The Magnificent Ambersons (1942) - It's Not Hot! It's Cold! Scene (9/10) | Movieclips
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- Опубліковано 2 жов 2024
- The Magnificent Ambersons - It's Not Hot! It's Cold!: Fanny (Agnes Moorehead) has a nervous breakdown when George (Tim Holt) points out the impossibility of moving into a nice house.
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FILM DESCRIPTION:
Orson Welles' acclaimed drama follows two generations in a well-to-do Indianapolis family. Isabel Amberson receives a proposal from dashing Eugene (Joseph Cotten), but opts instead to marry boring Wilbur. Time passes, and Wilbur and Isabel's only son, George (Tim Holt), is loathed as a controlling figure in the town. When Wilbur dies, Eugene again proposes to Isabel, but George threatens the union. As George in turn courts the woman he wants to marry, a string of tragedies befalls the family.
CREDITS:
TM & © Warner Bros (1942)
Cast: Agnes Moorehead, Tim Holt
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Agnes Moorehead’s performance is beyond brilliant, resonating the anguish, guilt, fear that would come with being destitute, diving her to insane behavior. She gives it all.
What an outstanding actress Agnes Moorehead was... so intriguing, so intelligent, so talented, and so fascinating... She could convey any emotion in such an absolutely convincing fashion. She did deserve an Academy Award for this role. Thank you so much for sharing this gem.
One of the greatest acting performances in the history of cinema. Every actor who wants to do a convincing crying scene should watch this. Dame Agnes Moorehead!
She was not a Dame. To be knighted by the queen you have to be a British subject, like Dame Judi Dench, and Agnes was an American. There is an honorary knighthood which is available to non British persons, but Agnes never received that either.
@@SymphonyBrahms - She was TOTALLY American nobility...
Robert Wise, who edited this film, said that the preview audience in San Bernardino had laughed at Agnes Moorehead's performance, so the studio ordered it to be trimmed somewhat. Sometimes, in my experience, when an audience is confronted with some real naked emotion they might laugh from sheer surprise and/or nerves. Well, whatever their reasons, thanks a lot, San Bernardino!
True, the reason some people laugh at THE BIRDS.
This rawness would have been very unfamiliar to film audiences of that time. It wasnt until the late 40s and 50s with Elia Kazan and The Actors Studio that film acting shifted from being stagey and theatrical toward realism. Orson Welles was ahead of his time in many ways, and one was the performances he evoked from his Mercury Theatre troupe.
I laugh at something unfortunate as a defence mechanism.
What did you expect from San Berdoo? And it hasn’t changed, I assure you.
Magnificent performance! Lord have mercy...” I walked my heels down looking for a place for us to live.” This is what madness looks like when poverty breaks you.
She deserved an Academy Award: she was incredible here!!!!
One of the finest moments of acting ever caught on film. The lack of comments here is a crime.
Agreed! Despite RKO cutting the hell out of this masterpiece, I still love this film & always will!
And I thought Paul Ruben's role in Mystery Men was the greatest.....
Agreed.
The lack of comments here is none of your business.
@@knightlight2627yeah I only just learned about an hour ago that they cut 45 minutes from this film and a number of people who saw it in its original form in the preview said it was the greatest movie they'd ever seen and Peter bogdanovich who also saw it back then said it would have been one of the top five films ever had they not eviscerated it
What a brilliant performance.
Fanny falls apart, George tries his best to console her, and Orson's camera follows them through the ruins of Amberson Mansion.....
she’s such an incredible actress. even her starring in the suspense radio shows...she always gives me chills
As you can plainly see, Agnes Moorehead was more than the Witch of Endor, i.e. Endora. Much more.
Orson said that she was the greatest actress he’d ever worked with.
Another great one believe it or not is Cloris Leachman and she was considered the greatest actress ever by Marlon Brando
Agnes Moorhead was absolutely beautiful her acting was superb as a young woman and as an older woman she was fantastic this movie and the one she did with Bogart she was a femme fatal and even Bettie Davis in hush hush sweet Charlotte as Velma was awesome.
The great Agnes Moorehead. This is probably the scene which earned her that Oscar nomination. She should have won IMO.
One of the great performances in American film.
Love this scene
Agnes Moorehead was phenomenal in this scene and RKO's cowboy star Tim Holt matched her as George Minifer.
The horrible feeling of having everything then nothing. If you'll remember when asked what he wanted to be/do as a career Georgie answered " A yachtsman".
She's magnificent
I believe this scene is a combination of reshoots and Welles original. The beginning of the scene is shot standard OTS and mediums with some relatively tame lighting work. From 2:14 and on, is one marvelous dolly shot and some gorgeous lighting work - it all screams Welles. You can also see Tim Holts hair change from reshoot (beginning of scene) to Welles (final dolly shot). Great stuff.
I always loved the shadow draped across Moorehead at the beginning of the dolly shot 2:14 - just a marevlous connection to her frantic crazed trapped character
You might be right, you've got a good eye. But Robert Wise, the film editor, said that he was charged with shooting retakes (in Welles' absence) and did not mention working on this particular scene. He admitted, though, to filming an entire scene between Holt and Dolores Costello, when Costello sadly agrees not to see Joseph Cotten. This scene constituted Robert Wise's first "directorial" ever, can you imagine THAT responsibility? Mr. Wise asserted that the scene was shot to seamlessly eliminate a couple of other scenes from the final reels of the picture, to shorten the running time. And, of course, somebody not named Orson filmed the shabby alternate ending to this tremendous movie, which we're stuck with today.
johnny burt That is not a dumb question and I don’t have a professional response. My guess is since we are in the set, the flooring was flat enough the dolly wheels could roll safely on it without track. Or they sacrificed total smoothness to allow the floor to be seen. If you want to see track, watch for it in the long take of Baxter and Holt riding through town. They turn a corner and you can see the block of track the camera is using!
Yes, this is correct. In the original scene according to the cutting continuity in Robert Carringer's Ambersons book, the whole thing would have been one take from the start to the final tracking shot of George taking Fanny to her room. Because of people laughing in test screenings, the first half is reshot to make Moorhead's performance softer and more about crying than defiantly breaking down and losing her mind, like the second half of the scene shows.
Speaking of Tom Holt, even his performance is underrated. He carries George perfectly well in this scene, when inside he must have been thinking, “Now what?!?”
The very fact that Agnes Moorehead gave such a wonderful performance in this scene underscores the real problem with "The Magnificent Ambersons". This film has many, many beauties and graces -- easily enough to make it a worthwhile viewing experience -- but, even if it had been shot and edited exactly as Orson Welles wanted, at its full 145-minute length, it would still have suffered from the TERRIBLE miscasting of Tim Holt as George Minifer. Holt was a very good screen actor, but his forte was playing strong, outdoorsy extroverts, like Virgil Earp in "My Darling Clementine", and Jim Curtin in "The Treasure of the Sierra Madre". He simply was not suited to play an old-money aristocrat; and, unless the conflict between him and Eugene is the collision between a refined, tradition-bound past and a boisterous industrial future, there is no story. (Welles' error in this regard is all the harder to understand because every other role in the film, even the smallest, is cast with a jeweler's precision. Joseph Cotten as Eugene acts Holt off the screen, out of the theater, and into the street, without raising a bead of sweat.) George should have been played by someone like Ronald Colman or Fredric March, who would have been fully believable as an aristocrat. (For a more recent example of a perfect performance of this sort of character, look at Daniel Day-Lewis in "The Age of Innocence"). And -- for those who love Agnes Moorehead as I do -- get hold of the film "Jeanne Eagels", with Kim Novak. Moorehead doesn't have a large role, but she burns up the screen whenever she's on.
Thanks for this comment. Very edifying.
@@bruceweber2361 Thanks so much for your kind words. You may have heard, over the past few weeks, that TCM is mounting an all-out global search for the hour or so of footage that was cut from "The Magnificent Ambersons", in the hopes of restoring Welles' intended version. Their chances of success would appear extremely slim; but it is undeniably true that we owe the survival of such masterpieces as "The Rules of the Game" and "The Passion of Joan of Arc" to fortuitous discoveries of film that was long thought lost. ("The Passion of Joan of Arc" was found in a storeroom at a Danish mental hospital!) What I REALLY wish is that people would rediscover the writings of Booth Tarkington, on whose novel "The Magnificent Ambersons" is based. He was/is a wonderful writer. His "Penrod and Sam" stories are great accounts of growing up in a small town at the beginning of the twentieth century, and his novel "Seventeen" is a screamingly funny comedy about a pompous adolescent who is hopelessly in love with a self-absorbed girl who doesn't know that he's alive. If you want an enjoyable reading experience, pay a call on Mr. Tarkington sometime; you won't regret it.
I think if the conflict was just about the collision between a refined traditionalist past and a boisterous future then it wouldve been a very uninteresting conflict and a plot we've seen times and times again. Besides, the way George is written which doesnt have anything to do with the acting indicates he's much more peculiar than the average old-money aristocrat
I do think Holt is a bit wooden generally, but in some ways it helps to draw him as obtuse, so that you further see how out of touch he his with his own feelings, motivations. It helps with the stiffness of his pride in some scenes, as well, but in this one he suddenly comes off as a practical, nerdy type that lacks any charisma or dashing-ness that might explain Baxter's attraction to him.
I guess three years later is too late to respond, but I think a more refined, old-money intonation would have spoiled the George character. In fact, the crude, self-absorbed person Holt brings is necessary for all those contrasts you describe. In my opinion.
My stars and satellites!!!!! Ms. Moorehead was brrrilliant in this scene.. never any doubt!! 💜⚘️
Great film.
Over 50 years later Hulk Hogan would utter that immortal line.
It's a crime this comment didn't get more love over the past couple of years. :-p ;-)
good god.
So greatly scripted and acted
Wow. Agnes Moorehead. I had no idea!
Moorehead deservedly won the New York Film Critic's Award for Best Actress for this performance, and was nominated for an Academy Award as Best Supporting Actress (her first of four nominations).