ड्रामावर्ष1936अवधि1h 29mIMDb7.3

La signora di tutti

ड्रामा

Gaby is expelled from school after a married teacher commits suicide after telling her he can't live without her. Though she has done nothing, she is punished for his act.

अभी देखें

ट्रेलर

कलाकार

Max Ophüls

Director

Isa Miranda

Gabriella Murge, alias Gaby Doriot

MB

Memo Benassi

Leonardo Nanni

Tatyana Pavlova

Alma Nanni

Friedrich Benfer

Roberto Nanni

FC

Franco Coop

L'impresario Veraldi

LP

Lamberto Picasso

Signor Murge, padre di Gaby e Anna

Nelly Corradi

Anna Murge

Mario Ferrari

Il produttore cinamatografico

GB

Gildo Bocci

Il regista

Andrea Checchi

Un amico di Roberto

Achille Majeroni

Il portiere del teatro

AM

Alfredo Martinelli

Un giornalista

AO

Attilio Ortolani

Giovanni, il maggiordomo

Giulia Puccini

La maestra di canto

SG

Salvatore Gotta

Writer

CA

Curt Alexander

Writer

Max Ophüls

Writer

HW

Hans Wilhelm

Writer

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टिप्पणियाँ

10 टिप्पणियाँ

ColdenDark✔✔Nov 28, 2025

fausia PaulinoNov 28, 2025

DareyMay 22, 2023

danoApr 28, 2023

Max Ophüls directed so many masterpieces with great actor direction in great and sad love stories. All that shot with a virtuoso camera (travellings or real time shots like in "Madame De" or "Letters From An Unknown Woman"). All these masterpieces are available. But there is one hidden masterpiece directed by Max Ophüls and it is one of his first movie : "La Signorra Di Tutti", only available in Italy (where it was shot, Ophüls was an international director). And it is an incredible masterpiece with again some virtuoso cinematography and narration (flashbacks in flashbacks). It is a powerful love drama with insane scenes. Sure Orson Welles watched it and provided him so many ideas. And 20 years later, Ophüls directed his most well known movie, "Lola Montès", with the same story. It is urgent to release this hidden treasure for real cinema lovers.

El AhnasApr 28, 2023

"La Signora di Tutti" is the only film the maestro Max Ophüls made in Italy and it already confirmed his genius. The film - an eloquent and often tragic study of an ill-fated movie star Gaby Doriot who rises her way to a depressingly patriarchal world and later becomes a victim of its cruelty - is certainly nowhere near the richness, splendour, and lilting mastery of Ophüls' celebrated later classics, but it is fascinating in its own ways. The intricate flashback structure and the beautiful Isa Miranda's heartbreaking incarnation of the spoiled Gaby seem to anticipate Ophüls' later works, particularly his final masterpiece, "Lola Montes" (1955). The film is apparently not for every taste but if you are a fan of Ophuls as I am, it is an indispensable viewing.

عبدو التهاميApr 28, 2023

Intriguingly, you won't find Max Ophüls' name anywhere in the credits, and the movie is listed as uncredited in his filmography. However, in some (but not all) posters of the time he is clearly identified as the director. The movie is the only one made by Ophüls in Italy (he had just fled Nazi Germany). It was commissioned by Angelo Rizzoli, editorial magnate and budding movie producer, who wanted to put on screen a novel by Salvator Gotta serialized in one of his newspapers. One may conjecture that Ophüls' name was erased from the credits to distribute the movie in Germany. This is Ophüls' sixth film (excluding shorts) and he had already developed the innovative camerawork that he perfected in his later masterpieces: long takes, tracking shots that follow characters from room to room without cutting, 360 degree panning, multiple dissolves, elaborate flashback devices. A particularly striking sequence involves a shot/reverse shot of a conversation between a woman rowing a boat and a man driving a car on the shore. There are many brilliant scenes. The film opens with three clashes of cymbals on a dark screen, which turn out to be the beginning of a song being played on a phonograph. At the end, a character's demise is marked by presses stopping printing of her posters. Unfortunately, Ophüls' skills are used in service of a script (adapted from Gotta's novel) so melodramatic it borders on soap opera. Acting is uneven. Isa Miranda, in one of her first roles is strangely detached and passionless and, in 1934 she was not young enough to play a teenager as she has to do briefly. Some of the other actors are over the top, perhaps trying to make something out of awkward lines. All in all not a satisfactory movie, but Ophüls' artistry makes it worth watching. One of the initial credit screens informs us that the movie was given a prize for "technically best Italian film" in the 2nd Biennale di Venezia. Perhaps this is a just appreciation.

DnQ_💙Apr 28, 2023

After the Action Horror thrills of Blind Woman's Curse (1970-also reviewed) I decided to check for other DVDs/ Blu-Ray's that I've been meaning to watch. Picking up this DVD a few years ago around Christmas,I felt it was time to play Gaby's record. View on the film: For their 100th presentation, Masters Of Cinema unveil a great transfer, with the pristine soundtrack and smooth print being backed by informative, detailed extras. Laying on the cold steel hospital operating table comfortably numb after attempting to end her life,Isa Miranda gives an exquisite performance,in what was then only her third credit,as Gabby, whose current starry eye status as a celebrity is cracked by Miranda with subtle facial expressions and brittle body language, which perfectly captures the grinding down of optimism from Gabby's marked with deaths life. Feeling a magnetic desire towards siren Gabby, Memo Benassi gives a great performance as Leonardo, whose passions for Gabby triggers the accidental death of his wife, which reverberates over the event looming over Gabby's life like a ghost. Twirling from a record playing the last notes of Gabby's life, to the studio head, agents attempting to figure out how to keep their biggest star comfortably numb in order to be in working condition for the next big money making project, co-writer (with Curt Alexander & Hans Wilhelm) / directing auteur Max Ophuls closely works with cinematographer Ubaldo Arata and editor Ferdinando Maria Poggioli to compose poetry in motion across Gabby's life. Sailing through the haze of Gabby under anesthetic towards an extended flashback, Ophuls brings into focus an immaculate, ultra-stylised, doom-laden Melodrama atmosphere, via long tracking shots towards Gabby's school days, which lands on a tragic romance which seeps across the rest of Gabby's life via mesmerizing superimpositions, gliding distorted shots, (reflecting the distortion of Gabby's image) stark, beautiful close-ups, and long panning shots down the shadows of death surrounding Gabby. Adapting Salvatore Gotta's novel, the writers unveil a silky character study Melodrama, (a genre which Ophuls would explore across his credits) where the fragmented flashbacks and flashbacks within flashback superbly build a avalanche of tragedy which gradually builds up until the mass of heart break and death lands on Gabby.

user4948271465349Apr 28, 2023

This overblown romance prefigures such Hollywood melodramas as WRITTEN ON THE WIND, but, like Douglas Sirk's tale of life among the oil aristocracy, is redeemed by technique, in this case Ophuls' spirited use of moving camera. Everyone in the cast chews the curtains with appetite, particularly Isa Miranda as Gaby, the neurasthenic movie star who, following one of her many collapses in the course of the film, re-experiences the key event of her life, an unhappy love affair with married magnate Leonardo which led to the accidental death of his invalid wife, and Gaby's subsequent guilty breakdown. Nobody tracked or craned the camera with more flair than Ophuls, and he uses both techniques expertly in this film, often, it seems, for no motive more weighty than simple glee at his expertise. An insignificant conversation between Gaby in a rowboat on a sun-lit lake and Leonardo driving his convertible along the bank is elaborately staged as two long tracking shots, with Ophuls intercutting between them. Similar flair marks the death of wheelchair-bound Alma, her shadow racing ahead of her along the floor as she pushes her chair to the head of the stairs, then teeters and falls. Other sequences are too spasmodic, in particular those at the film studio, with Gaby's cliché cigar-chewing agent negotiating a new contract with the equally stock studio head, and,later, Leonardo facing a hostile board that attacks him for neglect of the company. Miranda is at her febrile worst in this film, and it demands considerable suspension of disbelief to accept as her married lover the overweight and stolid Memo Benassi, whose primary acting technique is to stare into the middle distance and fire up another cigarette. But any enthusiast for Ophuls' fluid camera will find the film a delight.

user9292980652549Apr 28, 2023

This is a stunning early sound film from Max Ophuls which deservedly won a 'technical' award at Venice. It's difficult to imagine that old Awesome did not include this in the dozens of films he watched before making Kane because Ophuls uses, some seven years earlier, many of the techniques, not least overlapping Sound, that crystallised in Kane. The plot verges on the melodramatic but the Style is something else; flashbacks within flashbacks, lush tracking shots, montages, dissolves, everything in fact from what those academics love to call the 'grammar' of film making is present and correct. A film in 1934 that begins with a wipe of the label on a 78 rpm record and ends on a static shot of the face of the heroine on a poster has to be out of the right bottle and this is vintage. Dix sur dix going away.

i.dfzApr 28, 2023

In Max Ophuls'work,if you were born a woman,you were born to suffer.If there are exceptions,they are very rare : from "Liebelei" where a woman's true love was only a "liebelei" to "Sans Lendemain" where Edwige Feuillère was prisoner of a racy past to "letter from an unknown woman " where Joan Fontaine 's love was in vain to the masterpieces of the fifties "Madame de" and "Lola Montès" .Even in the much debated "De Mayerling à Sarajevo" the historic Sophie Chotek (Feuillère again) character was also a humiliated woman. "La signora di Tutti" actually predates "Lola Montès" by twenty years:it's a long flashback after the heroine's suicide.The first sequences are nervy ,tense,the dialog begins with numbers and you soon realize they're talking about money.Isa MIranda portrays with talent a woman whose biggest fault is to be all along the film the right woman in the wrong place.Every man she loves leads her to a dead end : the music teacher,the businessman,his son. Great scenes:the opera ,an imaginary way for the lovers to escape ;Ophuls's great fascination for the trains (see also "letter to an unknown woman" "De Mayerling à Sarajevo" and even the "la maison Tellier" segment in "LE Plaisir" in a comic way);Alma's tragic death ,the shadow of the wheelchair on the wall,the radio which Gabriella smashes ; and above all,the final pictures when the press slowly stops . A strong influence on Mankiewicz ("Barefoot Comtessa" ),Louis Malle (" Vie privée")and on the melodrama genre (Sirk) The flashback was not so innovative after all(the year before,Stahl did the same in "only yesterday" ) but the directing which sometimes has thriller accents (the scene when the heroine hears a radio nobody can't hear would not be out of place in a psychological suspense;ditto for the wheelchair scene in the night which is really awesome.

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