Fedora (1978)

Calificación de los usuarios:

6.9/10   

Director:

Billy Wilder

Escritores:

Tom Tryon (story)
Billy Wilder (writer) ...

Fecha de Lanzamiento:

29 junio 1978 (Alemania Occidental)

Género:

Drama

Plot:

Hollywood producer Barry 'Dutch' Detweiler attempts to lure Fedora, a famous but reclusive film actress out of retirement.

Plot Keywords:

Film Making | Character Name In Title

Premios:

1 win

Comentarios de los usuarios:

Keep young and beautiful!

Reparto

William Holden	...	Barry 'Dutch' Detweiler
Marthe Keller	...	Fedora / Antonia Sobryanski
Hildegard Knef	...	Countess Fedora Sobryanski
José Ferrer	...	Doctor Vando
Frances Sternhagen	...	Miss Balfour
Mario Adorf	...	Corfu Hotel Manager
Stephen Collins	...	Young Barry
Henry Fonda	...	President of the Academy
Michael York	...	Himself
Hans Jaray	...	Count Sobryanski
Gottfried John	...	Kritos
Arlene Francis	...	Newscaster
Jacques Maury	...	Head Usher
Christine Mueller	...	Young Antonia
Ellen Schwiers	...	Nurse

También conocida como:

Fedora (Alemania Occidental)
Fedora (Spain) [es]

Duración:

Spain:116 min | Sweden:114 min | USA:114 min

País:

France | Alemania Occidental

Idioma:

Inglés | Griego | Francés

Color:

Color (Eastmancolor)

Relación de Aspecto:

1.85 : 1

Sonido:

Mono

Clasificación:

Iceland:12 | Hungary:14 | West Germany:12 (f) | Finland:K-16 | Spain:13 | Sweden:11 | USA:PG

Locaciones de Filmación:

Corfu, Greece

Compañía:

Bavaria Atelier

Trivialidades:

Faye Dunaway was originally offered the role of Fedora, and Marlene Dietrich was asked to play Countess Sobryanski.

Citas:

Doctor Vando: [disbelieving] Jean Sibelius tacky?!?

Conexiones de Película:

References The Song of Bernadette (1943)

Keep young and beautiful!

Billy Wilder revisits the territory of his Hollywood Babylon classic Sunset Boulevard, with the same male lead (William Holden) in an almost identical role as a washed-up screenwriter trying to get to a reclusive and mysteriously ageless one-time screen queen in order to pitch her a comeback script. Story elements include Oscar Wilde's Picture of Dorian Gray and (off-screen) the many mad-doctor yarns of the 1930s and 1940s in which Boris Karloff messes about with Things We Were Never Meant To Know. Looks great in a brittle and glitzy 1970s way, as befits its scornfully depicted international-rich-white-trash milieu. Essentially it's a sombre but humanistic sermon on the hopeless worship of physical youth and beauty: as a medieval English writer put it, "who sows hope in the flesh reaps bones". A very relevant film for our narcissistic times, its only big flaw is that it's a mighty chilly piece of work, easier to admire than to love.