Caught (1949)

Regista:

Max Ophüls

Writers:

Libbie Block (novel)
Arthur Laurents (screenplay)

Data di uscita:

17 febbraio 1949 (USA)

Genere:

Drama | Film-Noir

Slogan:

The story of a desperate girl

Plot:

It was her childhood dream come true. She had married a man worth millions. But her innocent dream became...

Plot Keywords:

Butler | Unhappy Marriage | Servant | Tragic Ending | Psychiatrist

Recensioni degli utenti:

Bel Geddes finest hour in Ophul's melodrama about paranoia of unshackled capitalism

Cast

James Mason	...	Larry Quinada
Barbara Bel Geddes	...	Leonora Eames
Robert Ryan	...	Smith Ohlrig
Frank Ferguson	...	Dr. Hoffman
Curt Bois	...	Franzi Kartos
Ruth Brady	...	Maxine
Natalie Schafer	...	Dorothy Dale
Art Smith	...	Psychiatrist

Alias:

Presi nella morsa (Italy) [it]

Durata:

88 min

Nazionalità:

USA

Lingua:

Inglese

Colore:

Bianco e nero

Aspect Ratio:

1.37 : 1

Sonoro:

Mono (Western Electric Recording)

Divieti:

UK:U | Finland:K-12 | Sweden:15

Company:

Enterprise Productions

Curiosità:

The 1992 restoration of the film, done at UCLA Film and Television Archives, was financed by Martin Scorsese, who would direct a biopic of Howard Hughes -- upon whose life the film is based--The Aviator (2004) a decade later.

Citazioni:

Leonora Eames: Posture and social useage
Smith Ohlrig: Social what?
Leonora Eames: Useage. You know, conversation, etiquette, how to pour tea
[Leonora mines this action with her hand]
Leonora Eames: , how to listen to music
[Leonora then places two fingers from her hand to her right ear]
Leonora Eames: , how to... please watch the road.

Bel Geddes finest hour in Ophul's melodrama about paranoia of unshackled capitalism

Of the many European emigres who helped shape American cinema, especially film noir, Max Ophuls brought one of the subtlest, most elusive sensibilities. Caught reflects this elusiveness: Part melodrama, part romance, part film noir, it's an unsettling film that burrows into complacent assumptions about freedom and success.

Department-store model Barbara Bel Geddes buys the notion that snagging a rich husband is the key to happiness. Once wed to disgustingly wealthy tycoon Smith Ohlrig (Robert Ryan), however, she finds herself a bird in a gilded cage whose owner is increasingly jealous, abusive and frightening. (The rumors are that Ohlrig was modelled on Howard Hughes, much as Charles Foster Kane was on William Randolph Hearst.) Finally she leaves him to work in the office of a poor pediatrician (James Mason), with whom she falls in love. But she and Ryan keep drifting back together, in a love-hate relationship that grows ever more doomed and desperate (there's a virtuoso scene in Mason's offices, at night, centering on her ominously empty desk)....

This is certainly Bel Geddes' most complex and fleshed-out screen performance, but the script suggests dimensions that she only hints at; though the part wouldn't work with a tigress like that other Barbara, Stanwyck, taking on Ryan in an equal grudge-match, an actress with a mite more edge might have shown how the caged wife came to draw courage and defiance precisely from her position as a powerful man's wife. (Bel Geddes is just too wholesome and likeable to bring off this ambiguity.) And the heavy paw of the studio descends as Caught comes to a close: The conclusion is too quick, loose ends flap in the breeze, and satisfaction remains incomplete. Ryan's dynamo performance -- he could really make the flesh crawl -- and Ophul's elegant direction compensate for a half-baked denouement imposed by a craven studio, lest anybody take personal or political offense.