La dama en cuestión (Charles Vidor, 1940) DVDRip Dual SE

[theycame2001]

Merxe, Miguel_Hammerfilms, Theycame2001


THE LADY IN QUESTION (1940)
IMDB


Directed by
Charles Vidor

Writing credits
(in alphabetical order)
Marcel Achard screenplay "Gribouille"
Jan Lustig screenplay "Gribouille" (as H.G. Lustig)
Lewis Meltzer

Cast:

Brian Aherne ... Andre Morestan
Rita Hayworth ... Natalie Roguin
Glenn Ford ... Pierre Morestan
Irene Rich ... Michele Morestan
George Coulouris ... Defense Attorney
Lloyd Corrigan ... Prosecuting Attorney
Evelyn Keyes ... Francois Morestan
Edward Norris ... Robert LaCoste
Curt Bois ... Henri Lurette
Frank Reicher ... President of the Court
Sumner Getchell ... Fat Boy with Bicycle
Nicholas Bela ... Nicholas Farkas

Produced by
B.B. Kahane .... producer

Original Music by
Lucien Moraweck

Cinematography by
Lucien N. Andriot (as Lucien Andriot)

Sinopsis:

Natalie (Rita Hayworth) se ve perjudicada por un enredo judicial siendo acusada de asesinato. La convicción de su inocencia por parte de uno de los miembros del jurado, André (Brian Aherne), logra su absolución. André, compadecido de la joven, le ofrece trabajo en su tienda de bicicletas, pero ella debe adoptar un nombre supuesto, para que su esposa no rehúse. La cosa se complica cuando otro miembro del jurado visita a André en su tienda para convencerle de que se equivocaron en su veredicto. Además, Pierre (Glenn Ford), el hijo de André, está prendado de Natalie, y cree que su padre tiene un lío con ella. (FILMAFFINITY)



A pesar del aburrimiento y hasta mediocridad que rezuma buena parte del metraje de esta película, en lo tocante a la actuación de Rita y Glenn, sólo por ellos ya merece la pena. Lo mismo puede decirse de la actuación de Brian Aherne, que consideró este papel como el más entrañable de su carrera, a pesar de tener películas infinitamente superiores, como "Juarez" (...otra vez Dieterle, 1939), por la que ganó un Óscar.

Era la primera vez que Rita y Glenn actuaban juntos, y su química queda clara desde el primer encuentro: la exhuberancia de Rita combina magníficamente con la sólida astucia de Glenn Ford, que aquí es poco menos que un adolescente. También era la primera vez que Charles Vidor dirigía a Hayworth (la dirigirá en 3 notables ocasiones más en el futuro), y parece que la entendía perfectamente.

El director comentó: "Como no hayas conseguido una buena actuación de Rita en el segundo intento, tienes problemas!"

Se refería a que la actriz no actuaba mediante técnicas interpretativas, basaba sus actuaciones en los sentimientos y pronto quedaba emocionalmente exhausta. Pero al ser siempre ella misma, su mezcla de sensitividad, languidez, melancolía, explosividad y fortaleza le conferían ese aura que el director sabría explotar tan inolvidablemente en "Gilda" (1946). En "The lady in question" dejó bien claro que sabía actuar.

Como diría su primer biógrafo, John Kobal, Rita era un ser humano extremadamente privado. "Si ella hubiese sido estrella en los años 30, la hubiesen etiquetado como "misteriosa"; pero no había lugar para las personalidades misteriosas en los 40..."

...y sin embargo, ella continuaba siendo misteriosa incluso en sus papeles y fotografías más eróticas: por más que parezca que está entregando el cuerpo a la cámara, tras su espléndida sonrisa, el "yo" psicológico parece sumido en la más absoluta reserva. Es imposible saber lo que Virginia Brush ("La pelirroja", 1941), Doña Sol ("Sangre y arena), Gilda o Elsa Bannister ("La dama de Shanghai", 1947) están pensando o tramando...

No es ridículo plantear estas teorías sobre una personalidad cuyo secreto ante la cámara continúa perdurando tantas décadas después, cada vez que uno vuelve a ver una película, a veces insignificante, como "The lady in question", y tampoco es ridículo que todo un Theycame2001 le fabrique unos subtítulos en español, eso sí, con la ayuda del video VOSE que Miguel_Hammerfilms me ha proporcionado.

Completo el post con una extensa y larga entrevista que John Kobal le hizo a una Rita de 55 años al terminar su biografía. No tiene desperdicio, aunque está en inglés. Os la dejo en spoiler y en esta web:

http://www.ritahayworth.com/interviews/

Rita Hayworth Interviews

Spoiler: mostrar

Rita was naturally shy and didn't do many interviews. At the end of John Kobal's biography, Rita Hayworth: Portrait of a Love Goddess, he recalls his interview at her Beverly Hills home in August 1973, when she was 55 years old.

We began by looking through piles of faded yellow stills, taken in her early days at Fox when she was still Rita Cansino.

She fell about laughing, bursting into bubbly shrieks, especially over a session that showed her heavily oiled, wearing an Egyptian head-dress for some publicity stunt comparing her heavily retouched profile to that of Nefertiti, while she was working on Charlie Chan in Egypt. It was typical of the hare-brained ideas publicity departments thought up to keep the company's name and product in the public's eye.

Rita: "They used to do that kind of nonsense when they still had the studio system. Fox, Metro, Warners ... it was their idea of selling a personality. But who'd know that was me if you didn't already know? I wouldn't if my name weren't underneath."

Rita fights back memories, but has forgotten little: the first steps she took as a dancer, the hours and years of hard work it took to create what the public accepted as Rita Hayworth.

"The way the studio sold me, you'd think I popped out of some package, ready made. My father's family were all dancers. I was trained as a dancer since I was four years old. Honey, they had me dancing as soon as they could get me on my feet. It was a family tradition but the reason I had to do it professionally was that we were broke. Very broke. NOTHING." She gives a harsh laugh.

"My brothers became businessmen; they didn't have to rely on a precarious career like dancing or acting. Because it doesn't last long--it's very short-lived money-wise. Forgive me for saying money.

"I was eight when we moved to Los Angeles. My father had a studio on Vine Street and Sunset Boulevard. After my classes were over I had to take care of my two brothers because my family was working.

"So we used to go to the movies. We'd go to the Iris Theatre where they had all the silent movies, because it cost so little--ten cents for kids--and I used to take them and we'd sit there for hours.

"I liked Jeanne Eagels and Ruth Chatterton, and all of those people. I always wanted to stay longer but Vernon and Eddie got angry because they wanted to leave when they got tired of that stuff.

"I wasn't movie-struck but I liked the movies. I never thought at that time that I'd want to go into movies when I grew up, because I was so busy between school and dancing. It must have given me some thought in the back of my mind, like 'that would be interesting' but I never thought of it seriously. We just went to the movies."

You must have been an adorable kid.

Rita (shrieking with laughter): "I don't think I was very adorable."

Were you ever serious about becoming a professional dancer?

"No, never," she says adamantly, her brow knits and the smile vanishes. "I loved to dance but not making a profession out of it. I wanted to be an actress. I guess that's what I wanted to be because I didn't want to be a dancer for the rest of my life--though it came in very useful when I did musicals with Fred Astaire and later on Gene Kelly. I didn't have a choice about what I wanted to be. I'd much rather have gone to school like everybody else.

"I never stopped. I got through with the dancing class; I was still dancing on the way to school, and then back at it again afterwards. Really... wow! It took quite a lot of energy, but I guess I was born and raised to it. So!" She shrugs philosophically.

"When I was dancing with my father in Agua Caliente, I'd have a tutor between shows. I did four shows a day; at noon and at 2 p.m. After that I went back to school for three hours in Santa Monica.

"Then I'd drive back to the club, which was about three hours away and do the ten o'clock and half eleven shows. By the time that was over it was 12:30. We'd get home around 3 a.m. and then I'd have to get up and rehearse. That was the routine.

"I'd also be having to take lessons with my father between rehearsals in the morning and the next show. It was quite a heavy schedule." She laughs to wipe away the moment and refills our glasses.

"Maybe I had a talent for dancing. But they didn't use me much as a dancer in those early films. They put me under one of those stock contracts. It wasn't very much money. I just thought I was learning a trade. A different trade from the one I knew.

"That's how I saw it at the time. I wasn't thinking of doing films in terms of becoming a star. That wasn't the way I thought. I thought, 'I'll have to learn French, learn this, learn that. And I must go there every day, and have teachers... work...' It didn't happen over night. It took a long, long time.

"When I was doing Blood and Sand, and before that Only Angels Have Wings, I was prepared for them because I'd been working the whole time. Then somebody wrote a critique in Time magazine, or somewhere, and they noticed you. So others noticed you.

"But I didn't care much about it because I wasn't bothering with reading them. There was no time to read about yourself, honey, they kept you working the whole time.

"We played in gambling casinos to people who came down from Los Angeles and San Diego to gamble. The places we danced in were like nightclubs, with dinner being served and a floor show in which my father and I did all sorts of Spanish dances and then they went off and gambled.

"I was always busy and when I wasn't busy I was sitting in my dressing room. Growing up takes a lot of time, a lot of care. Discipline from the age of five. People think you just come on and that's all there is to it. It's all work."

Were you upset when you read stories about being the product of a studio?

Rita: "I couldn't let it bother me. What do people care? Because people really DON'T care. Just like this dope on the telephone. They really don't care.

"I had to make up my mind what I was going to do. I thought they--the studios--were going to help me at the time. I would certainly work for a goal. I did that for myself. They didn't have to pick me up and hit me over the head and say, 'You're going to do this.' I did a lot of movies before I made it, bits and small parts.

"I just kept on doing them because it was an experience doing all these things. Whether it was 'Yes' or 'No,' or 'Hello'--'Yes, Mr. Charlie Chan.' 'No, Mr. Charlie Chan'--or whatever, I did it. Like being in the theatre where you start doing all kind of bits, entrances and exits and that sort of stuff. I did all those things.

"I rode on horseback, though I was terrified of them. That was when I was doing westerns. They were something else again. And I did them because that was work, that was my job. So I don't start from the top."

If your father hadn't needed you as his partner, and you had not been seen by Sheehan, do you still think you might have ended up in movies on your own?

Rita: "Oh yes. Because of Spanish dancing, ballet training and all other kinds of dancing I was filled with the kind of music and I suppose the kind of feeling I had--I was full of expression. Movies, or some sort of acting would have been a natural, logical outlet for it. One thing just naturally leads to another."

We spoke of different films she made, some co-stars, some directors. After a little prompting she brought out her own collection of photos of herself in films. She had no private ones, except portraits of her daughters and only a few desultory shots of herself in the film The Happy Thieves with Rex Harrison, and that was it.

She had collected nothing nor was she overly interested in the mementos of her career though it amused her to look through some of the material I had brought with me. Whatever she did collect or treasure in her career it was apparently not something that needed to be bound in books or stashed away in cupboards.

Only a few days earlier one of her fans had left outside her door an enormous collage made up of pictures from her films and had then disappeared without seeing her. She had been touched by the thought, but the collage was stashed in the garage.

The things she valued most were very private and include the marble sculpture of the two hands from the time of her marriage to Aly; it goes where she goes and stands discreetly on a sideboard.

She sometimes emphasised her words with her hand and my eye was caught by a plain gold band on her finger. Later I learned that though she had been presented with, and perhaps still does possess, quite a fine collection of jewellery, except for a plain gold bracelet Aly had given her, she wears almost none.

And so the afternoon slipped by.

The less we spoke about her career, the more she opened up, white wine flowing freely, till at last, talking about theatre, listening to records, Rita was laughing, dancing across the room, and, every so often, humming a few bars from songs written for Cover Girl and Gilda.

By then I refrained from commenting or complimenting, but her voice is gentle, romantic and musical, like her speaking voice. As part of a then current wave of nostalgia an English pop group, The New Vaudeville Band, had recorded a larky thumpy fan letter called "Dear Rita Hayworth."

Yasmin had found it in London and sent it to her mother, and we sat and played it while Rita laughed, and loved it and said, "Wasn't it sweet," and how she'd like to write and tell them but didn't know how to go about it.

The interview was over but Rita Hayworth was on! While we'd been talking it had been possible to forget that I was with her. Now, released from the constraint of remembering the past, her face uncreased, the thought lines cleared, the eyes and lips opened wide to laugh.

When I took my leave she agreed to see me again. I felt the barriers were down. I was wrong--for though we spoke a great deal after that it was always on the phone. I might tell her whom I was going to interview, sometimes she'd comment about someone she'd worked with, but mostly it was chit-chat. We never met again during that trip.

A wariness had returned. Maybe she'd spoken to advisors and was warned off giving too much of herself away for free when her life story could be worth a great deal of money to her. Yet she'd been adamant when she told me she was not interested in a book about herself, that she really didn't care, and that she would never write a book about her life because it was her life not somebody else's and nobody else's business.

"I've had enough of that, honey," she had concluded one of our talks. And one believes her. I hoped mine would be a book she could be proud of.

"Honey, I just hope it makes some money," she had replied, not unkindly. Then she apologised shyly for mentioning money.

Inevitably, the more I listened, the more I arrived at the same conclusion as a lot of her friends and co-workers: Rita is an intensely shy, self-deprecating and exceedingly private being. Had she been a star in the 'thirties they'd have described her as "mysterious."

There was no room for mystery in the 'forties. They wanted extroverts--creatures of fun and spontaneity whom audiences could take as they found them. They demanded physical not spiritual gods and goddesses and the studio propelled Rita into that mould.

But her real fascination rested in her silence. The camera understood that, and so did some of the men behind it, sometimes. Her silence puzzled some and brought others back. What really went on behind that mask? Maybe, as Rouben Mamoulian had said, Rita's mystery is like that of the Sphinx. The secret may be that there is no secret.

Or perhaps a clue lies buried in the present she got from one husband, The Lady from Shanghai. Whatever the answer, the camera has been her true lover.

It was late in the afternoon and the hot August sun was shining in her garden and through the glass, creating a blinding wall of light with Rita in the centre as she waved goodbye from her doorstep.

Because of the trick played by the light she looked like a figure carved in fire; the copper hair and the orange kaftan melted into a fiery gold and her face was masked in shadows. But her cheeks glistened because she was smiling and caught the reflection of light on the top. If I'd willed it as a parting shot, it couldn't have been improved on. Or maybe it only looked like a scene from a film because that's what the small Canadian boy wanted it to be. Maybe both.

Driving back down the canyon roads, feeling pleased to have gotten through to Rita and patting my little cassette recorder as if it could respond with a shared satisfaction, I thought about Rita now, and then as she was in Gilda. It's a curious feeling. Rita Hayworth had been someone I had known all my life but only just met. I remembered something she'd said speaking about her "image."


"Yes, the image was very strong. It's like a.... [but she didn't finish the sentence]. They forget the humanity of a person. They think of you as a thing. It's all so overblown. It's very difficult. I've been married. I've had two girls. But everything is so overblown.... [and again the sentence loses itself in a tense, unhappy silence]. I was certainly a well-trained dancer. I'm a good actress: I have depth. I have feeling. But they don't care. All they want is the image."

Several years after we met, I was back home struggling to start writing this book and avoiding the inevitable by thinking of a title. For personal reasons I didn't want to use just her name, though anybody reading her name on a dust jacket would, even without a picture, know who was meant.

There had been suggestions. Some I discarded because in the cold light on a clean sheet they seemed mercenary or cruel or too simple or not simple enough. So--Cover Girl, Human Cargo, You Were Never Lovelier, and similar titles were discarded. Others became chapter headings.

Then I remembered the article that had resulted in the commission for this book called The Time, The Place and The Girl--the title of a popular 'forties song and film. I felt it summed up what I wanted this Rita Hayworth biography to be about. I was so enthusiastic about my choice that I put off starting to write for another day and, instead, made a transatlantic call to tell Rita.

Her answering service was still asking me to spell my name and I was counting the pennies when Rita broke in with a happy "Hi!"

It was ten thirty a.m. in California, and she had just finished her daily exercises when she heard the 'phone and came from the garden to answer.

We exchanged pleasantries and spoke about my discovery of her family crest, a copy of which I'd sent her; she sounded happy, very friendly and interested, and then I told her the reason for my call. What did she think of Rita Hayworth: The Time, The Place and The Girl?

"Oh, yeah...." she said, "Yes, that sounds all right,
John."

Through the fog that accompanies long-distance calls I thought I detected a hesitation.

"You sure you like it?" I prompted, then quickly told her why I did and she said, "Yeah, that's fine, John, just... how about... if it's all right with you, changing it to The Woman? You know, The Time, The Place and The Woman."

In my head was the lilt of a lyric that was now the title of my book. "Okay, that's fine with me, Rita. If you like that better that's fine."

"It's just," said Rita, with a half apologetic little laugh as she said it, "I was never a girl."

CAPTURAS:




Datos:

Código: Seleccionar todo

Tamaño: 1.05 Gb 
Duracion: 01:16:32 
Vídeo codec: Xvid (doble pasada) 
Resolución: 624 x 464 Bitrate: 1765 Kbps. Qf: 0.24 
Audio codec: Castellano-Inglés Cbr mp3 
Bitrate Castellano/Inglés: 48000Hz 96 kb/s total (1 chnls) 
Subtítulos : no trae 
Compatible con reproductores de sobremesa. 

ENLACES:

Por una vez, el dvd español de esta peli es pasable, pero el doblaje es muy malo y sólo traía subtítulos en portugués. Muchos os animaréis ahora a ver esta peli con las jóvenes voces originales de estos dos mitos. El DVDRip dual de Merxe es tan bueno como siempre, y como ya dije, los subtítulos los extraje de un video VOSE cedido por Miguel_Hammerfilms.

La dama en cuestion.(DvdRip-Dual).(Xvid-Mp3).(EliteClasicos.com).merxe.avi

Subtítulos portugueses, descarga directa.
Subtítulos españoles, descarga directa.

Otros videos en DXC:

viewtopic.php?f=1002&t=47459&hilit=vidor+1940

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Gracias... Theycame2001