Flor de arrabal (Riffraff) (Walter Ruben, 1936)
Filmaffinity | IMDb
GUIÓN: H.W. Hanemann, Anita Loos (Historia: Frances Marion)
MÚSICA: Edward Ward
FOTOGRAFÍA: Ray June (B&W)
REPARTO: Jean Harlow, Spencer Tracy, Una Merkel, Joseph Calleia, Victor Kilian, Mickey Rooney, J. Farrell MacDonald, Roger Imhof, Juanita Quigley, Paul Hurst, Vince Barnett, Dorothy Appleby, Judith Wood, Arthur Housman, Wade Boteler, Joe Phillips, William Newell, Al Hill, Helen Flint, Lillian Harmer, Bob Perry, George Givot, Helene Costello, Rafaela Ottiano
PRODUCTORA: Metro-Goldwyn-Mayer (MGM)
GÉNERO: Drama | Crimen
[quote]Plot Synopsis:
Riff-Raff begins riff-raffing when boastful fisherman Dutch (Spencer Tracy) marries down-to-earth cannery worker Hattie (Jean Harlow). Their happiness is marred by Dutch's egomania, which results in the loss of his job and the alienation of his friends. Eventually he deserts Hattie, but she remains in love with him, even going to jail on a theft charge after trying to supply him with money. Reels and reels later, Dutch makes up for his past misdeeds by foiling a plot to sabotage a huge fishing vessel. Unfortunately, his reunion with Hattie is delayed when she tries to break out of prison, earning her an extended sentence, but he magnanimously promises to wait for her. Hard to believe that so sensible a heroine would put up with so much from a guy who's frankly not worth the trouble, but the chemistry between Spencer Tracy and Jean Harlow compensates for the film's Grand Canyon-sized logic holes.
by Hal Erickson[/quote][quote]Article from TCM.com:
Jean Harlow took a stand for respectability on-screen and off in this 1936 dramatic comedy and came out the winner on both counts. The challenge this time out was to get the public to buy her not just as a good girl; they'd done that two years earlier when she played a modest miss in The Girl From Missouri (1934). This time audiences had a new challenge to face - the platinum blonde had gone natural.
Harlow's hair was the distinctive feature that had gotten her into the movies in the first place. But ever since her arrival at MGM in 1932, she'd been fighting for the chance to adopt a more natural color. By 1936, with her star power at its height, she finally had the clout to have her way. "I've gotten over acting with my hair," she announced, and the studio finally agreed to let her use her natural, reddish brown color. MGM Publicity Chief Howard Strickling even came up with a new word to describe it, "brownette."
Harlow had more than a little help in making her transition to good-girl roles. With Riffraff (1936) she had a solid script from Frances Marion and Anita Loos, both of whom had played a key role in her rise to stardom. Marion, who wrote the original story about romance and labor problems in a fishing community (with Harlow as "the toast of the tuna fleet" according to The New York Times), had worked on the script for Dinner at Eight, one of the films that had put Harlow over as a film star and helped create her image as a dumb but goodhearted tart. Loos had written Harlow's ultimate role as a seductress, the social climbing secretary in Red-Headed Woman, a racy tale turned into a box-office hit by Harlow's uninhibited comic playing.
Once they agreed to Harlow's new look, MGM pulled out all the stops for Riffraff. The picture was shot on location in the tuna canneries near Venice Pier with a cast that featured 42 contract players, more than any other MGM film to that time. In addition to a top supporting cast including Una Merkel, Joseph Calleia and the young Mickey Rooney, they assigned Harlow their most talented new leading man, Spencer Tracy.
Production chief Irving Thalberg had brought in Tracy after Fox fired the star. Nobody else at MGM knew quite what to do with him, but Thalberg was determined to use his dramatic talents in a series of one-of-a-kind roles that would bring prestige to the studio (particularly when he won back-to-back Oscars for Best Actor in 1937 and 1938). But first, Thalberg built Tracy's box-office appeal by teaming him with the studio's top female stars: Myrna Loy in Whipsaw and then Harlow in Riffraff. This was not his first picture with the former platinum blonde, however. During her early years in Hollywood, Harlow had starred with Tracy in a 1931 circus drama called Goldie, whose chief distinction was that it made Harlow the first actress in screen history to have her character referred to as a "tramp."
Though her character in Riffraff ends up in prison, Harlow was far from a tramp now. She and Tracy clicked perfectly shouting insults at each other in the film's comic first half. Then, when things grew more serious, she matched his gritty realism with a subtly de-glamorized portrait of working-class angst.
It would be nice to say that Riffraff was a smash hit that cemented Harlow's new image, but that would have to wait until her next film, Wife Vs. Secretary. Riffraff did respectable business, but audiences were confused by Harlow's new look. The critics admired her attempt at something new, and were particularly complimentary about the picture's working-class atmosphere, but some wanted the old Harlow back. Writing in The New York Times, Frank Nugent said, "It hardly seems fair to subject one of the screen's best comediennes to the rigors of mother love and a husband with an acute social consciousness. With so many Kay Francises around, Metro really should be able to stake off one small section of ground and post it with placards reading, 'Miss Harlow's Plot: No Children Wanted.'"
By Frank Miller[/quote]
Gracias a pranzis por el DVDR:
Ripeo anamórfico con esta configuración:
Riffraff.1936.DVDRip.x264.AC3.mkv 
(DVDRip V.O., con subtítulos en inglés en el contenedor MKV)
Los subtítulos en inglés son obra de Luís Filipe Bernardes (muchas gracias), resincronizados para este ripeo. El ajuste no es perfecto, necesitan algunas correcciones OCR y de superposición de subtítulos... Nada que no pueda arreglarse durante la traducción, en todo caso
.
Subtítulos en inglés en descarga directa, para facilitar la futurible traducción ...
----------------------------------------------------
Web oficial del codec x264 (inglés) | Web en español sobre el codec x264
Manual de ripeo con x264 en línea de comandos (español) | Parámetros de codificación (inglés)
Contenedor Matroska (español) | Matroska en wikipedia (español): software de PC compatible, etc.
MKVToolnix, herramientas de edición para matroska (inglés) | Añadir cadenas de audio o subtítulos con MKVToolnix (español)
MKVExtractGui | Manual de extracción de cadenas de audio/vídeo/subtítulos en MKV (español)
Filmaffinity | IMDb
GUIÓN: H.W. Hanemann, Anita Loos (Historia: Frances Marion)
MÚSICA: Edward Ward
FOTOGRAFÍA: Ray June (B&W)
REPARTO: Jean Harlow, Spencer Tracy, Una Merkel, Joseph Calleia, Victor Kilian, Mickey Rooney, J. Farrell MacDonald, Roger Imhof, Juanita Quigley, Paul Hurst, Vince Barnett, Dorothy Appleby, Judith Wood, Arthur Housman, Wade Boteler, Joe Phillips, William Newell, Al Hill, Helen Flint, Lillian Harmer, Bob Perry, George Givot, Helene Costello, Rafaela Ottiano
PRODUCTORA: Metro-Goldwyn-Mayer (MGM)
GÉNERO: Drama | Crimen
[quote]Plot Synopsis:
Riff-Raff begins riff-raffing when boastful fisherman Dutch (Spencer Tracy) marries down-to-earth cannery worker Hattie (Jean Harlow). Their happiness is marred by Dutch's egomania, which results in the loss of his job and the alienation of his friends. Eventually he deserts Hattie, but she remains in love with him, even going to jail on a theft charge after trying to supply him with money. Reels and reels later, Dutch makes up for his past misdeeds by foiling a plot to sabotage a huge fishing vessel. Unfortunately, his reunion with Hattie is delayed when she tries to break out of prison, earning her an extended sentence, but he magnanimously promises to wait for her. Hard to believe that so sensible a heroine would put up with so much from a guy who's frankly not worth the trouble, but the chemistry between Spencer Tracy and Jean Harlow compensates for the film's Grand Canyon-sized logic holes.
by Hal Erickson[/quote][quote]Article from TCM.com:
Jean Harlow took a stand for respectability on-screen and off in this 1936 dramatic comedy and came out the winner on both counts. The challenge this time out was to get the public to buy her not just as a good girl; they'd done that two years earlier when she played a modest miss in The Girl From Missouri (1934). This time audiences had a new challenge to face - the platinum blonde had gone natural.
Harlow's hair was the distinctive feature that had gotten her into the movies in the first place. But ever since her arrival at MGM in 1932, she'd been fighting for the chance to adopt a more natural color. By 1936, with her star power at its height, she finally had the clout to have her way. "I've gotten over acting with my hair," she announced, and the studio finally agreed to let her use her natural, reddish brown color. MGM Publicity Chief Howard Strickling even came up with a new word to describe it, "brownette."
Harlow had more than a little help in making her transition to good-girl roles. With Riffraff (1936) she had a solid script from Frances Marion and Anita Loos, both of whom had played a key role in her rise to stardom. Marion, who wrote the original story about romance and labor problems in a fishing community (with Harlow as "the toast of the tuna fleet" according to The New York Times), had worked on the script for Dinner at Eight, one of the films that had put Harlow over as a film star and helped create her image as a dumb but goodhearted tart. Loos had written Harlow's ultimate role as a seductress, the social climbing secretary in Red-Headed Woman, a racy tale turned into a box-office hit by Harlow's uninhibited comic playing.
Once they agreed to Harlow's new look, MGM pulled out all the stops for Riffraff. The picture was shot on location in the tuna canneries near Venice Pier with a cast that featured 42 contract players, more than any other MGM film to that time. In addition to a top supporting cast including Una Merkel, Joseph Calleia and the young Mickey Rooney, they assigned Harlow their most talented new leading man, Spencer Tracy.
Production chief Irving Thalberg had brought in Tracy after Fox fired the star. Nobody else at MGM knew quite what to do with him, but Thalberg was determined to use his dramatic talents in a series of one-of-a-kind roles that would bring prestige to the studio (particularly when he won back-to-back Oscars for Best Actor in 1937 and 1938). But first, Thalberg built Tracy's box-office appeal by teaming him with the studio's top female stars: Myrna Loy in Whipsaw and then Harlow in Riffraff. This was not his first picture with the former platinum blonde, however. During her early years in Hollywood, Harlow had starred with Tracy in a 1931 circus drama called Goldie, whose chief distinction was that it made Harlow the first actress in screen history to have her character referred to as a "tramp."
Though her character in Riffraff ends up in prison, Harlow was far from a tramp now. She and Tracy clicked perfectly shouting insults at each other in the film's comic first half. Then, when things grew more serious, she matched his gritty realism with a subtly de-glamorized portrait of working-class angst.
It would be nice to say that Riffraff was a smash hit that cemented Harlow's new image, but that would have to wait until her next film, Wife Vs. Secretary. Riffraff did respectable business, but audiences were confused by Harlow's new look. The critics admired her attempt at something new, and were particularly complimentary about the picture's working-class atmosphere, but some wanted the old Harlow back. Writing in The New York Times, Frank Nugent said, "It hardly seems fair to subject one of the screen's best comediennes to the rigors of mother love and a husband with an acute social consciousness. With so many Kay Francises around, Metro really should be able to stake off one small section of ground and post it with placards reading, 'Miss Harlow's Plot: No Children Wanted.'"
By Frank Miller[/quote]
Gracias a pranzis por el DVDR:
Ripeo anamórfico
Código: Seleccionar todo
Resolution: 702 x 476
Frame aspect ratio: 351:238 = 1.474789
Pixel aspect ratio: 476:523 = 0.910133
Display aspect ratio: 702:523 = 1.342256 (~4:3)Código: Seleccionar todo
"C:\x264.exe" --preset veryslow --tune film --crf 18.0 --no-chroma-me --level 4.1 --output "C:\mi_ripeo.mkv" "C:\mi_script.avs" --sar 10:11Código: Seleccionar todo
Format : Matroska
Format version : Version 2
File size : 1.02 GiB
Duration : 1h 33mn
Overall bit rate : 1 548 Kbps
Encoded date : UTC 2011-11-15 11:49:30
Writing application : mkvmerge v4.0.0 ('The Stars were mine') built on Jun 6 2010 16:18:42
Writing library : libebml v1.0.0 + libmatroska v1.0.0
Video
ID : 1
Format : AVC
Format/Info : Advanced Video Codec
Format profile : High@L4.1
Format settings, CABAC : Yes
Format settings, ReFrames : 16 frames
Codec ID : V_MPEG4/ISO/AVC
Duration : 1h 33mn
Bit rate : 1 325 Kbps
Width : 702 pixels
Height : 476 pixels
Display aspect ratio : 4:3
Original display aspect ratio : 4:3
Frame rate : 23.976 fps
Color space : YUV
Chroma subsampling : 4:2:0
Bit depth : 8 bits
Scan type : Progressive
Bits/(Pixel*Frame) : 0.165
Stream size : 890 MiB (86%)
Writing library : x264 core 119 r2106 07efeb4
Encoding settings : cabac=1 / ref=16 / deblock=1:-1:-1 / analyse=0x3:0x133 / me=umh / subme=10 / psy=1 / psy_rd=1.00:0.15 / mixed_ref=1 / me_range=24 / chroma_me=0 / trellis=2 / 8x8dct=1 / cqm=0 / deadzone=21,11 / fast_pskip=1 / chroma_qp_offset=-3 / threads=6 / sliced_threads=0 / nr=0 / decimate=1 / interlaced=0 / bluray_compat=0 / constrained_intra=0 / bframes=8 / b_pyramid=2 / b_adapt=2 / b_bias=0 / direct=3 / weightb=1 / open_gop=0 / weightp=2 / keyint=250 / keyint_min=23 / scenecut=40 / intra_refresh=0 / rc_lookahead=60 / rc=crf / mbtree=1 / crf=18.0 / qcomp=0.60 / qpmin=0 / qpmax=69 / qpstep=4 / ip_ratio=1.40 / aq=1:1.00
Language : English
Audio
ID : 2
Format : AC-3
Format/Info : Audio Coding 3
Mode extension : CM (complete main)
Codec ID : A_AC3
Duration : 1h 33mn
Bit rate mode : Constant
Bit rate : 192 Kbps
Channel(s) : 2 channels
Channel positions : Front: L R
Sampling rate : 48.0 KHz
Bit depth : 16 bits
Compression mode : Lossy
Stream size : 129 MiB (12%)
Language : English
Text
ID : 3
Format : UTF-8
Codec ID : S_TEXT/UTF8
Codec ID/Info : UTF-8 Plain Text
Language : English Los subtítulos en inglés son obra de Luís Filipe Bernardes (muchas gracias), resincronizados para este ripeo. El ajuste no es perfecto, necesitan algunas correcciones OCR y de superposición de subtítulos... Nada que no pueda arreglarse durante la traducción, en todo caso
. Subtítulos en inglés en descarga directa, para facilitar la futurible traducción ...----------------------------------------------------
Web oficial del codec x264 (inglés) | Web en español sobre el codec x264
Manual de ripeo con x264 en línea de comandos (español) | Parámetros de codificación (inglés)
Contenedor Matroska (español) | Matroska en wikipedia (español): software de PC compatible, etc.
MKVToolnix, herramientas de edición para matroska (inglés) | Añadir cadenas de audio o subtítulos con MKVToolnix (español)
MKVExtractGui | Manual de extracción de cadenas de audio/vídeo/subtítulos en MKV (español)
