Soberbia
Soberbia
Director:
Orson WellesGuión:
Orson WellesMúsica:
Bernard HerrmannReparto:
Joseph Cotten, Dolores Costello, Anne Baxter, Tim Holt, Agnes Moorehead, Ray Collins, Erskine Sanford, Richard Bennett, Orson Welles (narrador), Nancy Gates (más)Sinopsis(1)
Los Amberson constituyen una poderosa familia estadounidense. El matrimonio sólo tiene una hija, Isabel (Dolores Costello), en la que ha puesto los ojos Eugenio Morgan (Joseph Cotten), pretendiente que fue rechazado por el ridículo que hizo al tratar de organizar una serenata en honor de la joven heredera. Morgan, avergonzado, abandona la ciudad y no regresa hasta pasados 20 años, en el transcurso de los cuales ha llegado a amasar una inmensa fortuna, gracias a sus intervenciones en la industria del automóvil. Cuando vuelve, lo hace acompañado de una chica muy bella, llamada Lucy (Anne Baxter), hija suya. Por su parte, Isabel tiene también un hijo, Jorge (Tim Holt), y su esposo, Wilburn Minafer (Don Dillaway), hombre honesto y trabajador, ha mimado demasiado al niño y éste es odiado por todo el mundo. A Jorge le interesa Lucy, pero acoge con reservas a Morgan y prefiere no seguir con la muchacha. (Movistar+)
(más)Reseñas (3)
At the time it was made, it was an above-average film both thematically and in its execution, but I find its reviews to be quite exaggerated. Essentially, it's a classic studio romance with the necessary happy ending at the end. But that's how it goes; famous directors have it easier with fans. If I overlook a few cuts and camera movements, Orson Welles didn't significantly impact the film. Overall impression: 55%. The film might be interesting for its perspective on the beginnings of motorism in the United States, with the prophetic commentary of Eugene Morgan.
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I have no doubt that the original director’s cut was a polished gem, but unfortunately, I must rate only the shorter version, which is not bad and clearly shows the revolutionary touch Welles had for staging and lightning the mise-en-scène, and yet I cannot ignore the fragmentary impression it gives; it takes quite awhile for the viewer to fully get their bearings around the characters and their relationships. But I think it’s unfair to be more critical, both because of the suppression of Orson’s full vision and also because of the unarguable narrative qualities The Magnificent Ambersons has retained despite the meddling of the studio.
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The fact that it's an Orson Welles film is quite recognizable; there's great camera work, a well-constructed script, and excellent acting, but unfortunately, that's about all, and it left me somewhat indifferent. Maybe I'll have to give the film another chance later, just like I did with Citizen Kane.
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