|
A Double Life |  | Director: George Cukor
Actors: Ronald Colman, Edmond O'Brien, Signe Hasso, Shelley Winters, Ray Collins
Studio: Republic Pictures
Category: DVD
List Price: $14.98
Buy New: $4.99
as of 11/22/2009 07:59 CST details
You Save: $9.99 (67%)
New (29) Used (12) from $4.99
Seller: cheapreadscheapreads
Rating:  19 reviews
Format: Black & White, DVD, NTSC
Language: English (Original Language)
Rating: NR (Not Rated)
Region: 1
Aspect Ratio: 1.33:1
Number Of Discs: 1
Running Time: 104 Minutes
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: REPD14203D
UPC: 017153142037
EAN: 0017153142037
Theatrical Release Date: 1947
Release Date: July 22, 2003
Availability: Usually ships in 1-2 business days
| |
| Similar Items:
| |
| Editorial Reviews:
Product Description
A shakespearean actor confuses his stage characterizations with reality - to the point of murder. Studio: Lions Gate Home Ent. Release Date: 07/22/2003 Starring: Ronald Colman Shelley Winters Run time: 107 minutes Rating: Nr
|
| Customer Reviews:
Showing reviews 1-5 of 19
 Ronald Colman's award-winning performance; Shelley Winters in her star-making role July 15, 2009
Byron Kolln (the corner where Broadway meets Hollywood)
Director George Cukor strips away the glitter and tinsel of Broadway in the 1947 psychological thriller A DOUBLE LIFE, starring Ronald Colman in the role which finally netted him an Academy Award.
Acclaimed stage actor Anthony John (Ronald Colman) takes up the role he has been dreaming of for years - Shakespeare's diabolical Othello. Co-starring with his ex-wife Brita (Signe Hasso) as Desdemona, Tony's role starts to take a serious toll on his mental state as the show runs to audience and critical acclaim for many, many months. Finally, his nerves as brittle as the Bard's dialogue, Tony snaps and kills pretty waitress Pat (Shelley Winters) using his Othello "kiss of death" strangle-hold.
Featuring a sharp script from Ruth Gordon and Garson Kanin, A DOUBLE LIFE was the film that first established Shelley Winters as a promising new star; and while she only features in two relatively brief sequences, her character is the key to Ronald Colman's most amazing acting scene in the entire film. Gorgeous Swedish actress Signe Hasso lights up the screen as Brita and has a lovely chemistry with Colman. Edmond O'Brien co-stars as the publicity agent who suspects Tony of murder; also keep your eyes peeled for a young Betsy Blair.
The DVD from Artisan/Republic Pictures features a print that has been independently restored by the UCLA Archive. While quite serviceable, it does exhibit some telecine wobble and other age-related print damage problems. I'd love to see Universal release this title with some bonus features and a comprehensive restoration job, but somehow I doubt it will ever happen. A real pity, because this is one of the all-time best from George Cukor.
An obsession that leads to tragedy February 13, 2009
Reader (Boca Raton, FL)
Story about theatre actor who gives himself so fully to the role that he starts to confuse his real life from his stage life. His only relief from the emotional pain is his love for his ex-wife. Although divorced, the two are still close firends and colleagues n the Broadway plays. His ex-wife knows best that he is emotionally fragile and is afraid to marry him again knowing that his emotional baggage will destroy this relationship again.
When he takes on the role of Othello, his fame explodes. Night after night he plays a doomed lover. But his psyche starts to crack. In desparate effort to separate his love for his ex-wife for his love of Desdemona on stage, he commits murder against a young woman, played wonderfully by Shelley Winters.
One has to have a love for old movies to watch this one. I loved the old black and white shots and the intensity of old school of acting.
 Classic Chiller September 1, 2008
David Baldwin (Philadelphia,PA USA)
A few things came to my mind while viewing "A Double Life". Foremost the film's theme of actors unable to separate roles from reality foreshadowed the recent passing of Heath Ledger. The liner notes state that Cary Grant turned the role of Anthony John before Ronald Colman accepted it. No offence to Grant, but I think it a wise decision because I can't see him doing a better job than Colman. Essentially this a high-brow psychological horror film. If you like this film it would behoove you to check out the films producer Val Lewton made for RKO or "The Lodger" and "Hangover Square" from Fox. All around this is a first rate production. One has to start with Colman who gives a performance for the ages. His character is sympathetic despite the monstrous impulses that lurk beneath his surface. The script by Garson Kanin and Ruth Gordon cleverly juxtaposes staged horror with the real thing. Director George Cukor orchestrates the proceedings with originality and style. Though "A Double Life" pays homage to a maligned genre it's unlike any film I've seen before and should not be missed.
Colman's triumphant role January 9, 2008
Cory D. Slipman (Rockville Centre, N.Y.)
Ronald Colman was brilliant in his Oscar winning portrayal of deranged yet venerable Broadway actor Anthony John in the George Cukor directed "A Double Life". This psychological thriller based upon a screenplay by Ruth Gordon and Garson Kanin was a thoughtfully construed play within a play.
Colman was coaxed by Broadway producers played by Philip Loeb and Ray Collins to reprise the role of Othello. So consumed by the role was Colman that be began to exhibit the jealous and murderous rage of the Shakespearean created Moor in his real life. After almost strangling his ex-wife and leading lady Brita played by Signe Hasso while acting on stage, he suffered a serious break from reality.
In a fit of jealousy inspired by his press agent Bill Friend played by Edmond O'Brien's affection for Hasso he goes on a rampage. He visits waitress Pat Kroll played by a buxon and sultry Shelley Winters, a gal he had a thing with previously. Totally withdrawn from his senses, he strangles her in the same manner that Othello dispatches Desdemona in the play.
As Hollywood justice dictated in the 40's, Colman is made to pay for his crimes in a thrilling conclusion as O'Brien becomes suspicious that Colman was the murderer and contacts the police.
Colman's Academy Award was justly deserved as he demonstrated his proficiency not only as a well schooled Shakespearean actor but also in the role of the delusional Anthony John. Miklos Rosza's musical score also garnered him an Oscar in star studded flick.
Shelley Winters Doomed Again... September 6, 2007
Gregor von Kallahann
1 out of 1 found this review helpful
A PLACE IN THE SUN, THE GREAT GATSBY, NIGHT OF THE HUNTER, LOLITA, POSEIDON ADVENTURE: the list of films in which Shelley Winters dies young (orrelatively young or at least not quite yet ready for the home) goes on and on. What does that say about poor Shelley-Also-Known-As-Shirley? Well, I'm not sure, frankly. But I do know this movie preceded them all, and although I can't say for sure that it was the very first film in which she croaked, it's hard to imagine her doing any better job of it than she does here. At least in this one, she didn't end up all waterlogged.
But seriously, this is the film most often cited as Winters' breakthrough, despite the fact that she was a screen veteran by this point with 20 parts under her belt. It's not insignificant that the packaging of this DVD features her more prominently than the nominal female lead, the dignified but not very flashy Signe Hasso. Her "tough talkin' blonde from the wrong side of the tracks" was as close to archetypal as you could get. She didn't get a lot of screentime and a good deal of that was spent getting strangled, BUT she invested her character Pat Kroll with sufficient humanity that you couldn't help feel compassion for her and bemoan her fate.
The movie's lead was, of course, an aging Ronald Colman, whose star turn here as fading stage actor (fading more into insanity than oblivion, actually) got him a belated Oscar. Many contemporary viewers of this film might find that surprising. It's a meaty enough role, but by current standards at least, a bit on the hammy side. It's written that way: it's hardly the actor's fault. But if you're anything like me, you almost sure to cringe a little at some of the scenes. You know how they used to portray incipient madness back in the old days: the echoing voices, the distorted camera angles, the gay laughter in the background suddenly turning into a sinister cackle? It's all there.
And it's a little bit hokey. Legendary screenwriters Garson Kanin and Ruth Gordon do manage to come up with a literate and entertaining script. The time-honored theme of the discrepancy between theatrical illusion and gritty reality is treated here entertainingly, if not especially profoundly. As suggested above, the casting of the two major feminine roles is telling. Winters' earthy, peculiarly American brand vulgarity is matched by Hasso's worldly sophistication and elegance. The filmmakers make use of the actress's international background and even have her privately coo at her leading man (and former husband) in her native Swedish.
Worlds collide here, with predictably tragic results. The elevated language of Shakespeare's OTHELLO (entire scenes of which are incorporated into the film's action) contrasts sharply with the jargon of the street savvy waitresses, cops, and journalists our lead encounters. You wonder how true it can really be that Shakespeare provided suitable entertainment for the rabble of his day.
It would be tempting to talk about the universality of Shakespearen themes and how the film cleverly relates the obsessive jealousy of Othello to the growing madness of the actor who plays him in "real life." Colman's character does have moments of heated jealousy and rage towards his ex-wife and her current admirers (one of whom, a regular Joe PR man for the play, he brutally assaults). And as you might guess, he transfers all that jealous rage onto the poor girl he murders, since she mentions, quite innocently, that she has other beaux.
It's an interesting mix of reality and illusion, and as we all know, that's what the theatre (and by extension, the cinema) is all about. In all fairness, I have no idea how fresh and new this notion may have seemed to movie-goers in 1947. If it all seems a bit hackneyed today--sorta like the kind of movies they were making 60 years ago--I guess that's in part because it WAS made 60 years ago.
Showing reviews 1-5 of 19
|
|
|
CERTAIN CONTENT THAT APPEARS ON THIS SITE COMES FROM AMAZON SERVICES LLC. THIS CONTENT IS PROVIDED ‘AS IS’ AND IS SUBJECT TO CHANGE OR REMOVAL AT ANY TIME. Thanks for shopping with us! | |
