No synopsis available.
AIが作品の魅力を深く読み解いています
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
製作費: $294,000 (0億円)
興行収入: $629,000 (1億円)
推定収支: $335,000 (1億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Michael Curtiz
脚本: Charles Kenyon / Paul Hervey Fox / Austin Parker
音楽: Heinz Roemheld
撮影監督: Tony Gaudio
制作会社: Warner Bros. Pictures
Mandalay proved to be something of a surprise. I had feared a rather dull expedition into romance and associated plot mechanics - but this exceeded the usual tropes by portraying a series of damaged but not irredeemable people all looking for some kind of salvation in part of what is now Myanmar. Kay Francis plays a character whose journey runs from refugee of the Russian Revolution to mistress of a dubious arms dealer, to high class prostitute, partner to an alcoholic and then to a potential redemption (all within 65 minutes). Her performance covers off the emotions of all of these roles well, through her expressive eyes conveying hope, despair, confidence and murderous intent as needed. It is a superb jewel of acting on display and the centrepiece of the film. Good support is provided by Lyle Talbot as an alcoholic doctor, the Swedish Warner Oland as a kind of Chinese gangster / classless brothel manager and Ricardo Cortez as a resourceful but uncaring man. Michael Curtiz, of Casablanca fame and innumerable other great films, is perhaps slumming a little here, but the camera work is very confident. An early shot follows a motor boat from the port across the bay then sweeps away from the boat to glide smoothly towards a moored yacht and eventually to introduce a character on the railing. It is really superbly done and adds class to the story. The settings are all convincing and the crew somehow manage to convey a feeling of a south-east Asian port, paddle steamers on jungle infested rivers and a diverse populous without presumably ever having left Los Angeles. This is a small triumph of 1930s filmmaking.
