The Magnificent Ambersons (1942) 720p YIFY Movie

The Magnificent Ambersons (1942)

The Magnificent Ambersons is a movie starring Tim Holt, Joseph Cotten, and Dolores Costello. The spoiled young heir to the decaying Amberson fortune comes between his widowed mother and the man she has always loved.

IMDB: 7.91 Likes

  • Genre: Drama | Romance
  • Quality: 720p
  • Size: 728.99M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 88
  • IMDB Rating: 7.9/10 
  • MPR: Normal
  • Peers/Seeds: 4 / 7

The Synopsis for The Magnificent Ambersons (1942) 720p

The young, handsome, but somewhat wild Eugene Morgan wants to marry Isabel Amberson, daughter of a rich upper-class family, but she instead marries dull and steady Wilbur Minafer. Their only child, George, grows up a spoiled brat. Years later, Eugene comes back, now a mature widower and a successful automobile maker. After Wilbur dies, Eugene again asks Isabel to marry him, and she is receptive. But George resents the attentions paid to his mother, and he and his whacko aunt Fanny manage to sabotage the romance. A series of disasters befall the Ambersons and George, and he gets his come-uppance in the end.


The Director and Players for The Magnificent Ambersons (1942) 720p

[Role:]Dolores Costello
[Role:]Tim Holt
[Role:]Joseph Cotten
[Role:Director]Orson Welles
[Role:]Anne Baxter


The Reviews for The Magnificent Ambersons (1942) 720p


Irony in the endingReviewed bydave-302Vote: 7/10

This is a wonderful film, one of great pathos and sensitivity. Orson Welles was drawn to Tarkington's novel because Tarkington had been a friend of Welles' father and Welles identified strongly with the story, seeing something of his own family's history there.

Whether it is better than Kane is a fun question for film clubs to debate (I did once but I don't now), but it is interesting to note that while Orson Welles was particularly bitter that RKO re-shot his ending to make it more appealing to audiences, if you read the novel you will see that it is the novel's ending that RKO tacked on. Welles' ending was of his own invention and would have given the film a completely different tone.

So it is ironic that Welles always seemed to claim that RKO had destroyed the integrity of the novel's story when they only preserved it, if rather poorly in execution.

How to Wreck a Masterwork - Hollywood StyleReviewed bytheowinthropVote: 10/10

The story of the destruction of Orson Welles' second "Mercury" film THE MAGNIFICENT AMBERSONS is pretty well described in these remarks on this thread. Although it is extremely doubtful (as doubtful as ever finding traces of the missing holy grail) I too wish that a longer version that was similar to Welles' vision did turn up. But if it did, I wonder if we would end up siding with the powers that be at RKO or with Welles.

About three or four years back a television version of THE MAGNIFICENT AMBERSONS was made on cable television, which contained far more of the novel than the deconstructed Welles' film currently does. The critics were not too happy with it. They found it too long, and they seemed to stress the need for cutting it to a shorter length. My guess is that Welles would have had to cut the film too, though not as much as only 88 or so minutes. KANE had been 119 minutes long (only one scene - in a brothel - was cut). That was a pretty long film for 1941. My guess is that a 120 odd minute AMBERSONS would have been too long too.

But of course, Welles would have been in a position to judge what cuts would not destroy the film, and what cuts would. He did not like the cuts that reduced the Ambersons ball sequence (a seemingly meaningless passage about olives). Was that really such an important passage? More important is how the role of Wilbur Minafer was reduced, as were passages concerning poor investment recommendations to Wilbur, Fanny, and Jack were cut (one would have thought they were important).

Was it done as part of a plan to make the movie salvageable, or to destroy Welles' bank-ability in Hollywood? One suspects the latter. KANE made a small profit, but was no blockbuster. The powers that be in Hollywood saw Welles as a threat to their system of control, as his style of contract made him both director and producer. It was not just the attack on Hearst in the first film, but a general assault on the studio system that brought the Hollywood honchos down on Welles' head.

It is interesting to note the degree of defensiveness that has crept up in the years since Welles' death in 1985 regarding the fate of his various projects in Hollywood. Robert Wise, who edited AMBERSONS, came out with a statement that he did not think the present film was so terrible, as it is considered a classic. Wise was assigned to finish the film with new scenes he and others directed, and to cut the Welles' material. It was in Wise's interest to deflect any negative views about the butchering of the film for the sake of his own reputation (and it is interesting that in the years after he made that comment, Wise was given an Oscar for his life's contributions to movies - he gave some good ones, but he helped to destroy one great one).

I think that if AMBERSONS had been a comedy Welles would not have had the same problem. Instead, it was a bitter tragedy, for Welles did not end the film version he shot with George being united to Lucy with Eugene's blessing. Lucy rejected the impoverished, crippled George at the end of Welles' version, and Eugene visited Fanny in a boarding house where she was reduced to being a cook. Hardly optimistic fare in World War II America, and all the studios wanted optimism then. Another reason to change the film to the idiotic conclusion we have today. Interestingly the recent television remake follows the novel - Lucy unites with the unrepentant, still arrogant George, while Eugene has to accept this. Even that would not have been acceptable to the studios in 1942.

"Old times aren't gone, they're dead"Reviewed bySteffi_PVote: 8/10

Orson Welles' second attempt at making a feature is probably known more for its having been butchered and drastically altered in Welles' absence than it is for the actual quality and content of what remains. Welles himself said that, had it survived intact, The Magnificent Ambersons would have been better even than his acknowledged masterpiece, Citizen Kane. We'll probably never really know, but looking at what we have been left, he may have been right.

Like Citizen Kane, Magnificent Ambersons mixes drama with an informative, historical, almost documentary style. Once again he contrasts the quick cuts and to-the-point imagery of a documentary with the long takes appropriate to drama. This approach is ideal for this kind of story of individuals within the context of historical fact, and although the content is totally different, it's not unlike the way in which Martin Scorsese would construct films like Raging Bull and Goodfellas decades later.

The opening sequence of Magnificent Ambersons, in which Welles narrates the changing fashions of the 1870s and Eugene's courtship of Isabelle, is this film's equivalent of the "News on The March" sequence from Citizen Kane. Here however many of the similarities with the earlier film end. Ambersons is overall a much more relaxed piece compared to Kane. Welles relies less on rather obvious cinematic techniques, and more on subtleties of staging, shot composition and lighting. He really handles the mood and tone brilliantly here, with a fuzzy, rose-tinted view of the past, and an encroaching feel of disturbing darkness as his characters' worlds begin to fall apart. Of course, he was doing something similar in Citizen Kane, but here it's much more polished and effective.

Although Welles himself does not appear in Ambersons (although he does a narrative voice-over), the acting is on the whole a notch above Citizen Kane. Joseph Cotton and Agnes Moorehead in particular really get to shine here, giving standout performances they never quite achieved in Kane, where everyone else was dwarfed by Welles' gargantuan performance. Welles as a director here also shows off his actors' abilities with the way he focuses on them in some incredibly long takes, letting the drama unfold naturally.

However for all the excellence of its individual elements, I have to judge Magnificent Ambersons on what it is as a whole today. The fact there is an hour of missing footage is painfully obvious. The drama lacks depth due to the overall story being pared down to its barest bones. You can tell an effective thriller or horror in an 85 minute film, but you can't do the same with an epic. Ambersons clearly has the same qualities of epic dramas like Gone with the Wind or Giant, but truncated as it is we get neither the sympathy for the characters or a real sense of the passage of time that we need. At least it's possible to ignore the travesty that is the studio-approved happy ending, but the same is not true of the glaring gaps in the story arc.

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