NOTE IMDb
7,2/10
4,3 k
MA NOTE
Ajouter une intrigue dans votre langueWhen a woman's twin sister is drowned, she assumes her identity in order to be close to the man she feels her sister took from her years before.When a woman's twin sister is drowned, she assumes her identity in order to be close to the man she feels her sister took from her years before.When a woman's twin sister is drowned, she assumes her identity in order to be close to the man she feels her sister took from her years before.
- Nommé pour 1 Oscar
- 1 nomination au total
Charles Ruggles
- Freddie Linley
- (as Charlie Ruggles)
Audley Anderson
- Reel Dancer
- (non crédité)
Sam Ash
- Motor Boat Operator
- (non crédité)
Mary Bayless
- Wedding Reception Guest
- (non crédité)
Edward Biby
- Art Patron
- (non crédité)
Monte Blue
- Mr. Lippencott
- (non crédité)
Harlan Briggs
- Fisherman
- (non crédité)
Lillian Bronson
- Gushy Woman
- (non crédité)
Nora Bush
- Townswoman at Barn Dance
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesMany of the Oscar-nominated special effects pioneered by this film were employed later on similar projects requiring actors to play their own twins, including La fiancée de Papa (1961), The Patty Duke Show (1963), and Bette Davis' unofficial remake of this film, La Mort frappe 3 fois (1963).
- Gaffes(at around 25 mins) Admittedly, the special effects/trick photography are superb, especially for its time, but there is a moment just after Kate hands Pat a lit match, when Kate turns transparent. It's when she's behind the chair Pat is sitting in and moves to the right. As she starts her move, her waist becomes transparent for just a split-second, and the bed can be seen behind her through her hip and waist area.
- Citations
Kate Bosworth: Lonely people want friends. They have to search very hard for them. It's difficult for them to find...
Bill Emerson: Other lonely people.
- ConnexionsFeatured in Okay for Sound (1946)
- Bandes originalesThe Sailor's Hornpipe
(uncredited)
Traditional
Commentaire à la une
Davis fans get to double their fun in this well-crafted soaper. At the same time, the plot remains something of a stretch. Can twin Katie finally find happiness impersonating identical twin Pat. As herself, poor Katie is lonely, timid, and searching for an identity. Most of the time she spends folding her need into art painting. At the same time, twin Pat is outgoing, self-assured and bold; in short, Pat's everything Katie isn't. Nonetheless, Katie's future brightens when she meets what appears her soul-mate, Bill (Ford), on a lighthouse island. But then Bill meets seductive Pat, and they marry leaving poor Katie alone again. Now Katie faces a bleak future until fate intervenes and she must suddenly impersonate her twin. As Pat, however, the timid Katie discovers abilities she didn't know she had. But will these come at the cost of losing the subtle appeal that first charmed Bill. In effect Katie now lives a life stolen from Pat, but at what cost.
What impresses me most is WB's craftsmanship- the howling seas, the ace photography, and especially the undetectable doubling of Davis in the same shot. In those technologically lesser days (1946), I thought doubling in the same shot could only be done by splitting the film so that some distance on screen had to remain between the doubles. Here, however, that distance is often erased. I wish IMDB had some info on how they did it.
Acting-wise it's a Davis showcase, but the studio backs up its star in fine fashion. Speaking of Davis, she's mostly without her sometime theatrics, conveying the twins' personality differences in fairly subtle fashion. Ford too is well cast as an apparently sensitive working man, who nevertheless jilts sensitive Katie for philandering Pat. But I have to wonder about Dane Clark's arrogant role that appears peripheral to the main plot. Perhaps it's the studio's effort at promoting a promising actor before the public.
All in all, the soaper remains a polished production from Hollywood's golden period, even if the story requires quite a swallow. Meanwhile, Davis fans get to double their fun.
What impresses me most is WB's craftsmanship- the howling seas, the ace photography, and especially the undetectable doubling of Davis in the same shot. In those technologically lesser days (1946), I thought doubling in the same shot could only be done by splitting the film so that some distance on screen had to remain between the doubles. Here, however, that distance is often erased. I wish IMDB had some info on how they did it.
Acting-wise it's a Davis showcase, but the studio backs up its star in fine fashion. Speaking of Davis, she's mostly without her sometime theatrics, conveying the twins' personality differences in fairly subtle fashion. Ford too is well cast as an apparently sensitive working man, who nevertheless jilts sensitive Katie for philandering Pat. But I have to wonder about Dane Clark's arrogant role that appears peripheral to the main plot. Perhaps it's the studio's effort at promoting a promising actor before the public.
All in all, the soaper remains a polished production from Hollywood's golden period, even if the story requires quite a swallow. Meanwhile, Davis fans get to double their fun.
- dougdoepke
- 6 oct. 2018
- Permalien
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Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Una vida robada
- Lieux de tournage
- Laguna Beach, Californie, États-Unis(Painting scene on oceanside rocks)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
- Durée1 heure 49 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
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By what name was La voleuse (1946) officially released in India in English?
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