Die Frau meines Freundes

Originaltitel: Other Men's Women

1930
Passed
1 Std. 11 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

Mary Astor and Grant Withers in Die Frau meines Freundes (1930)

Füge eine Handlung in deiner Sprache hinzuEvents take an unhappy turn for two Bill and Jack, two locomotive engineers, after Bill is attracted to his best friend's wife.Events take an unhappy turn for two Bill and Jack, two locomotive engineers, after Bill is attracted to his best friend's wife.Events take an unhappy turn for two Bill and Jack, two locomotive engineers, after Bill is attracted to his best friend's wife.

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

6,4/10

1429

IHRE BEWERTUNG

Siehe Produktionsinformationen bei IMDbPro

Fotos30

+ 24

Topbesetzung15

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Grant Withers

Bill White

Mary Astor

Lily KUlper

Regis Toomey

Jack Kulper

James Cagney

Fred Kohler

Haley

J. Farrell MacDonald

Peg-Leg

Joan Blondell

Marie

Lillian Worth

Waitress

Walter Long

Bixby

Pat Harmon

Railroad Worker at Lunch Counter
(Nicht genannt)

Pat Hartigan

Yardmaster
(Nicht genannt)

Lee Moran

Railroad Worker at Lunch Counter
(Nicht genannt)

Kewpie Morgan

Railroad Worker
(Nicht genannt)

Bob Perry

Railroad Worker
(Nicht genannt)

Lucille Ward

Miss Astor - Bill's Landlady
(Nicht genannt)

Handlung

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Wissenswertes
Although the title card bears a 1930 copyright statement, this film was apparently never copyrighted, under either of its two titles. It was completed in mid-1930, and reviewed in Motion Picture Herald 4 October 1930, and in Photoplay Magazine in December 1930, but did not open in New York City until April 1931.

Patzer
When Bill and Lily are embracing in the kitchen in front of the stove the moving shadow of the boom microphone is visible on the wall below the window behind them.

Zitate
[behind the lunch counter at the railroad yard, gum-chewing waitress Marie hears a train whistle - her cue to get ready to meet her boyfriend, Bill]
Marie: [taking off her apron] Anything else you guys want?
Railroad worker at Lunch Counter: Yeah, gimme a big slice a' you on toast, and some French-fried potatoes on the side.
Marie: [taking out her compact and powdering her face] Listen, baby, I'm A.P.O.
Railroad worker at Lunch Counter: [to the other railroad worker] What does she mean, A.P.O.?
Marie: Ain't Puttin' Out! Besides, I'm Bill White's girl, and I'm a one-man woman.
Railroad worker at Lunch Counter: That's a hot one, Marie.
Marie: Whattaya mean "that's a hot one"?
Railroad worker at Lunch Counter: Didn't I see you down ta Fishbeck's Dance Hall with Elmer Brown?
Marie: Oh yeah. Elmer's a kind of a cousin of mine.
Railroad worker at Lunch Counter: Oh! Some cousins are sure affectionate.
Marie: Nevertheless, he's my distant cousin.
Railroad worker at Lunch Counter: That's her story, and she's gonna stick to it.
Marie: It's the story Bill's gonna hear unless you guys do some broadcasting of your own.
Railroad worker at Lunch Counter: Well, don't worry. Not me. I ain't gonna get in no trouble.
Marie: [walking toward the door] Then stop shootin' off your big mouth.
Railroad worker at Lunch Counter: Hey Marie. Wouldja gimme a flock a' donuts with small holes?
Marie: [at the door, hand on hip] If there're any small holes around here, I'll eat 'em myself.
[the men laugh as she leaves the diner]

Verbindungen
Featured in American Masters: You Must Remember This: The Warner Bros. Story - Part 1 (2008)

Soundtracks
Wherever You Stray, Wherever You Go
(uncredited)
Composer unknown
Sung a cappella by Grant Withers, J. Farrell MacDonald and Mary Astor

Benutzerrezensionen38

Rezension

Ausgewählte Rezension

Undeservedly obscure

A fast-paced tale of love, action and sacrifice - the kind of Hollywood staple they don't make anymore. More than a little melodramatic and very much a period piece, the film is worth watching most of all for some stunning visual effects and an absolutely marvelous (supporting) performance by Joan Blondell in the kind of role that suited her perfectly: a wisecracking, hash-slinging dame - a floozy who thinks she's looking for love, but is only out for a good time. Mary Astor is convincing in the lead role, but Joan steals the show.

A curiously ambiguous ending might make you wonder what point the film was trying to make about morality. Be assured that after the Code was in effect, this picture would have ended differently.