[go: up one dir, main page]

    Release calendarTop 250 moviesMost popular moviesBrowse movies by genreTop box officeShowtimes & ticketsMovie newsIndia movie spotlight
    What's on TV & streamingTop 250 TV showsMost popular TV showsBrowse TV shows by genreTV news
    What to watchLatest trailersIMDb OriginalsIMDb PicksIMDb SpotlightFamily entertainment guideIMDb Podcasts
    OscarsEmmysSan Diego Comic-ConSummer Watch GuideToronto Int'l Film FestivalSTARmeter AwardsAwards CentralFestival CentralAll events
    Born todayMost popular celebsCelebrity news
    Help centerContributor zonePolls
For industry professionals
  • Language
  • Fully supported
  • English (United States)
    Partially supported
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Watchlist
Sign in
  • Fully supported
  • English (United States)
    Partially supported
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Use app
  • Cast & crew
  • User reviews
  • Trivia
  • FAQ
IMDbPro

Moments perdus

Original title: The Lost Moment
  • 1947
  • Approved
  • 1h 29m
IMDb RATING
6.8/10
1.5K
YOUR RATING
Moments perdus (1947)
Film NoirDramaRomanceThriller

A publisher insinuates himself into the mouldering mansion of the centenarian lover of a renowned but long-dead poet to find his lost love letters.A publisher insinuates himself into the mouldering mansion of the centenarian lover of a renowned but long-dead poet to find his lost love letters.A publisher insinuates himself into the mouldering mansion of the centenarian lover of a renowned but long-dead poet to find his lost love letters.

  • Director
    • Martin Gabel
  • Writers
    • Leonardo Bercovici
    • Henry James
  • Stars
    • Robert Cummings
    • Susan Hayward
    • Agnes Moorehead
  • See production info at IMDbPro
  • IMDb RATING
    6.8/10
    1.5K
    YOUR RATING
    • Director
      • Martin Gabel
    • Writers
      • Leonardo Bercovici
      • Henry James
    • Stars
      • Robert Cummings
      • Susan Hayward
      • Agnes Moorehead
    • 39User reviews
    • 20Critic reviews
  • See production info at IMDbPro
  • See production info at IMDbPro
  • Photos9

    View Poster
    View Poster
    View Poster
    View Poster
    View Poster
    View Poster
    View Poster
    View Poster

    Top cast27

    Edit
    Robert Cummings
    Robert Cummings
    • Lewis Venable
    Susan Hayward
    Susan Hayward
    • Tina Bordereau
    Agnes Moorehead
    Agnes Moorehead
    • Juliana Borderau
    Joan Lorring
    Joan Lorring
    • Amelia
    Eduardo Ciannelli
    Eduardo Ciannelli
    • Father Rinaldo
    John Archer
    John Archer
    • Charles
    Frank Puglia
    Frank Puglia
    • Pietro
    Minerva Urecal
    Minerva Urecal
    • Maria
    William Edmunds
    • Vittorio
    Ed Agresti
    • Restaurant Patron
    • (uncredited)
    Eugene Borden
    • Alberto - Proprietor
    • (uncredited)
    Gino Corrado
    Gino Corrado
    • Restaurant Patron
    • (uncredited)
    Peter Cusanelli
    • Fruit Vendor
    • (uncredited)
    Christian Drake
    Christian Drake
    • Young Man
    • (uncredited)
    Lloyd Ford
    • Restaurant Patron
    • (uncredited)
    Martin Garralaga
    Martin Garralaga
    • Waiter
    • (uncredited)
    Duke Green
    • Waiter
    • (uncredited)
    Micholas Khadarik
    • Singer
    • (uncredited)
    • Director
      • Martin Gabel
    • Writers
      • Leonardo Bercovici
      • Henry James
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews39

    6.81.4K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Featured reviews

    8AlsExGal

    I'd never seen anything quite like it - at first anyways

    Very loosely based on "The Aspern Papers" by Henry James, it involves a publisher, Lewis Venable (Robert Cummings), who is obsessed with getting control of and publishing the love letters of poet Jeffrey Ashton, who disappeared in Venice decades ago. The love letters had allegedly been written to Juliana Bordereau, still living in Venice, now very elderly to the point that she cannot move from her chair and claims she never sleeps. Having written to Juliana, she claims that the letters do not exist, but Lewis is not satisfied. So he comes to the Bordereau household under a false name claiming to be a novelist who wants to write his next work in their home because of its atmosphere. The Bordereaus exact a steep price for the rent, but Lewis agrees to it. It seems like this would tip off the Bordereaus to possible ulterior motives, but I digress.

    The house is largely dark and very uninviting, as is Juliana's niece, Tina (Susan Hayward), who runs the household with an iron fist and is too young to be an actual niece of Juliana's since Tina is only in her 20s. The rudeness and even latent anger of Tina, the weird piano music that plays at night from an unknown location, the haunting score, and even the fact that Tina, when signing the lease agreement with Lewis, signs for both herself and Juliana simultaneously, and does so with completely different handwriting, really stirred my interest. But then the explanations arrive and it is all very ordinary.

    Still it is very atmospheric, and it was a new experience to see Joan Loring, often playing cocky cockneys, give a performance as a housekeeper in perpetual terror of Tina.
    8bmacv

    Haunting integrity of mood salvages noirish version of Henry James' Aspern Papers

    A fine mist of the gothic lingers over The Lost Moment, as it would do in the following year's A Portrait of Jennie – a mist that blurs the boundaries between past and present, between the quick and the dead. As it happens, Leonardo Bercovici adapted the screenplays for both movies, for The Lost Moment drawing (rather distantly) from Henry James' The Aspern Papers. And as in A Portrait of Jennie, his script made a haunting plunge into nineteenth-century romanticism, a rhapsody on obsession and loss.

    The Lost Moment takes place (as all nineteenth-century rhapsodies should) in Venice, voluptuous and miasmatic. Arriving there incognito is a young New Yorker engaged in the literary trade (Robert Cummings), on the trail of love letters written by a poet who, after mysteriously disappearing decades before, has become a legend. Cummings knows that publishing the letters will make his name and his fortune, but he must be cagey about his purposes. The poet's mistress Juliana (Agnes Moorehead), is now a recluse of 105 living in reduced circumstances. Posing as a writer of means wanting to finish his novel, Cummings arranges to take rooms in her gloomy old palazzo.

    Manderley was more inviting. The Mrs. Danvers of the piece proves to be Susan Hayward, the recluse's niece, grand-niece or even more distant kin. Draped in black with hair wrenched back into a bun, she dutifully carries out her aunt's wishes but makes it plain that Cummings' welcome will be chilly. The trappings are old-dark-house as well, with a servant girl who wanders the halls at night when she's not howling and whimpering, presumably from beatings by Hayward. Eventually Cummings meets the enfeebled Moorehead, whose dotage has not dimmed her mind or dulled her relish for the crafty games she plays; only she can lead him to the letters and shed light on the fate of their author. Events even stranger take place: At night, lured by ghostly piano music, Cummings finds Hayward, radiant in white, her tresses loosed, convinced that she is Juliana and he her poet-lover; as he phrases it, she's `walking dead among the living and living among the dead.' The claustrophobic menage-a-trois takes yet another Jamesian turning....

    The Lost Moment is the sole directorial effort by Martin Gabel, a character actor who was married to Arlene Francis. Due either to his inexperience or holes in the script, some strands of the story lead nowhere, like that of the servant girl. Another concerns John Archer, whose aid Cummings enlists though he neither likes nor trusts him; his motives remain murky, and ultimately his sub-plot just fizzles out. Cummings proves another drawback. Always a weak actor, he sometimes (Kings Row, The Chase) rose to serviceable, and does here. Moorehead, buried under old-crone makeup and furlongs of black lace, is barely recognizable by visage or even by voice. Hayward's the surprise, negotiating the shifts from stern spinster to distraught damsel with grace and conviction.

    Yet Gabel brings it off. Slow and resolutely low-key until it nears its finish, The Lost Moment stays compelling throughout, a literal-minded version of James' story that manages to maintain an languorous integrity all its own.
    didi-5

    sweet little movie

    This turned up on tv and, having recently seen another James adaptation, The Innocents, I thought I'd take a look. This is quite a sweet little film, despite its sinister content and ghostly images of Venice. Cummings, Hayward and Moorehead are all excellent. "Venice" looks as good as the real thing, and the film has that watchable quality which sits with the very best of the 40s. One I'll certainly go back to.
    dougdoepke

    Vintage Hollywood

    No need to detail the plot since others have done it better than I can.

    Once again I'm reminded that Susan Hayward was one of Hollywood's finest actresses despite her glamorous good looks. Here she does triple duty while under the spell of an ossified aunt (an unrecognizable Moorehead) and, of course, a darkly haunted mansion. One minute she's severely repressed Tina; the next she's a deluded but happy Tina; and finally she's a liberated Tina, who's happily her true self. The versatile actress manages all three persuasively, though repressed Tina in her severe hair bun almost had me under the couch.

    If Tina's having trouble with her identity, so's Venable (Cummings) who's at the mansion under false pretenses. But once he's scoped out a flowing-haired Tina, he's having trouble deciding whether he's really a sneaky publisher on a lucrative mission or just another hormonally driven ankle-chaser. Sunny actor Cummings may seem an odd choice for roaming dark mansions, still he low-keys throughout, allowing the story's Gothic merits to remain uppermost.

    And what great atmosphere the staging produces. Sure, events never leave the soundstage, yet that move allows full artistic control of visual effects, which are as much a movie presence here as the performers themselves. And, oh yes, mustn't overlook poor Joan Loring as the repressed servant Amelia. Hers is a movingly soulful performance that at times is almost tearful. Too bad her character- track just sort of vanishes to no conclusion. And that's a downside in the script, as John Archer's rather villainous character is also abruptly abandoned for no apparent purpose. It may be that the screenplay tried to adapt too much of the Henry James novel and ended up cutting some corners

    All in all, this is vintage Hollywood hitting on at least seven cylinders despite somewhat derivative material. And a lot of that success I think is owed to outstanding producer Walter Wanger, a position in the production chain that's too often overlooked.
    7Tera-Jones

    Worth A Watch

    'The Lost Moment' is worth watching - not too bad of a film. It's a romantic-drama (with a bit of a mystery and with a dash of thriller). I was hoping for a bit more with the ending I guess because I was left with a disappointed feeling at the end of the film.

    Lewis Venable (Robert Cummings) is a publisher and he is after the love letters of an early-19th-century poet, Jeffrey Ashton, to his beloved Juliana Borderau (Agnes Moorehead). Lewis pretends to be a writer and rents a room from Juliana Borderau in hopes to gain the love letters. Juliana has a niece named Tina Bordereau (Susan Hayward). Tina has a split-personality: her real self, Tina, and that of her aunt Juliana. Tina thinks she is her aunt Juliana from time to time. Lewis finds himself in a mystery surround Juliana, Tina, and the love letters of Jeffrey Ashton.

    I enjoyed the film - I was just disappointed with the ending because we never got a real explanation about Tina - an explanation for the split in her personality.

    7/10

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Henry James based the story on an anecdote he had heard when he was in Florence, Italy, in 1879. Claire Clairmont, the half-sister of Percy Bysshe Shelley's wife Mary Shelley and the mother of Lord Byron's daughter Allegra, was still alive and related how an unscrupulous Shelley devotee had posed as a lodger in order to find any unpublished papers. After the aged Claire died, her niece offered the papers to him, but at a price.
    • Goofs
      When Lewis rescues Juliana from the fire, Juliana's stunt double can be seen grabbing onto Lewis and helping him carry 'her' out.
    • Quotes

      Lewis Venable: In that fearfully incredible moment I knew I had plunged off a precipice into the past. That here was Juliana beyond belief, beautiful, alluring, alive. How strange this was, this Tina, who walked dead among the living and living among the dead, filling me with a nameless fear! I had a sudden impulse to turn and leave, and then I remembered the letters.

    • Connections
      Referenced in Myra Breckinridge (1970)
    • Soundtracks
      Fenesta che lucive
      (uncredited)

      Music by William Cottrau (or Vincenzo Bellini)

      Sung by Enrico Caruso

      In love scene between Lewis and Tina

    Top picks

    Sign in to rate and Watchlist for personalized recommendations
    Sign in

    FAQ15

    • How long is The Lost Moment?Powered by Alexa

    Details

    Edit
    • Release date
      • November 21, 1947 (United States)
    • Country of origin
      • United States
    • Official sites
      • Streaming on "DK Classics III" YouTube Channel
      • Streaming on "Dream Classic Movies" YouTube Channel
    • Language
      • English
    • Also known as
      • The Lost Moment
    • Filming locations
      • Republic Studios - 4024 Radford Avenue, North Hollywood, Los Angeles, California, USA(Studio)
    • Production company
      • Walter Wanger Productions
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 29m(89 min)
    • Color
      • Black and White
    • Aspect ratio
      • 1.37 : 1

    Contribute to this page

    Suggest an edit or add missing content
    • Learn more about contributing
    Edit page

    More to explore

    Recently viewed

    Please enable browser cookies to use this feature. Learn more.
    Get the IMDb App
    Sign in for more accessSign in for more access
    Follow IMDb on social
    Get the IMDb App
    For Android and iOS
    Get the IMDb App
    • Help
    • Site Index
    • IMDbPro
    • Box Office Mojo
    • License IMDb Data
    • Press Room
    • Advertising
    • Jobs
    • Conditions of Use
    • Privacy Policy
    • Your Ads Privacy Choices
    IMDb, an Amazon company

    © 1990-2025 by IMDb.com, Inc.