La vieille fille

Titre original : The Old Maid

1939
Approved
1h 35min

NOTE IMDb

7,4/10

4,1 k

MA NOTE

Bette Davis, George Brent, and Miriam Hopkins in La vieille fille (1939)

Lire trailer2:52

1 Video

23 photos

Drama

L'arrivée d'un ancien amant le jour du mariage d'une jeune femme déclenche une série d'événements qui vont changer sa vie et celle de son cousin à jamais.L'arrivée d'un ancien amant le jour du mariage d'une jeune femme déclenche une série d'événements qui vont changer sa vie et celle de son cousin à jamais.L'arrivée d'un ancien amant le jour du mariage d'une jeune femme déclenche une série d'événements qui vont changer sa vie et celle de son cousin à jamais.

Voir les informations de production sur IMDbPro

NOTE IMDb

7,4/10

4,1 k

MA NOTE

Voir les informations de production sur IMDbPro

Récompenses
- 1 victoire au total

John
(as DeWolf Hopper)

Rod Cameron

Undetermined Secondary Role
(scènes coupées)

William A. Boardway

Wedding Guest
(non crédité)

Sidney Bracey

Charles - the Butler
(non crédité)

Marlene Burnett

Tina as a Child
(non crédité)

Frederick Burton

Mr. Halsey
(non crédité)

Réalisation
- Edmund Goulding
Scénario
Toute la distribution et toute l’équipe technique
Production, box office et plus encore chez IMDbPro

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Histoire

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Le saviez-vous

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Anecdotes
There was a lot of bad blood between Miriam Hopkins and Bette Davis, who had won an Oscar for "Jezebel", a role that Hopkins had played on Broadway and had expected to play in the movie. To make things worse, Davis had had an affair with Anatole Litvak, Hopkins' husband, while making "The Sisters".

Gaffes
Society women such as portrayed here would never have their names printed (on the many invitations and announcements throughout) as "Mrs. Delia ... Mrs. Henrietta" etc. but as "Mrs." before their husbands' names and as long as they remained widows.

Citations
Charlotte Lovell: She thinks I can't understand her. She considers me an old maid.
Delia Lovell Ralston: My dear.
Charlotte Lovell: A ridiculous, narrow-minded old maid. What else can she ever think of me?
Delia Lovell Ralston: Poor Charlotte.
Charlotte Lovell: Oh, but you needn't pity me. Because she's really mine. If she considers me an old maid, it's because I've deliberately made myself one in her eyes. I've done it from the beginning so she wouldn't have the least suspicion. I've practised everything I've ever had to say to her, if it was important, so that I'd sound like an old maid aunt talking. Not her mother.
Delia Lovell Ralston: Well, after all, darling, there isn't anything important to say to her now. She has every attribute of a modern successful woman - she's healthy, she's young, she's gay, she's attractive...

Crédits fous
The opening credits are shown on facsimiles of wedding invitation cards.

Connexions
Featured in AFI Life Achievement Award: A Tribute to Bette Davis (1977)

Bandes originales
Yankee Doodle
(uncredited)
Traditional 18th century tune
Played in the score for the first scene

Avis des utilisateurs47

Commenter

Commentaire à la une

8/10

A Warner Major Feature

With Warner Bros. studio chief Jack L. Warner himself in charge of the production, "The Old Maid" is a fine example of what that studio's "stock company" was able to produce in the late '30s and early '40s. Here is Bette Davis and Miriam Hopkins, assisted by George Brent and Donald Crisp acting up a storm a very soapy piece of melodrama, and making it all very engrossing. Based on Zoe Akins' Pulitzer Prize play and Edith Wharton's novel, this drama of sacrifice, deception, and raging emotions is given a superlative treatment by this impressive company. The film even has the services of Max Steiner's score, underlying every scene with original and adapted source material. Edmund Goulding's direction is sure-footed and he has managed to curb histrionic accesses of the two stars nicely; their acting is quite restrained, yet powerful. Whatever sparks flew between the two ladies off-screen may be justified by what on-screen legacy is left for all to appreciate. Further, the drama depicts the limited and restrictive social/class mores of the period, undoubtedly imported from strict European values.