Histoire d'un amour

Titre original : Back Street

1932
Passed
1h 33min

NOTE IMDb

MA NOTE

Irene Dunne in Histoire d'un amour (1932)

L'amour et la dévotion d'une femme pour un homme marié font qu'elle est reléguée dans les "coulisses" de sa vie.L'amour et la dévotion d'une femme pour un homme marié font qu'elle est reléguée dans les "coulisses" de sa vie.L'amour et la dévotion d'une femme pour un homme marié font qu'elle est reléguée dans les "coulisses" de sa vie.

Voir les informations de production sur IMDbPro

NOTE IMDb

7,0/10

1,2 k

MA NOTE

Voir les informations de production sur IMDbPro

Anecdotes
This picture is based on a novel by the popular writer Fannie Hurst. It's interesting that her story was about the stresses of a clandestine life while married. In 1915 she secretly married a Russian émigré pianist. She hid the marriage from the public, keeping her maiden name and separate residences. It became a scandal after it was discovered in 1920. Hurst wouldn't budge. She maintained her name, and her own home, until his death in 1952. She mourned his loss for the remaining 16 years of her life, writing letters to him weekly and always sporting a calla lily, the first flower he'd sent her.

Citations
Ray Schmidt: I know myself so well: it's all the way or zero with me.

Crédits fous
Cincinnati - in the good old days before the Eighteenth Amendment

Connexions
Featured in The Universal Story (1996)

Avis des utilisateurs23

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9/10

Very gentle predecessor to the women's film from the master of substance

At our recent film society screening of this film (we very luckily have a 16mm print in The National Film and Sound Archive here in Australia) it was very apparent of the skill of director and his star in what is an subtle and underplayed telling of this Fannie Hurst tearjerker. There is an absence of musical underscore very typical for the period prior to 1934, and this added to the potency of the effect of Dunne's absorbing and masterful performance, illustrating her as not just a star but an actress as well. Overall this film has a very gentle feel with slow fade-outs used frequently in giving this effect. Dunne is wonderful in her playing earlier in a lighter fashion and makes a skillful transformation into the section of the film where she is older and more serious. I had sympathy for her character in spite of the sacrifices she makes for John Boles, remaining in the "back street" of his life. I see director Stahl as a sort of predecessor to Sirk in his handling of solid fare such as this and "Leave her to Heaven" (1945).