The Private Affairs of Bel Ami
Director
Albert Lewin
Producer
Ray Heinz
Cast
George Sanders
Angela Lansbury
Ann Dvorak
Frances Dee
Albert Basserman
Hugo Haas
Katherine Emery
Warren William
John Carradine
Art Director F Paul Sylos
Cinematography Russell Metty
Editor Albrecht Joseph
Music Darius Milhaud
Screenwriter Albert Lewin
Year made: 1946
Country: USA
Duration: 112 mins.
Print: Black & white
Bel - Ami, es sin duda la obra que más ha seducido a los cineastas y realizadores internacionales. Los temas son eternos: el sexo, el dinero y el poder. Contrariamente a Una vida, en la que el ritmo es lento adaptándose perfectamente a la vida de Jeanne, Bel Ami tiene por marco un mundo parisino trepidante en la que el héroe, arrivista y seductor, quiere labrarse un camino. Verdadero dandy, voluble e inconstante en el terreno del amor como en el de sus ideas, Duroy se sirve de su cuerpo y de las mujeres para medrar, de ahí el sobrenombre de Bel-Ami, que Laurine, chiquilla de Clotilde de Marelle, una de sus jefas, le ha puesto.
La.Vida.Privada.de.Bel-Ami.-.Albert.Lewin.1946.VHSRip.pepablo.avi 
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Publicado por spotted en Karagarga
THE PRIVATE AFFAIRS OF BEL AMI (1946)
La Vida Privada de Bel Ami
IMDb
Vamos a ir mejorando copia de esta obra maestra a la espera de que algún día se haga una edición como debe ser de la misma (un Criterion, por ejemplo). Para ello os traigo este buen SATRip VO publicado en Karagarga y dejo también un enlace de descarga directa con el audio español no sincronizado extraído del VHSRip de pepablo con la esperanza de que algún sincronizador remate la faena. La duración de ambas copias es casi la misma por lo que la sincro no creo que ofrezca demasiada dificultad.
Dejo por aquí una reseña en inglés encontrada en internet, me ha parecido interesante.
After starting his career with Irwin Thalberg at MGM, producing such classics as Mutiny On The Bounty (1935), Albert Lewin eventually struck out on his own with some notable independent projects, beginning with a trio of literary adaptations. Somerset Maugham's Moon And Sixpence (1943) was followed by Oscar Wilde's The Picture Of Dorian Gray (1945), and then came this version of Guy de Maupassant's best novel, Bel-Ami, in 1947. Actor George Sanders appeared in all three, giving them all a distinct flavour by his presence. A self-obsessed and destructive individual appears in each, increasingly prepared to isolate himself from conscience or morality in order to achieve his goals - at least until an ending brings some comeuppance or resolution. In the first, Sanders plays a painter, loosely based on Gauguin, who deserts his family to work in Tahiti. In the second, Dorian Gray pursues his famously immoral activities, Sanders in attendance, whilst Gray's famous painting grows ugly in the attic. In The Private Affairs Of Bel Ami (aka: Women Of Paris, 1947), Sanders returns to centre stage, this time portraying a man climbing to social success over the backs of a succession of suffering women.
Scriptwriter-director Lewin brought to each of these films characteristic qualities: literate dialogue, visual excellence and a representation of interior states, notably through colourful moments of formal art among them. In the fin de siècle worlds of Dorian Gray and Bel Ami, Lewin sharpens the unease and implicit questioning of mores shown in his earlier Maugham adaptation and, avoiding the temptations of melodrama, he chooses specific historical milieu by which to communicate the ennui of the privileged and the corrupt. Sanders is excellent as George Duroy, the title's charming and unscrupulous social climber, who cannot be trusted with hearts - or come to that, much else: one in the words of the title song "..who will be leaving me, [and] who will be deceiving me.."
We first see Duroy down to his last few francs in 1880 Paris. His suave looks continually make him irresistible to women but, as yet, have brought him little in the way of fortune. Offered a chance job in journalism by his ex-army friend Forestier (John Carradine), Duroy asks Forestier's independently minded wife Madeline to help with the creation of a first article, while also entering into a relationship with the far more doting Clotilde (Angela Lansbury). Soon the seductive antihero is on his way up the social scale after marrying Madeline (a suggestion he promptly broached in the hapless Forestier's death chamber). Later, after engineering a scandal, he divorces this first wife, and acquires a defunct aristocratic title with a view to moving on and up again.
"You're a sneak thief... you take advantage of everyone, you deceive everyone," is the way the disillusioned Clotilde eventually personifies Duroy towards the end of the film, after he callously steals her heart, another man's wife and half her inheritance in turn, then the family name of a missing heir, and finally inveigles the hand of a rich innocent. This single-minded obsession in reaching the top of the social ladder echoes that of the ambitious Horace Vendig in Ulmer's Ruthless, made the following year. Duroy's manipulative, seductive charm brings echoes too of Chaplin's Monsieur Verdoux, also from 1947. But while Duroy's progress does not directly lead to murder, it is more detestable and insidious. Whereas at the close of his film Verdoux offers reasonable apology for his actions, Bel Ami (although saddled with a ending more in line with the demands of the censor than the original novel) still seems unrepentant, merely equating his final misfortunate as being "scratched... by an old cat."
There are several elements that make Lewin's film interesting today, besides being the independent work of a minor, if idiosyncratic auteur when such a thing was relatively unusual. Even though the aspirational cad makes use of the women he gets to know, Madeline at least remains a strong and talented character in her own right. Besides helping Duroy with his writing at the very start, there is a strong suggestion that she has actually been doing much of her first husband's journalism for him too. And despite her final betrayal, she continues to impress as an individually motivated female, in contrast to the ever-loving and forgiving Clotilde. Both are victims but Duroy's emotional abuse and subjugation of them and others is both a comment on his own coldness as well as on the liabilities of females in a prejudiced society, made especially keen by the knowledge each woman has of her own predicament. For men, the answer to honour slighted is a duel. Women at best are obliged to fall back on subterfuge or, at worst, live with the grief of a broken heart.
Each of Lewin's first three films was made in black and white. But they also included moments when the screen bursts startlingly into colour, as the audience contemplates painting central to the theme. The Moon And Sixpence brings a final sequence showing the artist's work, a form of artistic justification for preceding events. In The Portrait Of Dorian Gray, the painting in question reflects back directly the moral dissolution of the subject. Bel Amis' canvas occupies a more complex position in its narrative than its predecessors. It's an expensive work of art bought by a wealthy patron and admired by Duroy, in fact one the few moments in which, half to himself, he evidently expresses an honest undisguised opinion on anything. Painted by Max Ernst (his Temptation Of St Anthony) its appearance reflects back the decadence of its admirers as well as continuing the subtle thread of damnation that runs though the plot.
An excellent cast includes a young Angela Lansbury as Duroy's one true love, as well as John Carradine as his tuberculosis-ridden journalist friend. Audiences today will be impressed by how modern the feel of it all is, whether in the depiction of Duroy's amoral, manipulative character, completely unfazed at being disliked, or the film's sophisticated and sympathetic treatment of women. Lewin's next work was the weirdly romantic Pandora And The Flying Dutchman (1951), his most ambitious film, the reception of which proved a disappointment and he never rose to such heights again. For this viewer at least The Private Affairs Of Bel Ami, less flamboyant perhaps but just as unforgettable, remains his most satisfying work, recommended with enthusiasm.
Director
Albert Lewin
Producer
Ray Heinz
Cast
George Sanders
Angela Lansbury
Ann Dvorak
Frances Dee
Albert Basserman
Hugo Haas
Katherine Emery
Warren William
John Carradine
Art Director
F Paul Sylos
Cinematography
Russell Metty
Music
Darius Milhaud
Screenwriter
Albert Lewin
Year made
1946
Country
USA
Sinopsis
Writer/director Albert Lewin, ever on the lookout for esoteric story material that would accommodate his fascination with Egyptian sculpture and feline symbolism, managed to inject both into The Private Affairs of Bel Ami. Though based on a Guy de Maupassant story, Bel Ami seems to have been written by Oscar Wilde, another of Lewin's pets (e.g. The Picture of Dorian Gray). George Sanders plays an epigrammatic Parisian journalist, who rises to the top through the "kindnesses" of the various influential women that he's seduced and abandoned. This 19th-century rake's progress is ultimately halted by a duel, and somehow we're sorry that we don't get to see Sanders pull off at least one more caddish trick to save himself. Echoes from Lewin's previous works include his insertion of a Technicolor sequence (as he'd done in Dorian Gray and The Moon and Sixpence).
Datos técnicos del ripeo
File Name .............: The Private Affairs of Bel Ami.avi
File Size (in bytes) ..: 837,246,976 bytes
Runtime (# of frames) .: 1:46:36 (159882 frames)
Video Codec ...........: XviD ISO MPEG-4
Frame Size ............: 640x480
FPS ...................: 25.000
Video Bitrate .........: 912 kb/s
Bits per Pixel ........: 0.119 bpp
Audio Codec ...........: 0x0055 MPEG-1 Layer 3
Sample Rate ...........: 48000 Hz
Audio bitrate .........: 128 kb/s [2 channel(s)] CBR audio
Interleave ............: 80 ms
No. of audio streams ..: 1
Capturas
Enlace
The Private Affairs of Bel Ami.avi
Audio español no sincronizado descarga directa
Audio Español No Sincronizado
Un saludo para todo el mundo.
La Vida Privada de Bel Ami
IMDb
Vamos a ir mejorando copia de esta obra maestra a la espera de que algún día se haga una edición como debe ser de la misma (un Criterion, por ejemplo). Para ello os traigo este buen SATRip VO publicado en Karagarga y dejo también un enlace de descarga directa con el audio español no sincronizado extraído del VHSRip de pepablo con la esperanza de que algún sincronizador remate la faena. La duración de ambas copias es casi la misma por lo que la sincro no creo que ofrezca demasiada dificultad.
Dejo por aquí una reseña en inglés encontrada en internet, me ha parecido interesante.
After starting his career with Irwin Thalberg at MGM, producing such classics as Mutiny On The Bounty (1935), Albert Lewin eventually struck out on his own with some notable independent projects, beginning with a trio of literary adaptations. Somerset Maugham's Moon And Sixpence (1943) was followed by Oscar Wilde's The Picture Of Dorian Gray (1945), and then came this version of Guy de Maupassant's best novel, Bel-Ami, in 1947. Actor George Sanders appeared in all three, giving them all a distinct flavour by his presence. A self-obsessed and destructive individual appears in each, increasingly prepared to isolate himself from conscience or morality in order to achieve his goals - at least until an ending brings some comeuppance or resolution. In the first, Sanders plays a painter, loosely based on Gauguin, who deserts his family to work in Tahiti. In the second, Dorian Gray pursues his famously immoral activities, Sanders in attendance, whilst Gray's famous painting grows ugly in the attic. In The Private Affairs Of Bel Ami (aka: Women Of Paris, 1947), Sanders returns to centre stage, this time portraying a man climbing to social success over the backs of a succession of suffering women.
Scriptwriter-director Lewin brought to each of these films characteristic qualities: literate dialogue, visual excellence and a representation of interior states, notably through colourful moments of formal art among them. In the fin de siècle worlds of Dorian Gray and Bel Ami, Lewin sharpens the unease and implicit questioning of mores shown in his earlier Maugham adaptation and, avoiding the temptations of melodrama, he chooses specific historical milieu by which to communicate the ennui of the privileged and the corrupt. Sanders is excellent as George Duroy, the title's charming and unscrupulous social climber, who cannot be trusted with hearts - or come to that, much else: one in the words of the title song "..who will be leaving me, [and] who will be deceiving me.."
We first see Duroy down to his last few francs in 1880 Paris. His suave looks continually make him irresistible to women but, as yet, have brought him little in the way of fortune. Offered a chance job in journalism by his ex-army friend Forestier (John Carradine), Duroy asks Forestier's independently minded wife Madeline to help with the creation of a first article, while also entering into a relationship with the far more doting Clotilde (Angela Lansbury). Soon the seductive antihero is on his way up the social scale after marrying Madeline (a suggestion he promptly broached in the hapless Forestier's death chamber). Later, after engineering a scandal, he divorces this first wife, and acquires a defunct aristocratic title with a view to moving on and up again.
"You're a sneak thief... you take advantage of everyone, you deceive everyone," is the way the disillusioned Clotilde eventually personifies Duroy towards the end of the film, after he callously steals her heart, another man's wife and half her inheritance in turn, then the family name of a missing heir, and finally inveigles the hand of a rich innocent. This single-minded obsession in reaching the top of the social ladder echoes that of the ambitious Horace Vendig in Ulmer's Ruthless, made the following year. Duroy's manipulative, seductive charm brings echoes too of Chaplin's Monsieur Verdoux, also from 1947. But while Duroy's progress does not directly lead to murder, it is more detestable and insidious. Whereas at the close of his film Verdoux offers reasonable apology for his actions, Bel Ami (although saddled with a ending more in line with the demands of the censor than the original novel) still seems unrepentant, merely equating his final misfortunate as being "scratched... by an old cat."
There are several elements that make Lewin's film interesting today, besides being the independent work of a minor, if idiosyncratic auteur when such a thing was relatively unusual. Even though the aspirational cad makes use of the women he gets to know, Madeline at least remains a strong and talented character in her own right. Besides helping Duroy with his writing at the very start, there is a strong suggestion that she has actually been doing much of her first husband's journalism for him too. And despite her final betrayal, she continues to impress as an individually motivated female, in contrast to the ever-loving and forgiving Clotilde. Both are victims but Duroy's emotional abuse and subjugation of them and others is both a comment on his own coldness as well as on the liabilities of females in a prejudiced society, made especially keen by the knowledge each woman has of her own predicament. For men, the answer to honour slighted is a duel. Women at best are obliged to fall back on subterfuge or, at worst, live with the grief of a broken heart.
Each of Lewin's first three films was made in black and white. But they also included moments when the screen bursts startlingly into colour, as the audience contemplates painting central to the theme. The Moon And Sixpence brings a final sequence showing the artist's work, a form of artistic justification for preceding events. In The Portrait Of Dorian Gray, the painting in question reflects back directly the moral dissolution of the subject. Bel Amis' canvas occupies a more complex position in its narrative than its predecessors. It's an expensive work of art bought by a wealthy patron and admired by Duroy, in fact one the few moments in which, half to himself, he evidently expresses an honest undisguised opinion on anything. Painted by Max Ernst (his Temptation Of St Anthony) its appearance reflects back the decadence of its admirers as well as continuing the subtle thread of damnation that runs though the plot.
An excellent cast includes a young Angela Lansbury as Duroy's one true love, as well as John Carradine as his tuberculosis-ridden journalist friend. Audiences today will be impressed by how modern the feel of it all is, whether in the depiction of Duroy's amoral, manipulative character, completely unfazed at being disliked, or the film's sophisticated and sympathetic treatment of women. Lewin's next work was the weirdly romantic Pandora And The Flying Dutchman (1951), his most ambitious film, the reception of which proved a disappointment and he never rose to such heights again. For this viewer at least The Private Affairs Of Bel Ami, less flamboyant perhaps but just as unforgettable, remains his most satisfying work, recommended with enthusiasm.
Director
Albert Lewin
Producer
Ray Heinz
Cast
George Sanders
Angela Lansbury
Ann Dvorak
Frances Dee
Albert Basserman
Hugo Haas
Katherine Emery
Warren William
John Carradine
Art Director
F Paul Sylos
Cinematography
Russell Metty
Music
Darius Milhaud
Screenwriter
Albert Lewin
Year made
1946
Country
USA
Sinopsis
Writer/director Albert Lewin, ever on the lookout for esoteric story material that would accommodate his fascination with Egyptian sculpture and feline symbolism, managed to inject both into The Private Affairs of Bel Ami. Though based on a Guy de Maupassant story, Bel Ami seems to have been written by Oscar Wilde, another of Lewin's pets (e.g. The Picture of Dorian Gray). George Sanders plays an epigrammatic Parisian journalist, who rises to the top through the "kindnesses" of the various influential women that he's seduced and abandoned. This 19th-century rake's progress is ultimately halted by a duel, and somehow we're sorry that we don't get to see Sanders pull off at least one more caddish trick to save himself. Echoes from Lewin's previous works include his insertion of a Technicolor sequence (as he'd done in Dorian Gray and The Moon and Sixpence).
Datos técnicos del ripeo
File Name .............: The Private Affairs of Bel Ami.avi
File Size (in bytes) ..: 837,246,976 bytes
Runtime (# of frames) .: 1:46:36 (159882 frames)
Video Codec ...........: XviD ISO MPEG-4
Frame Size ............: 640x480
FPS ...................: 25.000
Video Bitrate .........: 912 kb/s
Bits per Pixel ........: 0.119 bpp
Audio Codec ...........: 0x0055 MPEG-1 Layer 3
Sample Rate ...........: 48000 Hz
Audio bitrate .........: 128 kb/s [2 channel(s)] CBR audio
Interleave ............: 80 ms
No. of audio streams ..: 1
Capturas
Enlace
The Private Affairs of Bel Ami.avi Audio español no sincronizado descarga directa
Audio Español No Sincronizado
Un saludo para todo el mundo.
