Stella Dallas 1937 Free Movie Download

Stella Dallas is a 1937 American drama film based on the 1923 Olive Higgins Prouty novel of the same name. It was directed by King Vidor and stars Barbara Stanwyck, John Boles and Anne Shirley. The film was nominated for Academy Awards for Best Actress in a Leading Role (for Stanwyck) and Best Actress in a Supporting Role (for Shirley).[3]

In 1937, audiences were not only familiar with the popular novel of the same name written by poet and novelist Olive Higgins Prouty in 1923; they also knew the 1924 stage play and the silent film version of 1925, adapted for the screen by Frances Marion and directed by Henry King. Stella Dallas was so popular with women that it was even adapted into a radio serial that ran from 1937 to 1955, one of the first and most successful soap operas.

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Barbara Stanwyck was nominated for an Oscar for Stella Dallas, and widely predicted to win. She lost to Luise Rainer in The Good Earth, perhaps a film that was better in 1937 but has not aged as well as Stella Dallas.

Stella Dallas: starring Barbara Stanwyck, John Boles, Anne Shirley. Directed by King Vidor. Written by Sarah Y. Mason and Victor Heerman. The Samuel Goldwyn Company, 1937, B&W, 106 mins.

Stella Dallas is een Oscargenomineerde film uit 1937 onder regie van King Vidor. De film is gebaseerd op het gelijknamige boek van Olive Higgins Prouty. Destijds werd de film in Nederland uitgebracht onder de titel Als het moederhart spreekt.[1]

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If for Producer Sam Goldwyn Stella Dallas does not capture Warner Brothers' laurels as Hollywood's top investigators of the social scene, he is not likely to feel aggrieved. Producer Goldwyn was less interested in the class implications of Stella Dallas than in recreating a story which, filmed with Ronald Colman and Belle Bennett, made him a fortune in 1925, because cinemaddicts of all classes like to weep. If discriminating cinemaddicts find the point of view inherent in Stella Dallas somewhat irrelevant in 1937, they are almost sure to be outnumbered by less discriminating cinemaddicts who now, as they did twelve years ago, will find it dolefully delicious. Worst shot: Laurel Dallas, whose mother's atrocious habits of apparel are the first premise of the plot, responding to a compliment on the conspicuously good taste of her own dresses with the explanation that her mother makes them.

Adapting Stella Dallas:Class Boundaries, Consumerism, and Hierarchies of Taste Jennifer Parchesky In her 1961 autobiography, Olive Higgins Prouty reflected that "[t]he feature of most interest about Stella Dallas is, I think, the number of its reincarnations." First serialized for the nearly two million readers of the American Magazine in 1922 and published in book form in 1923, Prouty's poignant tale of class hierarchy and maternal sacrifice went on to become a 1924 stage play, a 1925 silent film, an Oscar-nominated 1937 film starring Barbara Stan-wyck, and a long-running radio soap opera. Indeed, Stella outlived her creator, reappearing in a third film starring Bette Midler in 1990. Yet to Prouty these adaptations, "filled with melodrama and sentimentality," were something of an embarrassment: "How much better if Stella had never emerged from the covers of a novel. Certainly the adaptation of Stella to the stage and screen and finally the radio did not help me to acquire the kind of reputation I desired" (Pencil Shavings 156). It is doubtful, however, that avoiding the mass media would have spared Prouty from being, like so many popular and critically acclaimed women novelists of the 1920s and 1930s, relegated to the dustbins of history by a masculinist, modernist literary establishment.1 Arguably, Stella and her creator have been remembered only because of these adaptations: while the novel went out of print for nearly four decades, the 1937 film remained in circulation and was elevated to canonical status by feminist scholars in the 1980s as an exemplary "woman's film," a powerful alternative to Hollywood's "male gaze." Only since its 1990 reprinting as part of a "literary cinema classics" series, illustrated with stills from the film, has Prouty's novel gained a modicum of scholarly attention.2

Melodramas are sometimes called "tearjerkers" because of their ability to make viewers cry, but there is currently no detailed account of how they succeed at this task. Psychological research suggests that crying occurs when people feel helpless in the face of intense emotion. The emotion felt most intensely when watching melodramas is sadness, and sadness has a structure and specific features that determine its intensity. I describe the ways the conventions of melodrama fulfill the criteria for intense sadness and perceived helplessness that underlie these films' ability to make viewers cry. I illustrate this model with a detailed analysis of Stella Dallas (1937). e24fc04721