Everybody's Woman

1934 [ITALIAN]

Action / Drama

2
IMDb Rating 7.3/10 10 1104 1.1K

suicide attempt patriarchy love

Plot summary

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.

Director

Max Ophüls Photo
Max Ophüls

Top cast

Elena Zareschi Photo
Elena Zareschi
Mario Ferrari Photo
Mario Ferrari as Il produttore cinamatografico
Isa Miranda Photo
Isa Miranda as Gabriella Murge, alias Gaby Doriot
Maria Puccini Photo
Maria Puccini
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789.78 MB
968*720
Italian 2.0
NR
Subtitles us  
25 fps
1 hr 25 min
Seeds ...
1.43 GB
1440*1072
Italian 2.0
NR
Subtitles us  
25 fps
1 hr 25 min
Seeds 4

Movie Reviews

Reviewed by dbdumonteil

Through the past,darkly.

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.
Reviewed by hof-4 7 / 10

Early Ophüls

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.
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