
      • Ken Russell
      • Vivian Russell
      • D.H. Lawrence
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários17

    6,31.9K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Avaliações em destaque

    6Bunuel1976

    THE RAINBOW (Ken Russell, 1989) **1/2

    Apparently, the late Ken Russell's dictum was "When in a crisis, turn to D.H. Lawrence": in 1969 he made WOMEN IN LOVE after the critical panning of the Harry Palmer espionage saga BILLION DOLLAR BRAIN (1967), which almost killed his career (to quote the eminent British film critic Leslie Halliwell); that film, which landed him a Best Director nod at the Oscars and awarded the Best Actress prize to the up-and-coming Glenda Jackson led to the full-flowering of his movie career. However, the 1980s would see a slackening in the quality of his work, while taking his trademark vulgarity to new depths in such efforts as CRIMES OF PASSION (1984), Gothic (1986), SALOME'S LAST DANCE and THE LAIR OF THE WHITE WORM (both 1988); so it came to pass that 20 years after his first Lawrence adaptation, Russell returned to the safe prospect of a second (though he had already tried, and failed, to raise the money for it around the time of CRIMES OF PASSION) – ironically, "The Rainbow" was actually the prequel to "Women In Love"(!), and even odder is the fact that the previous year a TV mini-series had been produced based on that very source (directed by seasoned adapter Stuart Burge)! For the record, the director would return once more to Lawrence territory in 1993 with a perhaps inevitable adaptation – in the format of a TV min-series – of the author's most notorious property, "Lady Chatterley's Lover", retitled simply LADY CHATTERLEY...but, although I do own a copy of it in my collection, I decided to bypass it for the present since I also have the earlier 1955 and 1981 film versions of the same sources likewise lying in my unwatched pile!

    At least, Russell came to his old battleground, as it were, prepared with several cast and crew members of the earlier film: actors Glenda Jackson (as the mother of her own previous character!) and Christopher Gable (here as the heroine's cheerful father rather than her sister's fiancé!), cinematographer Billy Williams and production designer Luciana Arrighi; besides, he recruited other actors who had stood him in good stead in the past, such as Dudley Sutton, Judith Paris and Kenneth Colley. For the leads, then, he depended upon a couple of new alumni within his oeuvre, Sammi Davis and Amanda Donohoe (both from THE LAIR OF THE WHITE WORM), and a hot property of the time i.e. Paul McGann (co-star of the cult movie WITHNAIL AND I {1987}); another notable but surprising presence is that of David Hemmings (who was the first choice for the part yet, when the producers balked, Russell audaciously offered it to none other than Elton John but he proved predictably 'difficult' and, then, after Alan Bates – as it happens, one of the leads in WOMEN IN LOVE itself – chose to pass, the role found itself yet again in Hemmings' lap)!

    Preceded by some horrid computer-generated titles, the opening scenes feel awkward, as if the director was uncertain of his ability to pull it off, and the narrative loses steam during its last third but, to quote popular American reviewer Leonard Maltin, there are "many beautiful and striking moments" along the way. Even if Davis tries hard, her all-too-modern looks and acting style work against her and she only captures the essence of the central role (played in the sequel adaptation by Jennie Linden rather than Jackson, whose character from the 1969 film is here reduced to a wimpy, jealous sort) in fits and starts! The film's chief bright spot, in fact, is Donohoe (though she too grows stale eventually) as the sports instructress at Davis' school, a free spirit who influences and inspires the younger woman (towards achieving her own freedom from the shackles of convention); perhaps as a means of matching WOMEN IN LOVE's notorious nude wrestling scene, their relationship often gratuitously resorts to nudity but is nonetheless sensitively portrayed (indeed, Russell demonstrates surprising restraint here)! While Davis is later involved with McGann in various couplings, including one by a waterfall that would grace the movie's poster, and Donohoe herself 'falls in with the crowd' by marrying wealthy collier Hemmings (the heroine's uncle), it is the two women's scenes together that stick in the mind...even if, in true Russell style, Davis's confused feelings are expressed in a dream in which she is pursued by both her lovers on the plains (with all three of them stark naked)! The latter romance leaves Davis pregnant but she miscarries the child following a horse scare she receives during a rain-drenched walk in the countryside. Indeed, one of the film's more interesting aspects is the way it introduces social commentary into the mix with Davis' sexual/artistic/vocational/philanthropic awakening is, for all its eventual disappointments, seen as being diametrically opposed to the accepted fashion of the times she lived in: her nude posing for painter Sutton here ends in disaster, she is disrespected by her pupils and lusted after by her superior after applying for a job as a schoolteacher; she stamps all over Hemmings' orchard when she witnesses the cruelty with which the roaming farm animals are treated by his poachers, etc.

    All in all, the end result (set to a notable Carl Davis score) did not disgrace the memory of the 'original' but neither did it provide the lease of life to his career that the director had hoped for; indeed, of the 23 subsequent projects that carried his name, only 2 were made for the big-screen and the second (2002's by-all-accounts dreadful Poe pastiche THE FALL OF THE LOUSE OF USHER) barely got released at that!
    6henry8-3

    The Rainbow

    Based on DH Lawrence's novel, it centres on Ursula (Sammi Davis) a young girl, used to a perfectly decent life in early 20th Century England. A staunch feminist living in a man's world, she grows intellectually and sexually into womanhood determining despite bi sexual romances and ultimately a challenging job as a teacher that she will remain her own woman.

    Remarkably calm and engaging piece of work from maverick director Ken Russell, that nicely follows the aspirations of a young girl through to womanhood, including her battles with bosses, her father and partners. Davis is good in the lead but the film's strengths is also maintained by a very strong supporting cast including Russell stalwart's Glenda Jackson and Christopher Gable.

    Beautiful score by Carl Davis.
    7TheLittleSongbird

    While it is no Women in Love, The Rainbow is a better film than it is given credit for

    Ken Russell was an interesting and very unique director with a style unlike any other. This said, he was always and still is an acquired taste with a lot of his later work containing excesses that will fascinate some and repulse others. The Rainbow is not Russell at his best and it is not in the same ball park as the brilliant Women in Love, but it is still well worth watching.

    The Rainbow does get very rambling sometimes- in all fairness it's true for the book as well- with a couple of overly-talky parts and instances of lagging pacing, while the first third is on occasions awkwardly staged and the ending is rather abrupt. Russell gives some of his most controlled and restrained directing here, which is a plus, and like he did with Women in Love twenty years earlier he does show a respect for the book and D.H. Lawrence's writing while not trivialising the meaning. Compared to the book and for D.H. Lawrence, while Russell is to be admired for his restraint, the film can feel a little tame. What made Women in Love so brilliant was not just its respect for the source material but also the attention to characterisation and mood and the mood and emotional impact for each scene, The Rainbow has the themes and the characterisation but it does at times feel a little tame- Women in Love did a much better job showing what made Lawrence's work controversial and daring for his time- and not as powerful as it could have been.

    Coming onto the many good things about The Rainbow, it is a very well-made film with gorgeous countryside scenery and luscious photography that positively soars. Carl Meyer's score is heartfelt, hypnotic and unashamedly sentimental(in a good way), cannot begin to describe how much the theme music resonates with me, and the use of the likes of Bach and Strauss is equally fitting. The dialogue mostly provokes a lot of thought and flows naturally, and while some of the storytelling is a little bland and tame with a bit of rambling, it still maintains interest and contains some nice dark and passionate(the love scenes) moments and makes an effort to give depth and personality to the characters. The cast are excellent, Sammi Davis does hold her own against her more experienced supporting cast and brings a lot of spirit and feistiness to Ursula if a little too eager to please at times. Amanda Donohoe brings sultry sexiness to her role, Christopher Gable brings authoritative dignity to William and Paul McGann brings charm and intensity. Special mention also should go to Glenda Jackson, her role is a relatively small one but Jackson is so poignant in it the role is a very memorable one at the same time.

    Overall, better than it's given credit for and a decent film, but missing something and falls short compared to Women in Love(if there is a film that shows Russell at his best it's that one). 7/10 Bethany Cox
    8miss_lady_ice-853-608700

    "But I want some other kind of life..."

    Despite the film's many flaws- it is loosely based on only a section of DH Lawrence's Northern saga, the lead actress is fairly wooden and the style of the film screams eighties cheese- I think it's a great little film. It's one of those few films that not simply inspire you to follow your dreams but actually insists that you do so, whether those dreams come to fruition or not.

    It's set in a mining town in the 1910's. Ursula Brangwen (Sammi Davis- no, not THAT one) is a rebellious teenager and persistent dreamer, constantly striving for 'the rainbow' that symbolises fulfilment. She pursues it in two different ways; one through trying to gain work as a schoolteacher, thereby becoming financially independent, and because this is DH Lawrence directed by Ken Russell, sexual fulfilment.

    Though she shares a naughty kiss in the local church with family friend and dashing soldier Anton Skrebensky (Paul McGann), it is Ursula's female swimming instructor Winifred Inger (Amanda Donohoe) that gives her her first sexual experience. Ursula is devoted to her but Inger's experience outweighs Ursula's innocence. There is nudity here but no big love scene. It's actually fairly restrained for Russell, and for once it actually feels appropriate for the film.

    Ursula moves back to sexy soldier Skrebensky (try saying that out loud) and experiences true Freudian bliss against a tree with a gushing waterfall behind it. Now that's more like Russell, isn't it? It's not pornographic but it's a bit raunchier than Colin Firth's wet shirt. Perhaps not the best viewing for teatime with the family. Still, Paul McGann is a suitable substitute for eye candy; it's very much a film for the women.

    The love scenes are shot in an interesting way. Ursula never seems to fully connect as part of the couple- or if she does, the camera doesn't care. The focus is on Ursula's reactions so Russell uses techniques like jump cuts- although this makes one love scene unintentionally hilarious.

    Acting-wise, I'm glad that they didn't cast a star. Yes, Davis was not going to be the next Elizabeth Taylor but her inexperience works perfectly for the film. Ursula has not fully worked out her character yet but only that she has a drive to do something different with her life and make more of herself. Because the film is very condensed, the actors have less to work with, which is why Donohoe's character comes off more as a type. Still, I think she conveys an interesting image of a very masculine woman. McGann is a brilliant actor and despite being the obvious eye candy (indeed,a shot of Skrebensky and Ursula by the waterfall graces the film's poster), he manages to show that Skrebensky is also a slave to convention. As Ursula tells him, "I'd rather be swept off my feet by a half-naked robber than a soldier defending my honour". Sassy! Yes, it's not perfect but I think that it's well worth a watch. This is period drama that has genuine relevance to modern life and modern concerns, and is a great coming-of-age story with a brave and life-inspiring message.
    6mjneu59

    Ken Russell, on a tighter leash than usual

    Director Ken Russell tones down his typically flamboyant style (somewhat) for this adaptation of the D.H. Lawrence novel, celebrating yet another free spirit on the verge of womanhood, yearning for independence within the moral and emotional straightjacket of Victorian England. True to the spirit of its source the script presents lots of earnest dialogue discussing the nature of men and women, sandwiched between scenes of elemental passions unleashed and a little cavorting naked in Arcadian splendor. Some of it is fresh and exciting, other parts are strangely anachronistic, and the best moments occur after the heroine leaves home to seek her fortune as a schoolteacher in the urban slums of London's Industrial Revolution. The young and talented Sammi Davis isn't quite ready to carry an entire film by herself, but a fine supporting cast capably shoulders much of the dramatic burden. Russell's atypically circumspect direction slips only twice: when Davis surrenders her virginity to soldier boy Paul McGann, and again when she finds herself suddenly pursued on a country road by (symbolically) a herd of stampeding horses.

    Mais itens semelhantes

    A Última Dança de Salomé
    6,4
    A Última Dança de Salomé
    Mulheres Apaixonadas
    7,1
    Mulheres Apaixonadas
    A Boy Named Death
    9,8
    A Boy Named Death
    Closure
    9,5
    Closure
    Delírio de Amor
    7,2
    Delírio de Amor
    Mission: Guerrero
    9,9
    Mission: Guerrero
    Little Luis
    9,8
    Little Luis
    Death's Sonata
    8,3
    Death's Sonata
    Bridegroom
    8,0
    Bridegroom
    O Messias Selvagem
    6,9
    O Messias Selvagem
    12 Anos e Pouca Ilusão
    7,4
    12 Anos e Pouca Ilusão
    Tráfico, Bem-vindo à América
    7,3
    Tráfico, Bem-vindo à América

    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      According to David Hemmings' autobiography, 'Blow Up and Other Exaggerations', he was first choice for the role of Uncle Henry but Ken Russell had to renege on the offer because the US film distributors did not want him. Bizarrely, Ken then cast Elton John in the role, before the singer got cold feet over wigs, costume and arduous acting lessons and asked to leave the project. The next choice was Alan Bates (who had played Birkin in the sequel, Mulheres Apaixonadas (1969)) but he declined and the role went back to Hemmings.
    • Conexões
      Featured in A British Picture (1989)
    • Trilhas sonoras
      Sheep May Safely Graze
      (uncredited)

      Music by Johann Sebastian Bach

    Principais escolhas

    Faça login para avaliar e ver a lista de recomendações personalizadas
    Fazer login

    Perguntas frequentes

    • How long is The Rainbow?
      Fornecido pela Alexa

    Detalhes

    Editar
    • Data de lançamento
      • 3 de novembro de 1989 (Reino Unido)
    • País de origem
      • Reino Unido
    • Idioma
      • Inglês
    • Também conhecido como
      • The Rainbow
    • Locações de filme
      • Borrowdale, Lake District, Cumbria, Inglaterra, Reino Unido
    • Empresa de produção
      • Vestron Pictures
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 11.987.578 (estimativa)
    • Faturamento bruto nos EUA e Canadá
      • US$ 444.055
    • Faturamento bruto mundial
      • US$ 444.055
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 53 minutos
    • Mixagem de som
      • Dolby
    • Proporção
      • 1.66 : 1

    Contribua para esta página

    Sugerir uma alteração ou adicionar conteúdo ausente
    O Despertar de Uma Mulher Apaixonada (1989)
    Principal brecha
    What is the French language plot outline for O Despertar de Uma Mulher Apaixonada (1989)?
    Responda
    • Veja mais brechas
    • Saiba mais sobre como contribuir
    Editar página

    Explore mais

    Vistos recentemente

    Ative os cookies do navegador para usar este recurso. Saiba mais.
    Obtenha o aplicativo IMDb
    Faça login para obter mais acessoFaça login para obter mais acesso
    Siga o IMDb nas redes sociais
    Obtenha o aplicativo IMDb
    Para Android e iOS
    Obtenha o aplicativo IMDb
    • Ajuda
    • Índice do site
    • IMDbPro
    • Box Office Mojo
    • Dados da licença do IMDb
    • Sala de imprensa
    • Anúncios
    • Empregos
    • Condições de uso
    • Política de privacidade
    • Your Ads Privacy Choices
    IMDb, uma empresa da Amazon

    © 1990-2025 by IMDb.com, Inc.