Publicado: Jue 01 Jun, 2006 20:51
Pinchado todo, saludos y gracias
Para los amantes del Cine Clásico
http://www.divxclasico.com/foro/
http://www.divxclasico.com/foro/viewtopic.php?f=1002&t=44229

La fiebre del oro.San Francisco, 1849. Mary Rutledge, una joven ambiciosa, mantiene un idilio con Jim, un buscador de oro, que ha encontrado algunas pepitas y decide volver a Nueva York, su ciudad natal.
El guión de Charles MacArthur y Ben Hecht, autores de Luna nueva y procedentes del mundo de la prensa, aciertan al describir el mundillo del periodismo, a través del personaje del coronel Cobb, un periodista idealista. Aunque Cobb es un hombre íntegro, que intenta denunciar las irregularidades que ocurren en la ciudad, a través del periódico que ha fundado, choca con los intereses de Louis Chamalis, el propietario de una sala de juegos.
Aunque es una película menor en la filmografía de Hawks, supuso su primera colaboración con el actor Walter Brennan. "Un tipo de producción me habló de él. Le dije que lo trajera, pero que le diera algunas frases para ver qué tal las decía. Así que cuando apareció le pregunté si le habían dado las frases. El respondió '¿quiere que se las lea?'. 'Sí, claro', dije yo. 'Y dijo, '¿con o sin?'. Yo dije, '¿con o sin qué?'. Dijo 'Dientes' y yo afirmé que quedaba contratado. No tuvo que leer las frases", explicaba Hawks (DeCine21).

IMDb. Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She falls in love with miner Carmichael and takes his gold dust at the wheel. She goes after him, Louis goes after her with intent to harm Carmichael.
AMG SYNOPSIS: This film, set in San Francisco in the late 1800s, focuses on an outrageous nightclub owner and his efforts at wooing lovely Mary Rutledge, an Eastern lass left to her own devices in the rowdy port city. The lamblike babe loses that innocence when she becomes a kept lady. -- Iotis Erlewine
AMG REVIEW: The Barbary Coast is not a great movie, but it's one with a lot of energy and snap in it, and that may be enough for many viewers to overlook its flaws. Ascribe to writers Ben Hecht and Chales MacArthur many of its delights as well as many of its flaws. Coast abounds with the one-two punch dialogue that is the scriptwriting team's hallmark. It's got a spice to it, and a flair, and even if it doesn't necessarily sound right for the period, it's awfully hard to resist. Certainly, the actors seem to savor it, wrapping their tongues around the dialogue and spitting it out with gusto and relish. And a lot of that dialogue accompanies an interesting story about a woman who arrives in a corrupt town only to discover that her fiancé is dead and she has to decide how corrupt she will allow herself to be to survive. Unfortunately, it also has another story to tell, that of this same woman falling for a decent, poetic man -- and here it runs aground. Director Howard Hawks works as much of his magic as he can on the piece, but it's clear his sympathies lie with the more raucous, lively, raffish half of the picture. And with Edward G. Robinson on hand to lead that part of the story, who can blame him? As the bastion of the "good" side of the story, Joel McCrea is fine, but no competition for Robinson. Straddling both halves, Miriam Hopkins is delightful. Not a total winner, Coast is still worth catching. -- Craig Butler
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