The Magnificent Ambersons
Reżyseria:
Orson WellesScenariusz:
Orson WellesMuzyka:
Bernard HerrmannObsada:
Joseph Cotten, Dolores Costello, Anne Baxter, Tim Holt, Agnes Moorehead, Ray Collins, Erskine Sanford, Richard Bennett, Orson Welles (narrator) (więcej)Opisy(1)
In 1873, in a small Midland town, the magnificence of the Ambersons, the town's wealthiest family, dominates the social scene. Young George Amberson is the spoiled scion of the wealthy Amberson family. Eugene Morgan is a struggling inventor who loves George's mother Isabel, but loses her to the wealthy Wilbur Minafer. After an absence of several years, Eugene returns, now successful having invented an automobile, as a widower with an attractive daughter, Lucy. Eugene attempts to rekindle his love affair with Isabel, but George interferes. This affects not only George's romance with Lucy, but also the fading Amberson fortunes. (oficjalny tekst dystrybutora)
(więcej)Recenzje (3)
At the time it was made, it was an above-average film both thematically and in its execution, but I find its reviews to be quite exaggerated. Essentially, it's a classic studio romance with the necessary happy ending at the end. But that's how it goes; famous directors have it easier with fans. If I overlook a few cuts and camera movements, Orson Welles didn't significantly impact the film. Overall impression: 55%. The film might be interesting for its perspective on the beginnings of motorism in the United States, with the prophetic commentary of Eugene Morgan.
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It is quite recognizable that it is a film by Orson Welles, there is excellent camera work, a well-structured screenplay, and great acting, but unfortunately, it is somehow everything that left me rather cold. Perhaps I will have to give the film a second chance later, just like I did with "Citizen Kane".
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I have no doubt that the original director’s cut was a polished gem, but unfortunately, I must rate only the shorter version, which is not bad and clearly shows the revolutionary touch Welles had for staging and lightning the mise-en-scène, and yet I cannot ignore the fragmentary impression it gives; it takes quite awhile for the viewer to fully get their bearings around the characters and their relationships. But I think it’s unfair to be more critical, both because of the suppression of Orson’s full vision and also because of the unarguable narrative qualities The Magnificent Ambersons has retained despite the meddling of the studio.
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