Synopsis
Sure - I like a good time!
After divorcing a society man, a small-town woman tries to build a better life for their daughter.
Stella Dallas
Cast
Barbara Stanwyck John Boles Anne Shirley Barbara O'Neil Alan Hale Marjorie Main George Walcott Ann Shoemaker Tim Holt Nella Walker Bruce Satterlee Jimmy Butler Jack Egger Dickie Jones Jessie Arnold Harlan Briggs Heinie Conklin Laraine Day Ann Doran Lester Dorr Etta McDaniel Forbes Murray Lynne Roberts Paul Stanton Bert Stevens Lillian Yarbo Helen Parrish
Director
Producers
Writers
Original Writer
Editor
Cinematography
Art Direction
Composer
Costume Design
Studios
Country
Language
Alternative Titles
Stella Dallas, A Mãe Redentora, 스텔라 댈러스, 스텔라 달라스, Amore sublime, 慈母心, Стелла Даллас, Stella Dallas, Mãe Redentora, Madre
Genres
Themes
Releases by Date
Premiere
-
USA
New York City, New York
Theatrical
06 Aug 1937
-
USANR
Releases by Country
USA
05 Aug 1937
- Premiere New York City, New York
06 Aug 1937
- TheatricalNR
Popular reviews
More-
-
Vidor is one of the most sensitive directors - it's wonderful to see a film which has no specific underlying message or theme, simply about people who are flawed and make mistakes and who often have the best interests of others at heart. And it maybe has the most beautiful parent-child relationship in cinema. There's no point to be made; all that matters are the people. And the ending is a moment of ironic sublimity that would not be out of place in a film by Dreyer.
-
-
Stella Dallas is a solidly rooted melodrama directed by King Vidor with a lead protagonist (Barbara Stanwyck) who the filmmaker refreshingly portrays as far from perfect and arduously challenging to like. It's the second and superior version of three films based on the 1923 novel by Olive Higgins Prouty (Now, Voyager) and has a screenplay written by Sarah Y. Mason and Victor Heerman, who adapted the 1933 version of Little Women.
It's a testament to Stanwyck’s acting abilities that ultimately governs sympathy and compassion for her intensely insecure character, who for large parts of the movie is little more than an acquisitive status seeker. This would have been a much lesser movie without her exceptional talents and those of Anne Shirley, who were both nominated for two Academy Awards: Best Actress in a Leading Role and Best Actress in a Supporting Role at the 10th Academy Awards.
-
I think my least favorite subgenre in all of film is 'motherly sacrifice melodrama.' Movies that brutalize and abuse mothers beyond all reason, ostensibly to be able to celebrate their embodiment of the maternal responsibility to elide the self, are insulting and exhausting, and send messages that are at best muddled, and at worst verge on abusive.
And, at first glance, Stella Dallas is one of these pictures, all about Stella (Barbara Stanwyck) learning to cast aside her own aspirations — nay, her very existence — so that her daughter can become a member of the only class that has any value in the world. The final scene of the movie, in which Stella triumphantly walks away from her own…
-
i last saw this in 2016 and completely forgot that this is the most devastating movie ever made. barbara stanwyck walking away from that fence, chewing on her handkerchief, her face reading equal parts triumphant and destitute... all of this movie is so hard to watch but you can't look away because stany completely embodies this character. that scene on the train!!!!
-
One of the most emotionally and stylistically powerful movies I have ever watched. Saw it five days ago and haven't stopped thinking about it since. Will be discussing in the next video!
-
![Erik [Auk]](https://secure.gravatar.com/avatar/e29f7c74cb1d4a3859a3511566e4040e?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.74798e0d.png)
I think my heart just collapsed. Barbara Stanwyck and Anne Shirley are wonderful.
-
"You don't have to tell me what you stated, just tell me what you meant."
Barbara Stanwyck delivered one of her finest performances in the King Vidor-directed Stella Dallas. In a brave and nuanced turn, Stanwyck gave texture and memorability to a character that exemplifies hints of early Classical Hollywood feminism.
... of course, this is feminism in a weepy melodrama directed by a man; the kind of film that would undoubtedly be branded as a "women's film" or "chick flick" if it was released somewhere between the 1980s and 2000s. It is feminism in a world where Barbara Stanwyck's character needs to sacrifice herself for the happiness of her daughter, and where the male figures in her life still…
-
Well, this was harder to watch than mother! (2017). Barbara Stanwyck plays the title role beautifully as a martyr who sacrifices so much to give her daughter the life she thinks she deserves, but cannot provide. It was definitely melodramatic and had some nonsensical plot holes, but I still think it portrayed a mother-daughter relationship pretty accurately and in a way that will tug at your heart strings (I cried for fifteen minutes straight).
-
A film built almost entirely upon its complex, hard to navigate push-and-pull of emotional commitments, Vidor not so much interested in theme or message (although they are here) as he is in involving his audience in the feel of any given moment. It's an experience almost entirely devoted to the people who populate the screen, every character - even those who might seem superfluous - seemingly given their moment, if only so Vidor can sneak in another opportunity to envelop us in his humane, borderline saccharine world (couldn't be any more classical in formal terms, but Vidor has a keen eye for blocking throughout and seems a master of understanding whose face and what emotion to focus his camera in…
-
Similar Films
Powered by Nanocrowd