Moonrise

1948
Approved
1h 30m

ÉVALUATION IMDb

7,0/10

3,1 k

MA NOTE

Ethel Barrymore, Dane Clark, and Gail Russell in Moonrise (1948)

Lireclip1 min 22 s

Regarder Moonrise: You're Ripe For A Beating

1 vidéo

13 photos

Film Noir Crime Drama Romance Thriller

Danny est détesté par ses camarades de classe après que son père ait été accusé d'avoir tué un homme et se retrouve condamné à la peine de mort.Danny est détesté par ses camarades de classe après que son père ait été accusé d'avoir tué un homme et se retrouve condamné à la peine de mort.Danny est détesté par ses camarades de classe après que son père ait été accusé d'avoir tué un homme et se retrouve condamné à la peine de mort.

Director
- Frank Borzage
Writers
- Charles F. Haas
- Theodore Strauss
Stars

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

7,0/10

3,1 k

MA NOTE

Director
- Frank Borzage
Writers
- Charles F. Haas
- Theodore Strauss
Stars

Voir l’information sur la production à IMDbPro

Nommé pour 1 oscar
- 1 nomination au total

Anecdotes
A scene in which a group of children tar-and-feather another child was excluded from the final print at the request of the PCA.

Gaffes
The doctor said he had a corpus delicti in his office, meaning a dead body. Corpus delicti are the elements that make up a crime. The dead body of a victim could be the corpus delicti, but a doctor would never say "I have a corpus delicti down there..." implying that "corpus delicti" is synonymous to a victim's corpse.

Citations
Sheriff Clem Otis: Sure is remarkable how dying can make a saint of a man.

Connexions
Referenced in Moving Pictures (2016)

Bandes originales
The Moonrise Song (It Just Dawned On Me)
Lyrics by Harry Tobias
Music by William Lava
Performed by David Street

Commentaires des utilisateurs61

Commentaire

Commentaire en vedette

An Astonishment

MOONRISE shines. Borzage brings expressionist silent movie technique to bear on what is really more a melodrama than a film noir, a tale of guilt and redemption ultimately close to his romantic concerns. The difference is the degree of psychological angst we have to go through with the protagonist in order to reach it. Borzage's technique brings us into the hero's mind, from the stunning opening (flashbacks within flashbacks) to the hero's guilty visions. That opening is one of the finest I've ever seen, building up an unbelievable pressure in the first couple of minutes of the picture, leading to a thirst for revenge which the hero, and the audience, can spend the rest of the film regretting.