Ronnie en KG
Private Worlds (1935)
Mundos privados
Director: Gregory La Cava
Guión: Lynn Starling, Gregory La Cava, Gladys Unger, basada en la novela de Phyllis Bottome
Productor: Walter Wanger
Director de fotografía: Leon Shamroy (B/W)
Música: Heinz Roemheld
País: EE.UU.
Duración: 84 minutos
B/N
Reparto:
Claudette Colbert, Charles Boyer, Joan Bennett, Helen Vinson, Joel McCrea, Jean Rouverol, Esther Dale, Guinn 'Big Boy' Williams, Dora Clement, Sam Godfrey, Samuel S. Hinds, Theodore von Eltz, Stanley Andrews, Maurice Murphy, Eleanore King, Irving Bacon, Julian Madison, Harry C. Bradley, Leila McIntyre, Nick Shaid, Arnold Gray, Monte Vandergrift, Bess Flowers
https://www.imdb.com/title/tt0026893/
Sinopsis y comentarios:
La doctora Jane Everest (Colbert) trabaja en una psiquiátrico junto a el doctor Alex McGregor (McCrea), al que está muy unida, tanto a él como a su esposa Sally (Bennett). Alex espera ser nombrado director del centro, pero sus sueños se desvanecen cuando le dan el puesto al doctor Charles Monet (Boyer), un extranjero con ideas anticuadas y manipulado constantemente por su hermana Claire (Vinson), quien no tardará en intentar seducir a Alex... (FILMAFFINITY)
James Mason dixit:
Review:
The most avid classic film enthusiasts all have something in common: they can’t tell you how many times they’ve gnashed their teeth upon visiting IMDb and reading this dreaded phrase concerning a sought-after film:
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since.
Such is the case with the 1935 film Private Worlds, starring Claudette Colbert, Charles Boyer, Joel McCrea, and Joan Bennett. With such a cast it is easy to understand why Private Worlds would be in demand — even more so for a devotee of the Academy Awards like me: Claudette Colbert earned a Best Actress nomination for her work in the film. Many of these 700 films were shown regularly by American Movie Classics back in its heyday, when host Bob Dorian offered the Pepsi to Robert Osbourne’s Coca-Cola across the dial at Turner Classic Movies.
And although AMC, thanks to Mad Men and other original television programs, has redeemed itself in the eyes of many, it still stings that their rather broad idea of an “American Movie Classic” starts and stops with pictures like Steven Seagal’s Marked for Death.
Those of you with a long memory may recall that in the wake of their format change, AMC attempted to spin out a new network, AMC’s Hollywood Classics, that would have maintained their original format, but the channel never materialized. Maybe such a venture is once again possible? I don’t know the ins and outs of cable television, but it’s surprising to me given the phenomenal success of TCM, that there isn’t room for AMC to somehow return to its roots and rebroadcast their vintage film library. Certainly with the ever-growing number of super-specialized networks doing business today there has to be room for another classic film outlet. If nothing else, why not cut a streaming deal with Netflix? Until then, anyone in search of such a film has to do just that: search. Doing so led me to purchase a bootleg copy of Private Worlds from the web, as I have often done in the past. The quality is universally poor, and the running time are almost always a minute or two shy of what’s listed on IMDb — but the films are watchable and, at least, available.
Without actually seeing the film it would be easy to dismiss Private Worlds as merely a romantic melodrama set in a mental hospital (the poster certainly suggests as much), but there is much more happening in the movie to make it worth seeking out. Here’s the story in a nutshell: Claudette Colbert plays Dr. Jane Everest, a psychiatrist in charge of the male ward at The Brentwood clinic, a progressive mental hospital. Her partner is Dr. Alex MacGregor (Joel McCrea), with whom she has partnered for many years. Despite their professional relationship the pair are not involved romantically — MacGregor is already married to Sally (Joan Bennett), an innocent and trusting girl who adores Jane and trusts Alex — until he gives here reason not to, while Jane pines for a love lost during the first world war. Things begin to go awry when a new hospital superintendant is appointed: Dr. Monet (Charles Boyer) who arrives with his sister Claire (Helen Vinson) in tow and begins to shake things up at the hospital. Monet believes there is no place for a woman in the upper echelons of the medical profession, and banishes Jane to the outpatient clinic. Claire is attracted to Alex, and easily pulls him in her direction, while Sally gradually becomes unglued. The consequences of Alex’s transgressions with Claire are the source of much of the film’s dramatic tension, and the final few reels are concerned with all of these entanglements sorting themselves out, with Colbert’s Jane the driving force behind everything.
Based on the novel by Phyllis Bottome (who more famously wrote the book that became the film The Mortal Storm), the film boasts the sort of meticulously interwoven plotting often found in book-to-movie-translations. The script itself is well constructed and progressive. Long before there are any notions of romance we are taken on a semi-documentary-style guided tour of the mental facility and shown firsthand exactly how well Colbert’s character knows her business. Colbert’s Jane Everest is a surprisingly modern breath of fresh air: She’s intelligent, witty, professional, and most importantly, respected as a superior physician by all of her male counterparts — even Boyer’s Monet, in his own time. She stands out against the stereotypically feminine and clichéd constructions of the movie’s other three women: Sally, the clinging and naïve wife; Claire, the manipulative and selfish home wrecker; and the dour, old-fashioned ward matron (Esther Dale), who rails against Jane’s presence in the hospital as anything other than a nurse. The film works hard to break various commonly held beliefs about mental institutions and the mentally ill, with entire scenes (and one character) dedicated to debunking myths. In a key moment that really typifies the movie’s point of view, McCrea’s character says, “I find very little difference between sanity and insanity.”
Gregory La Cava, who did most of his directorial work during the silent era (though he helmed such well remembered movies as My Man Godfrey and Stage Door, among others), does a fine job with this material. One scene in particular stands out and demonstrates how tight the narrative of the film is: early on we are introduced to two of Brentwood’s patients, a muscular man named Jerry who likes to see everything that is happening on the ward, and an dying, bed-ridden old man who murmurs constantly to himself in an unknown language. Late one night, shortly after joining the staff, Dr. Monet is called to the ward, where he looks in on the old man. He tells the nurse that the man is speaking Arabic and merely wants someone to pray for him. Dr. Monet grants the request, but not before placing screens around the gurney in an effort to spare the dying man’s dignity. This infuriates Jerry, who springs from his bed and attacks Monet, seconds after the old man finally succumbs. Jane, just entering the scene, shouts a warning just as Jerry attacks the doctor. The two men struggle while the other patients shout encouragement. La Cava’s camera pans in both directions and zooms in and out on the leering faces of the disturbed patients, as the soundtrack becomes a cacophony of screams and cackles. Combined with the near pitch-black setting the scene takes on an expressionistic feel very much out of character with other domestic films of the time. It’s a visually striking scene that reinforces the notion that Colbert’s Everest understands and manages the patients on the ward to a greater extent than her male counterparts, yet also softens the viewer’s impression of Boyer’s Monet. It culminates a few subtle instances of earlier foreshadowing and punctuates the middle of the film.
Admittedly, as much as I liked Private Worlds, it has its share of flaws. In general, it sells out too much to melodrama in its second half, but given the period and the mood of depression-era audiences it is difficult to hold it against the film. We are asked to accept American actress Helen Vinson as Charles Boyer’s sister, yet are given no explanations as to their vastly different accents. Colbert’s Jane Everest is a little too perfect as well. Self-sacrificing, medically infallible, even angelic at times (if it helps, it’s very easy to imagine Loretta Young in this part), it would have been nice if Colbert had been allowed to be a little more human here — again understandable given the movie’s goal of showing that a female doctor could hold her own, even thrive, in a male-dominated profession. Nonetheless this is a sparkling mid-thirties film that deserves to be seen again.
-- Mark Fertig (Cin-Eater).
Capturas:
Datos técnicos:
Los subtítulos son los subidos por un tal anonymous a Open. Presumiblemente extraídos del DVDRip que yo mismo hice en su momento. Dado que me ha costado sincronizarlos, al ir haciéndolo por tramos he visto el problema: faltaba metraje y líneas y había 2 cortes. Lo de siempre, vamos. Desconozco si porque cuando se procedió al transfer dvddiano se partió de la copia noventera televisiva (y que algún ripper tuvo a bien subir, corte de anuncios incluídos...) o por censura. He empalmado y añadido el material faltante y de paso les he pegado un repasillo...
Enjoy.
Enlace emuliano:
ed2k://|file|Private%20worlds%20(Gregory%20La%20Cava,%201935)%20Eng(upgrade).mkv|1374818766|38DF252699C42440744C3B6224315430|h=MYPEHNQGKRCCGF6OQMM726PDPUOAGYKH|/ 
Subtitulos en español en descaragarga directa:
https://www.subdivx.com/X6XNjIxNTA5X-pr ... -1935.html
Private Worlds (1935)
Mundos privados
Director: Gregory La Cava
Guión: Lynn Starling, Gregory La Cava, Gladys Unger, basada en la novela de Phyllis Bottome
Productor: Walter Wanger
Director de fotografía: Leon Shamroy (B/W)
Música: Heinz Roemheld
País: EE.UU.
Duración: 84 minutos
B/N
Reparto:
Claudette Colbert, Charles Boyer, Joan Bennett, Helen Vinson, Joel McCrea, Jean Rouverol, Esther Dale, Guinn 'Big Boy' Williams, Dora Clement, Sam Godfrey, Samuel S. Hinds, Theodore von Eltz, Stanley Andrews, Maurice Murphy, Eleanore King, Irving Bacon, Julian Madison, Harry C. Bradley, Leila McIntyre, Nick Shaid, Arnold Gray, Monte Vandergrift, Bess Flowers
https://www.imdb.com/title/tt0026893/
Sinopsis y comentarios:
La doctora Jane Everest (Colbert) trabaja en una psiquiátrico junto a el doctor Alex McGregor (McCrea), al que está muy unida, tanto a él como a su esposa Sally (Bennett). Alex espera ser nombrado director del centro, pero sus sueños se desvanecen cuando le dan el puesto al doctor Charles Monet (Boyer), un extranjero con ideas anticuadas y manipulado constantemente por su hermana Claire (Vinson), quien no tardará en intentar seducir a Alex... (FILMAFFINITY)
James Mason dixit:
James Mason escribió: ↑Lun 09 Jul, 2007 00:14Para mi querida compañera y paisana Montypa
Leo McCarey y Gregory La Cava son dos directores que abordaron, a lo largo de su trayectoria cinematográfica, práctica y exclusivamente, dos géneros: La Comedia y El Melodrama. Y ambos tendieron, en sus películas, a fusionar ambos géneros, de tal modo que un buen puñado de sus películas son difíciles de definir o decantar hacia uno u otro lado (An affair to remember, Once Upon a Honeymoon…Stage Door, Fifth Avenue Girl, Ansia de amor…), pero también se podría decir casi lo mismo de Leisen, si no fuera porque este trabajó otros géneros (noir, aventuras, thriller)….
Gregory La Cava es un director único en la historia del cine. Su estilo se podría decir que está en las antítesis del de Hitchcock, por ejemplo. Y es que La Cava fue famoso por su improvisación, por su falta de preparación de las escenas, por su espontaneidad a la hora de establecer la planificación de una película (realmente, parece que la planificación no existía en su diccionario de uso cotidiano…).
Private worlds pertenece a ese tipo de películas en las que se trata de apoyar o reflejar esa labor sorda de una determinada serie de personas dedicadas a una actividad profesional, y mas concreto a la medicina. Esto en los años treinta se traduce en películas como Green Light, Disputed Passage, ambas de Frank Borzage, La melodía de la vida y Private worlds, de Gregory La Cava, La ciudadela, de King Vidor, o utilizando una figura histórica para crear un biopic: La tragedia de Louis Pasteur, de Dieterle
El tema principal de Private Worlds es pues el mundo de la medicina, la psiquiatría para ser mas exactos. El propio director parece ser que estuvo muy interesado en llevar a cabo esta obra debido a que él mismo, poco antes, había recurrido a los servicios de profesionales en este sector para superar algunos problemas… que luego se recrudecerían y terminarían con su carrera, principalmente su inclinación hacia el alcoholismo…
Decir también que Private Worlds, es un antecedente claro de The cowbed, de Minnelli y tampoco voy a hablar mucho de la película, ahora no tengo muchas bases ya que mi visión sobre ella es antigua, aunque siempre me pareció un gran melodrama. Dejo que lo hagan otras personas y a sus palabras me remito:
En el número 210 de la Revista Dirigido Por, en un pequeño estudio sobre el director, Carlos F. Heredero decía, para definir el estilo de La Cava:
“El tópico mas extendido, que se repite una y otra vez en los escasos textos dedicados a La Cava, remite continuamente a la improvisación y amplifica su alcance hasta el desafió que Frank Capra relataba en sus memorias para hablar del admirado colega: …”fue un defensor extremo de la improvisación de escenas en el plató. Dotado de una manera fértil y brillante, y de un ingenio fulgurante, proclamó que era capaz de hacer películas sin guión”…El origen de esta leyenda se puede rastrear atendiendo a su forma de relacionarse con los actores: Su teoría, según cuenta Allan Scoth (guionista), “era que si los actores tenían el guión con mucha antelación, perdería su frescura. Literalmente, el día del rodaje estaríamos en nuestra caravana con su secretaria de toda la vida, con todas las versiones del guión que yo había escrito y con las notas que él había esparcido alrededor; el dictaría lo que le gustaba de mis escenas, anotándolas como le pareciera. Entonces la secretaria pasaría a máquina las copias necesarias, se les entregaría el guión a los actores y en una hora estaríamos rodando” “Como también ocurre en el cine de Leo McCarey, el estilo visual de La Cava resulta un tanto inasible y secreto; por su pudor y funcionalidad, por su extrema habilidad para plegarse humildemente a las demandas de la narración y de las situaciones, por su versatilidad elegante y por la sutil ironía que destilan muchas de sus soluciones. En el fondo de sus mejores logros, en el diapasón de sus chispeantes screwball comedies, palpita una rara mezcla de espontaneidad y anarquía individualista no muy lejana a la de McCarey….”
En el libro que Tony Partearroyo coordinó para la Filmoteca Española, Manuel Vidal Estevez escribía sobre Mundos privados:
“En Private Worlds, la política no sólo es referente de un buen número de diálogos, sino que preside el comportamiento y la actitud de los personajes. Esta es una película que sorprende por su laconismo y densidad, algo así como la quintaesencia de la habilidad de La Cava para mantenerse equidistante de mundos radicalmente opuestos…De esta manera, Private Worlds se convierte en uno de los primeros tratados cinematográficos –si no el primero- sobre la dualidad del ser humano. En ella, la locura se nos presenta nada más que cómo el componente “otro” de lo mismo. La línea divisoria entre la cordura y la locura no es una tenue línea de sombra susceptible de ser cruzada en función sólo de una oportunidad que lo propicie. La única diferencia entre los médicos y sus pacientes, es, como señala la doctora Everest (Claudette Colbert), que éstos “han ido tan lejos en sus mundos privados que no saben volver”.
Aquí está la esencia de Lilith, de Rossen, o de Sock corridor, de Fuller
En el mismo libro, Santos Zunzunegui escribe:
“…puede decirse que se ensaya, masivamente, en un film tan apropiado para ello como es Private worlds en el que el entorno del hospital pisquiátrico se presta admirablemente para su despliegue. Aunque la película se centra (con la excepción del personaje de Carrie Fint) en el mundo de los médicos y las enfermeras y sus correspondientes conflictos amorosos y profesionales, trasplanta a este terreno la idea de las determinaciones psíquicas que constituyen la materia prima de su trabajo con los pacientes. De esta manera se trata una rigurosa y sutil línea de continuidad entre las dos comunidades que conviven en el Brentwood Hospital sin necesidad de producir el estereotipado discurso sobre la fragilidad de los límites entre razón y locura”.
Review:
The most avid classic film enthusiasts all have something in common: they can’t tell you how many times they’ve gnashed their teeth upon visiting IMDb and reading this dreaded phrase concerning a sought-after film:
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since.
Such is the case with the 1935 film Private Worlds, starring Claudette Colbert, Charles Boyer, Joel McCrea, and Joan Bennett. With such a cast it is easy to understand why Private Worlds would be in demand — even more so for a devotee of the Academy Awards like me: Claudette Colbert earned a Best Actress nomination for her work in the film. Many of these 700 films were shown regularly by American Movie Classics back in its heyday, when host Bob Dorian offered the Pepsi to Robert Osbourne’s Coca-Cola across the dial at Turner Classic Movies.
And although AMC, thanks to Mad Men and other original television programs, has redeemed itself in the eyes of many, it still stings that their rather broad idea of an “American Movie Classic” starts and stops with pictures like Steven Seagal’s Marked for Death.
Those of you with a long memory may recall that in the wake of their format change, AMC attempted to spin out a new network, AMC’s Hollywood Classics, that would have maintained their original format, but the channel never materialized. Maybe such a venture is once again possible? I don’t know the ins and outs of cable television, but it’s surprising to me given the phenomenal success of TCM, that there isn’t room for AMC to somehow return to its roots and rebroadcast their vintage film library. Certainly with the ever-growing number of super-specialized networks doing business today there has to be room for another classic film outlet. If nothing else, why not cut a streaming deal with Netflix? Until then, anyone in search of such a film has to do just that: search. Doing so led me to purchase a bootleg copy of Private Worlds from the web, as I have often done in the past. The quality is universally poor, and the running time are almost always a minute or two shy of what’s listed on IMDb — but the films are watchable and, at least, available.
Without actually seeing the film it would be easy to dismiss Private Worlds as merely a romantic melodrama set in a mental hospital (the poster certainly suggests as much), but there is much more happening in the movie to make it worth seeking out. Here’s the story in a nutshell: Claudette Colbert plays Dr. Jane Everest, a psychiatrist in charge of the male ward at The Brentwood clinic, a progressive mental hospital. Her partner is Dr. Alex MacGregor (Joel McCrea), with whom she has partnered for many years. Despite their professional relationship the pair are not involved romantically — MacGregor is already married to Sally (Joan Bennett), an innocent and trusting girl who adores Jane and trusts Alex — until he gives here reason not to, while Jane pines for a love lost during the first world war. Things begin to go awry when a new hospital superintendant is appointed: Dr. Monet (Charles Boyer) who arrives with his sister Claire (Helen Vinson) in tow and begins to shake things up at the hospital. Monet believes there is no place for a woman in the upper echelons of the medical profession, and banishes Jane to the outpatient clinic. Claire is attracted to Alex, and easily pulls him in her direction, while Sally gradually becomes unglued. The consequences of Alex’s transgressions with Claire are the source of much of the film’s dramatic tension, and the final few reels are concerned with all of these entanglements sorting themselves out, with Colbert’s Jane the driving force behind everything.
Based on the novel by Phyllis Bottome (who more famously wrote the book that became the film The Mortal Storm), the film boasts the sort of meticulously interwoven plotting often found in book-to-movie-translations. The script itself is well constructed and progressive. Long before there are any notions of romance we are taken on a semi-documentary-style guided tour of the mental facility and shown firsthand exactly how well Colbert’s character knows her business. Colbert’s Jane Everest is a surprisingly modern breath of fresh air: She’s intelligent, witty, professional, and most importantly, respected as a superior physician by all of her male counterparts — even Boyer’s Monet, in his own time. She stands out against the stereotypically feminine and clichéd constructions of the movie’s other three women: Sally, the clinging and naïve wife; Claire, the manipulative and selfish home wrecker; and the dour, old-fashioned ward matron (Esther Dale), who rails against Jane’s presence in the hospital as anything other than a nurse. The film works hard to break various commonly held beliefs about mental institutions and the mentally ill, with entire scenes (and one character) dedicated to debunking myths. In a key moment that really typifies the movie’s point of view, McCrea’s character says, “I find very little difference between sanity and insanity.”
Gregory La Cava, who did most of his directorial work during the silent era (though he helmed such well remembered movies as My Man Godfrey and Stage Door, among others), does a fine job with this material. One scene in particular stands out and demonstrates how tight the narrative of the film is: early on we are introduced to two of Brentwood’s patients, a muscular man named Jerry who likes to see everything that is happening on the ward, and an dying, bed-ridden old man who murmurs constantly to himself in an unknown language. Late one night, shortly after joining the staff, Dr. Monet is called to the ward, where he looks in on the old man. He tells the nurse that the man is speaking Arabic and merely wants someone to pray for him. Dr. Monet grants the request, but not before placing screens around the gurney in an effort to spare the dying man’s dignity. This infuriates Jerry, who springs from his bed and attacks Monet, seconds after the old man finally succumbs. Jane, just entering the scene, shouts a warning just as Jerry attacks the doctor. The two men struggle while the other patients shout encouragement. La Cava’s camera pans in both directions and zooms in and out on the leering faces of the disturbed patients, as the soundtrack becomes a cacophony of screams and cackles. Combined with the near pitch-black setting the scene takes on an expressionistic feel very much out of character with other domestic films of the time. It’s a visually striking scene that reinforces the notion that Colbert’s Everest understands and manages the patients on the ward to a greater extent than her male counterparts, yet also softens the viewer’s impression of Boyer’s Monet. It culminates a few subtle instances of earlier foreshadowing and punctuates the middle of the film.
Admittedly, as much as I liked Private Worlds, it has its share of flaws. In general, it sells out too much to melodrama in its second half, but given the period and the mood of depression-era audiences it is difficult to hold it against the film. We are asked to accept American actress Helen Vinson as Charles Boyer’s sister, yet are given no explanations as to their vastly different accents. Colbert’s Jane Everest is a little too perfect as well. Self-sacrificing, medically infallible, even angelic at times (if it helps, it’s very easy to imagine Loretta Young in this part), it would have been nice if Colbert had been allowed to be a little more human here — again understandable given the movie’s goal of showing that a female doctor could hold her own, even thrive, in a male-dominated profession. Nonetheless this is a sparkling mid-thirties film that deserves to be seen again.
-- Mark Fertig (Cin-Eater).
Capturas:
Datos técnicos:
- Spoiler: mostrar
Los subtítulos son los subidos por un tal anonymous a Open. Presumiblemente extraídos del DVDRip que yo mismo hice en su momento. Dado que me ha costado sincronizarlos, al ir haciéndolo por tramos he visto el problema: faltaba metraje y líneas y había 2 cortes. Lo de siempre, vamos. Desconozco si porque cuando se procedió al transfer dvddiano se partió de la copia noventera televisiva (y que algún ripper tuvo a bien subir, corte de anuncios incluídos...) o por censura. He empalmado y añadido el material faltante y de paso les he pegado un repasillo...
Enjoy.
Enlace emuliano:
ed2k://|file|Private%20worlds%20(Gregory%20La%20Cava,%201935)%20Eng(upgrade).mkv|1374818766|38DF252699C42440744C3B6224315430|h=MYPEHNQGKRCCGF6OQMM726PDPUOAGYKH|/ Subtitulos en español en descaragarga directa:
https://www.subdivx.com/X6XNjIxNTA5X-pr ... -1935.html
