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WHEN A MAN LOVES (1927)
(LOS AMORES DE MANON)
DIRECTOR
Alan Crosland
GUIÓN
Bess Meredyth adaptándo la novela de Abbé Prévost "L'Histoire du Chevalier des Grieux et de Manon Lescaut"
CAST
John Barrymore ... Chevalier Fabien des Grieux
Dolores Costello ... Manon Lescaut
Warner Oland ... André Lescaut
Sam De Grasse ... Comte Guillot de Morfontaine
Holmes Herbert ... Jean Tiberge
Stuart Holmes ... Louis XV - King of France
Bertram Grassby ... Le Duc de Richelieu
Tom Santschi ... Captain of Convict Boat
Myrna Loy ... Convict behind Manon (uncredited)
MÚSICA ORIGINAL
Henry Hadley
FOTOGRAFIA
Byron Haskin
SINOPSIS
[quote]In eighteenth century France, the innocent young Manon Lescaut, who is planning to enter a convent, remains unaware that her dissolute card-sharp brother Andre has sold her to the Comte de Morfontaine. The Chevalier Fabien des Grieux, a young seminary student, overhears the conversation and steals Manon away to Paris. The couple lives in poverty until Manon’s brother finds her and blackmails her into leaving de Grieux for Morfontaine. When the heartbroken de Grieux hears word of Manon’s life with the old Morfontaine in his gambling establishment and house of ill repute, he pays a visit to see the truth for himself, eventually sparking a fateful confrontation between himself, Morfontaine, and even King Louis XV[/quote]
CURIOSIDADES
[quote]
The same winning combination responsible for Don Juan-star John Barrymore, director Alan Crosland and screenwriter Bess Meredyth, once more aligned their talents for When a Man Loves. This adaptation of the classic novel and opera Manon Lescaut has been slightly rearranged to make the titular heroine (played by Barrymore's future wife Dolores Costello) a secondary figure and to place the emphasis on the male lead, Chevalier Fabian (Barrymore, of course). The luckless Manon is sold into a life of prostitution by her no-good brother Andre (Warner Oland). Servicing only the wealthiest and most influential men in Paris, Manon decides to chuck it all when she falls in love with the dashing Chevalier. But Manon waits too long to abandon her much-older "protector," the Count de Montfontaine (Sam De Grasse),and both hero and heroine suffer as a result. The final scenes find Manon and the Chevalier banished to the penal colony in New Orleans, where they experience a rather more positive denouement than the luckless lovers of the original Manon Lescaut. Among the "fallen women" shipped to New Orleans with Manon in the last reel is a young Myrna Loy. ~ Hal Erickson @allmovie.com
When a Man Loves (1927) was the third installment of John Barrymore’s major three-picture contract with Warner Brothers. Fresh from his controversial, but largely well-reviewed stage production of Hamlet, he starred in Warner’s film adaptation of Beau Brummel (1924) before his three big pictures with the studio: a Hollywoodized version of Moby Dick (1926) entitled The Sea Beast (1926), Don Juan (1926) and, lastly, When a Man Loves. He discovered the 20 year-old Pittsburgh-born actress Dolores Costello while reviewing the screen tests for The Sea Beast, was immediately attracted to her, and the couple later married. While her two John Barrymore vehicles (The Sea Beast and When a Man Loves) were not her first major roles, they did help propel her to stardom.
The source material for When a Man Loves was The Story of Chevalier des Greiux and Manon Lescaut, the 1731 novel by the Abbe Antoine Francois Prevost. Its melodramatic storyline makes it well-suited for opera, and it, in fact, has been adapted no less than four times: by Daniel-Francois-Esprit Auber (1856), Jules Massenet (1884), Giacomo Puccini (1893), and by Hans Werner Henze in Boulevard Solitude (1952), a provocative contemporary working complete with prostitutes and drug addicts. The novel was initially banned in France, though it was widely circulated in pirated editions and later published officially in a somewhat expurgated version. The second part of the novel, it should be noted, is set in New Orleans and the wilds of Louisiana; When a Man Loves, which is really better appreciated as a free treatment of Prevost’s story than an adaptation per se, ends just at the point of arrival to the New World, giving the story a more optimistic flavor. But what the film may lack in literal fidelity to the novel it more than amply compensates with a vivid cast (who can forget Warner Oland as the dissolute brother?) and lavish production design.
The print being broadcast on TCM was restored by the UCLA Film and Television Archive and the George Eastman House and includes its original Vitaphone score. The first commercially viable synchronized sound process, Vitaphone linked the film projector to a large phonograph disc containing the soundtrack. It had obvious technical limitations in terms of maintaining synchronization with the projector throughout a film’s running time--skipping records were not infrequent--but its recorded sound had superior fidelity compared to early sound-on-film processes, and its amplification system worked well for large auditoriums. The similarly lavish Barrymore vehicle Don Juan (1926) was the first feature film to use the Vitaphone process, though in that film--as with When a Man Loves--it was used not to add synchronized dialogue but rather to provide an economical and standardized form of orchestral accompaniment and selected sound effects. As one can hear in this restored version of When a Man Loves, it reproduced music surprisingly well. Only with The Jazz Singer (1927), also directed by industry veteran Alan Crosland, did Warner Brothers begin to use the Vitaphone process to synchronize spoken dialogue in a feature film.
[/quote]
DETALLES TÉCNICOS
CAPTURAS
E-LINK
When a man loves (Alan Crosland, 1927) SATRip.avi 
INFO
IMDB
WHEN A MAN LOVES (1927)
(LOS AMORES DE MANON)
DIRECTOR
Alan Crosland
GUIÓN
Bess Meredyth adaptándo la novela de Abbé Prévost "L'Histoire du Chevalier des Grieux et de Manon Lescaut"
CAST
John Barrymore ... Chevalier Fabien des Grieux
Dolores Costello ... Manon Lescaut
Warner Oland ... André Lescaut
Sam De Grasse ... Comte Guillot de Morfontaine
Holmes Herbert ... Jean Tiberge
Stuart Holmes ... Louis XV - King of France
Bertram Grassby ... Le Duc de Richelieu
Tom Santschi ... Captain of Convict Boat
Myrna Loy ... Convict behind Manon (uncredited)
MÚSICA ORIGINAL
Henry Hadley
FOTOGRAFIA
Byron Haskin
SINOPSIS
[quote]In eighteenth century France, the innocent young Manon Lescaut, who is planning to enter a convent, remains unaware that her dissolute card-sharp brother Andre has sold her to the Comte de Morfontaine. The Chevalier Fabien des Grieux, a young seminary student, overhears the conversation and steals Manon away to Paris. The couple lives in poverty until Manon’s brother finds her and blackmails her into leaving de Grieux for Morfontaine. When the heartbroken de Grieux hears word of Manon’s life with the old Morfontaine in his gambling establishment and house of ill repute, he pays a visit to see the truth for himself, eventually sparking a fateful confrontation between himself, Morfontaine, and even King Louis XV[/quote]
CURIOSIDADES
[quote]
The same winning combination responsible for Don Juan-star John Barrymore, director Alan Crosland and screenwriter Bess Meredyth, once more aligned their talents for When a Man Loves. This adaptation of the classic novel and opera Manon Lescaut has been slightly rearranged to make the titular heroine (played by Barrymore's future wife Dolores Costello) a secondary figure and to place the emphasis on the male lead, Chevalier Fabian (Barrymore, of course). The luckless Manon is sold into a life of prostitution by her no-good brother Andre (Warner Oland). Servicing only the wealthiest and most influential men in Paris, Manon decides to chuck it all when she falls in love with the dashing Chevalier. But Manon waits too long to abandon her much-older "protector," the Count de Montfontaine (Sam De Grasse),and both hero and heroine suffer as a result. The final scenes find Manon and the Chevalier banished to the penal colony in New Orleans, where they experience a rather more positive denouement than the luckless lovers of the original Manon Lescaut. Among the "fallen women" shipped to New Orleans with Manon in the last reel is a young Myrna Loy. ~ Hal Erickson @allmovie.com
When a Man Loves (1927) was the third installment of John Barrymore’s major three-picture contract with Warner Brothers. Fresh from his controversial, but largely well-reviewed stage production of Hamlet, he starred in Warner’s film adaptation of Beau Brummel (1924) before his three big pictures with the studio: a Hollywoodized version of Moby Dick (1926) entitled The Sea Beast (1926), Don Juan (1926) and, lastly, When a Man Loves. He discovered the 20 year-old Pittsburgh-born actress Dolores Costello while reviewing the screen tests for The Sea Beast, was immediately attracted to her, and the couple later married. While her two John Barrymore vehicles (The Sea Beast and When a Man Loves) were not her first major roles, they did help propel her to stardom.
The source material for When a Man Loves was The Story of Chevalier des Greiux and Manon Lescaut, the 1731 novel by the Abbe Antoine Francois Prevost. Its melodramatic storyline makes it well-suited for opera, and it, in fact, has been adapted no less than four times: by Daniel-Francois-Esprit Auber (1856), Jules Massenet (1884), Giacomo Puccini (1893), and by Hans Werner Henze in Boulevard Solitude (1952), a provocative contemporary working complete with prostitutes and drug addicts. The novel was initially banned in France, though it was widely circulated in pirated editions and later published officially in a somewhat expurgated version. The second part of the novel, it should be noted, is set in New Orleans and the wilds of Louisiana; When a Man Loves, which is really better appreciated as a free treatment of Prevost’s story than an adaptation per se, ends just at the point of arrival to the New World, giving the story a more optimistic flavor. But what the film may lack in literal fidelity to the novel it more than amply compensates with a vivid cast (who can forget Warner Oland as the dissolute brother?) and lavish production design.
The print being broadcast on TCM was restored by the UCLA Film and Television Archive and the George Eastman House and includes its original Vitaphone score. The first commercially viable synchronized sound process, Vitaphone linked the film projector to a large phonograph disc containing the soundtrack. It had obvious technical limitations in terms of maintaining synchronization with the projector throughout a film’s running time--skipping records were not infrequent--but its recorded sound had superior fidelity compared to early sound-on-film processes, and its amplification system worked well for large auditoriums. The similarly lavish Barrymore vehicle Don Juan (1926) was the first feature film to use the Vitaphone process, though in that film--as with When a Man Loves--it was used not to add synchronized dialogue but rather to provide an economical and standardized form of orchestral accompaniment and selected sound effects. As one can hear in this restored version of When a Man Loves, it reproduced music surprisingly well. Only with The Jazz Singer (1927), also directed by industry veteran Alan Crosland, did Warner Brothers begin to use the Vitaphone process to synchronize spoken dialogue in a feature film.
[/quote]
DETALLES TÉCNICOS
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Occasional TCM watermark
Ripped with Gordian Knot
ESS standalone friendly
File Size (in bytes) ..: 1,466,357,760 bytes
Runtime (# of frames) .: 01:52:22 (202065 frames)
Video Codec ...........: XviD
Frame Size ............: 576x432 () [=] [=1.333]
FPS ...................: 29.971
Video Bitrate .........: 1670 kb/s
Bits per Pixel ........: 0.224 bpp
B-VOP, N-VOP, QPel, GMC ......: [B-VOP]...[]...[]...[]
Audio Codec ...........: 0x0055(MP3, ISO) MPEG-1 Layer 3
Sample Rate ...........: 48000 Hz
Audio bitrate .........: 60 kb/s [1 channel(s)] VBR audio
Interleave ............: 33 ms
No. of audio streams ..: 1CAPTURAS
E-LINK
When a man loves (Alan Crosland, 1927) SATRip.avi INFO
IMDB
