IMDb RATING
7.0/10
4.5K
YOUR RATING
An ambitious young LA department store model gets her wish of marrying a millionaire but she eventually discovers that rich life isn't always a happy one.An ambitious young LA department store model gets her wish of marrying a millionaire but she eventually discovers that rich life isn't always a happy one.An ambitious young LA department store model gets her wish of marrying a millionaire but she eventually discovers that rich life isn't always a happy one.
Natalie Schafer
- Dorothy Dale
- (as Natalie Schaefer)
Leon Alton
- Cafe Customer
- (uncredited)
Frank Baker
- Man in Store
- (uncredited)
Phil Bloom
- Cafe Customer
- (uncredited)
Willie Bloom
- Cafe Customer
- (uncredited)
Ralph Brooks
- Businessman
- (uncredited)
Wheaton Chambers
- Servant
- (uncredited)
Dorothy Christy
- Wealthy Shopper
- (uncredited)
Sonia Darrin
- Miss Chambers
- (uncredited)
Charles Fogel
- Cafe Customer
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaFor his American film debut, Mason was initially cast in the hard-hearted role enacted by Robert Ryan. Mason wanted to change the villainous image he'd established in British films and and asked to play the other male role.
- GoofsDirector Max Ophüls name is misspelled in the opening credits as "Max Opuls"
- Quotes
Leonora Eames: Look at me! Look at what you bought!
- ConnectionsFeatured in TCM Guest Programmer: TCM Employee Picks (2011)
Featured review
Caught is directed by Max Ophüls and adapted to screenplay by Arthur Laurents from the novel Wild Calendar written by Libbie Block. It stars Barbara Bel Geddes, Robert Ryan, James Mason, Frank Ferguson and Curt Bois. Music is by Frederick Hollander and cinematography by Lee Garmes.
Seeking to make a comfy nest by marrying a rich man, Leonora Eames (Geddes) snags more than she bargained for when Smith Ohlrig (Ryan) becomes the man of her life. And then circumstance brings Doctor Larry Quinada (Mason) in to her life and things will never be the same again...
Psychological swirls a go go in this fine piece of work. Story was changed somewhat by Ophüls after he was brought in as a last directing throw of the dice. Softening the harsh edges of Leonora's original persona on the page, he brings about a sort of piggy in the middle scenario. On one side she has a tyrant control freak of a husband, on the other she has a good honest gentleman doctor keen to impart his love to her life. It sounds an easy choice to make, but circumstance, the vagaries of noirish fate - of life affirming decisions, doesn't make this a straight forward narrative piece.
Smith Ohlrig is based on Howard Hughes, who surprisingly didn't kick up too much of a fuss once the word got out. This is one troubled character, mean and controlling, superbly portrayed by a chilling Robert Ryan, it's just a pity there isn't time in the piece for more of Ryan's forceful nastiness. The best scenes feature Ryan, the shamble of the marriage is adroitly filmed by Ophüls around the gloomy Ohlrig mansion, with reverse shots, perception tinkerings and isolated shadow play emphasising the relationship from hell - the impact of Lee Garmes' (Nightmare Alley) photography and the art direction of Frank Paul Sylos (The Great Flamarion) also not to be under estimated.
Leonora is a well written character, it would have been easy to have her as weak willed and spineless, but there's a strong feminist bent afforded her by the makers, giving her some guts and intelligence to off set the desperate situation she will find herself in later in the play. Geddes ticks all the right boxes for the emotional requirements of the role, never over doing the histrionics. Mason saunters into the pic with a grace and elegance that made the American market sit up and take notice, a class act and he fits the role perfectly. Ophüls steers this one admirably throughout, arriving at a culminating finale that's guaranteed to make you have conflicting feelings. 8/10
Seeking to make a comfy nest by marrying a rich man, Leonora Eames (Geddes) snags more than she bargained for when Smith Ohlrig (Ryan) becomes the man of her life. And then circumstance brings Doctor Larry Quinada (Mason) in to her life and things will never be the same again...
Psychological swirls a go go in this fine piece of work. Story was changed somewhat by Ophüls after he was brought in as a last directing throw of the dice. Softening the harsh edges of Leonora's original persona on the page, he brings about a sort of piggy in the middle scenario. On one side she has a tyrant control freak of a husband, on the other she has a good honest gentleman doctor keen to impart his love to her life. It sounds an easy choice to make, but circumstance, the vagaries of noirish fate - of life affirming decisions, doesn't make this a straight forward narrative piece.
Smith Ohlrig is based on Howard Hughes, who surprisingly didn't kick up too much of a fuss once the word got out. This is one troubled character, mean and controlling, superbly portrayed by a chilling Robert Ryan, it's just a pity there isn't time in the piece for more of Ryan's forceful nastiness. The best scenes feature Ryan, the shamble of the marriage is adroitly filmed by Ophüls around the gloomy Ohlrig mansion, with reverse shots, perception tinkerings and isolated shadow play emphasising the relationship from hell - the impact of Lee Garmes' (Nightmare Alley) photography and the art direction of Frank Paul Sylos (The Great Flamarion) also not to be under estimated.
Leonora is a well written character, it would have been easy to have her as weak willed and spineless, but there's a strong feminist bent afforded her by the makers, giving her some guts and intelligence to off set the desperate situation she will find herself in later in the play. Geddes ticks all the right boxes for the emotional requirements of the role, never over doing the histrionics. Mason saunters into the pic with a grace and elegance that made the American market sit up and take notice, a class act and he fits the role perfectly. Ophüls steers this one admirably throughout, arriving at a culminating finale that's guaranteed to make you have conflicting feelings. 8/10
- hitchcockthelegend
- Jun 12, 2015
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Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Take All of Me
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $1,574,422 (estimated)
- Runtime1 hour 28 minutes
- Color
- Aspect ratio
- 1.37 : 1
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