The Magnificent Ambersons (1942) 1080p YIFY Movie

The Magnificent Ambersons (1942) 1080p

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: 7.92 Likes

  • Genre: Drama | Romance
  • Quality: 1080p
  • Size: 1.68G
  • Resolution: / fps
  • Language: English
  • Run Time: 88
  • IMDB Rating: 7.9/10 
  • MPR: Normal
  • Peers/Seeds: 2 / 2

The Synopsis for The Magnificent Ambersons (1942) 1080p

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) 1080p

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


The Reviews for The Magnificent Ambersons (1942) 1080p


Excellent Cast, Characters, Setting, & StoryReviewed bySnow LeopardVote: 7/10

With an excellent cast, interesting characters and setting, and a thought-provoking story, dramatic cinema does not get much better than "The Magnificent Ambersons". No one will ever know what it would have been like if Orson Welles' original version had been allowed to stand as it was, but what is left is still extremely good despite the missing portions.

The story of the leading residents in a turn-of-the-century town combines some interesting themes. The snobbishness of the Ambersons, and its effects on their lives and others' lives, is illustrated alongside the ways that increasing industrialization is changing everyone's lives. The period setting is also quite interesting in its own right, and very nicely done. The characters are all convincing and well-defined, and are matched nicely with fine performers who bring them to life convincingly. Welles regulars Joseph Cotten and Agnes Moorehead are especially good.

The only real disappointment in the movie is that, due to all the cuts made against Welles' wishes, there are times when it is obvious that a scene or information is missing, since characters at times refer to events that are not quite familiar to the audience. It is fortunate that the acting and writing are good enough to help us fill in the blanks to some degree, but it is really too bad that we can never see the whole picture.

As it stands, this is a fine film filled with good scenes and memorable characters, and a movie that will be much appreciated by fans of classic cinema.

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.

"Nest of Cracks"Reviewed bygmatuskVote: 7/10

Another reviewer used the fuller quote "...Loose Quicksilver in a Nest of Cracks..." as the heading of his review, and I agree with most of what the other 10-star reviews say, so I'll be brief and not repetitious. First of all, I'd like to point out that the quote mentions "quicksilver," which of course is Mercury. The Mercury Players are the stars of this film and "Citizen Kane" --- coincidence?

There are at least 2 books that deal with the relative merits of film adaptations of novels -- which is better, the novel or the film? Both of these books that I read seem to think that the film of "Magnificent Ambersons" is better than Tarkington's novel. I read the novel -- it is not written in a wordy old-fashioned style typical of novels of its day (1918) -- it's a "good read" by today's standards -- even a "great read" -- I'd say that the novel and the film are co-equals in terms of artistic excellence. Factory soot and general air pollution is a prominent theme in the novel, as in 2 other novels by Booth Tarkington (he collected the 3 novels together in one volume under the collective title "Growth"). Tarkington was also concerned about what we today call urban sprawl.

In both the film and novel, the name of Georgie's horse is mentioned several times -- "Pendennis" -- the title character of a 1850 novel by William Makepeace Thackery (who also wrote "Vanity Fair") -- "Pendennis" is a novel about snobbery (and surely Georgie is also a snob). For what it's worth, in my opinion, Tim Holt's portrayal of Georgie is just fine. And isn't it ironic that Tim Holt, son of cowboy actor Jack Holt, returned to the family business of B-Westerns (along with his sister Jennifer) after he turned in good performances in 2 of the greatest films ever made (his other major role was in "The Treasure of the Sierra Madre" -- he also had a minor role in "Stagecoach")?

Read the novel if you want a full explanation of how the Amberson family lost its fortune. Also, the film mentions that Aunt Fanny lost her money by investing in a "headlight company" -- the novel makes clear that this company is NOT connected with Eugene's automobile company.

Finally, as another reviewer pointed out, the non-Wellesian tacked-on studio ending for the film, though abrupt, is fairly faithful to the novel. I, too, wish I could see the 53 or 55 or 58 minutes of Welles's footage discarded by the studio, but I am not prepared to heap abuse or ridicule on the studio ending.

When A&E cable network commissioned a remake of Welles's film, it's too bad the expanded 150-minute running time was not better used to clarify the plot. The same thing happened when TV produced a miniseries remake of "The Long Hot Summer," loosely based on Faulkner's Snopes Trilogy (especially, the first novel, "The Hamlet") -- instead of restoring some of what's in the novels, the TV writers were asked to confine themselves to expanding the original screenplay. Another lost opportunity.

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