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remains unaware of the secret that Nora holds: She had saved him when he had become seriously ill and very nearly destitute. Without his knowledge, she had borrowed a large sum of money so that he could temporarily retire and recuperate. She told him the money had been inherited from her family; in truth it had been a private loan from Nils
Krogstad, one of Torvald's coworkers. Nora has been scrupulously repaying him in small installments skimmed from her household allowance.
403:. The original text takes place in a single room in a single day, but the Mercer/Losey version is expanded. Much of the expository dialogue of Act I is converted into an extensive prologue. Events that are only discussed by the actors in the Ibsen play – such as the early friendship of Nora and Kristine, the romance and breakup of Kristine and Krogstad, the life-threatening illness of Torvald, and the death of Nora's father – are all fleshed out in full separate
463:
making "anti-feminist remarks to the press" and charging that "your inability to deal with, to countenance, strong women...has done irreparable harm to the film". On a personal note, she added: "I was never able to penetrate your paranoia or snobbery while we were working together". Losey, for his part, grumbled that Fonda had "little sense of humor" and "was spending most of her time working on her political speeches instead of learning her lines".
31:
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the camera moves from room to room, revealing the physical comforts of their home and its confining nature – its "deadly insularity". The combined effect of Losey's alterations have been praised by some critics for giving the work a cinematic quality and making it "a film rather than a photographed play".
462:
Fonda's feminist sensibilities informed her performance and her relationship with Losey. The director, who had a history of stormy relationships with his leading ladies, earned the ire of both Fonda and
Delphine Seyrig before the film was released. In a letter from June 1973, Fonda assailed Losey for
299:
His fury seems infinite until suddenly a second letter from
Krogstad arrives. It contains Nora's contract, complete with forged signature and surrendered without explanation. Torvald holds the incriminating evidence in his hand, utterly relieved, and begins to make weak apologies for his outburst. In
410:
The one-room setting of Ibsen's original is a deliberate device suggestive of Nora's isolation and her imprisonment within her marriage. In the film, however, multiple locations outside the Helmer house are used for visual explication, lending dramatic emphasis to plot points. Even within the house,
291:
Torvald, it turns out, already holds the boorish
Krogstad in contempt for various reasons. When Torvald is appointed bank director, one of his acts is to fire his unlikable coworker. The desperate Krogstad attempts to blackmail Nora – she must persuade Torvald to keep him on the job, or he will tell
418:
has commented on one example at the start of the film: "just as we see Nora and
Kristine skidding excitedly across the surface of the pond, we also spot a static, black-coated figure lurking ominously outside the teahouse in the exact centre of the shot (i.e. at the spatial vanishing point). This
537:
Some critics have suggested that the film suffers under the weight of Fonda's public image. Professor Neil
Sinyard wrote, "Perhaps the star's own feminist associations obscure our vision of the character's blind and painful quest towards self-awareness and undermine the shock of Nora's startling
295:
The story includes important subplots regarding the unexpected tenderness of
Krogstad (toward Nora's friend Kristine, his old flame) and the quixotic love interest (toward Nora) of the elderly Dr. Rank. However, the essential conflict comes when Torvald gets a letter from Krogstad describing the
287:
The
Helmers live in an unequal partnership, dominated by Torvald. Although he professes to love her, Torvald constantly chides Nora for what he calls her careless and childlike nature; he often calls her his "doll". He proudly thinks of himself as the family's breadwinner and protector, but he
542:
wrote that Fonda's "star personality" undercut her performance in an otherwise admirable production: "One never believes her as the macaroon-munching birdbrain or the charming coquette or the toy wife. In the great scene of defiance at the end, she takes the film with a tank".
419:
turns out to be
Krogstad, steeling himself for his fateful rejection by Kristine. The sweet purity of youth is thus already tainted by the acrid taste of the social outcast – the future man of vengeance – and the source of Nora's own financial enslavement."
585:
292:
all about the secret loan. Its existence would be embarrassment enough for Nora, but
Krogstad threatens to reveal the most shocking news of all: Nora had forged her father's signature as a co-signer on the contract.
283:
focuses on the married life of banker Torvald Helmer and his wife Nora. A young middle-class couple with three small children, their seemingly respectable marriage is revealed to be a broken and bloodless matter.
300:
the meantime, Nora has had a transformational realization about her love and marriage. She stands up to Torvald, explains her new vision, and then – against all customs of the day – walks out on him forever.
533:
likewise praised her performance, and wrote that her contemporary persona dovetailed well with Mercer's dialogue, which "skillfully drops the stilted period rhetoric without going colloquial or slangy".
296:
loan. Indignantly, Torvald pours scorn on his wife for her morals, intellect, and financial sense; he cuts short her explanations and declares that she will be allowed no hand in raising their children.
577:
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Losey's version of the play was extensively adapted for film. From Ibsen's expository dialogue, entire new scenes were developed by British dramatist
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The choice of Fonda for the principal role has always elicited some commentary on her casting and performance. Known as a high-profile supporter of
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373:, who had a long professional relationship with Losey beginning in the mid-1960s during the director's British period, including
578:"Gerry Fisher: Prolific cinematographer who worked with some of the finest directors of his day – most profitably, Joseph Losey"
525:, Fonda took the role at a time when the U.S. women's rights movement was at its peak. Many film critics praised Fonda's work –
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complained bitterly that the film had been "fattened with feeble lines and even short scenes that the old genius didn't write".
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decision (startling, that is, to a nineteenth century audience) to walk out on her husband and children." More bluntly,
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513:. The coincidental competition for a relatively small audience meant commercial difficulties for both films.
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cited it as the main reason to see the film (which he otherwise deemed only "moderately successful").
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The Helmers' children were portrayed by Morten Floor (Bob), Tone Floor (Emmy), and Frode Lien (Ivar).
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Ibsen's three-act play was adapted to a screenplay by Losey in collaboration with British dramatist
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Other critics found Losey's bold changes to be off-putting, even blasphemous. Writing in
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Losey's film was one of two English-language versions of Ibsen's play released in 1973:
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Losey intended his added scenes to achieve artistic merit in their own right. Critic
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provided the musical soundtrack, a "bright, horn-dominated neoclassical score".
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Krogstad's son and daughter were portrayed by Dagfinn Hertzberg and Ellen Holm.
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TLA Film, Video, and DVD Guide 2002–2003: The Discerning Film Lover's Guide
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television network on 23 December 1973. It had been shown at the 1973
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442:, where local residents served as extras for the exterior scenes.
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985:
Erskine, Thomas; Welsh, James Michael; Tibbetts, John C. (2000).
993:. Westport, CT: Greenwood Publishing Group. p.
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1288:
989:Video Versions: Film Adaptations of Plays on Video
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271:and integrated through a number of invented sets.
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1063:Filming Literature: The Art of Screen Adaptation
674:"Film: 'A Doll's House', '73 Vintage Jane Fonda"
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474:was first aired in the United States on the
438:Filming took place in the Norwegian town of
1021:. Manchester: Manchester University Press.
874:"Jane Fonda aptly cast in 'A Doll's House'"
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565:. Oxford University Press. p. 302.
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1248:"What happens after Nora leaves home"
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935:from the original on 15 November 2018
795:from the original on 15 November 2018
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576:Hayward, Anthony (20 February 2015).
558:
264:as her domineering husband, Torvald.
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279:Set in 19th century Norway, Ibsen's
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588:from the original on 27 August 2017
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888:from the original on 26 April 2016
14:
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1634:Films shot at EMI-Elstree Studios
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1042:Leonard Maltin's 2015 Movie Guide
16:1973 British film by Joseph Losey
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872:Du Brow, Rick (2 January 1973).
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1624:Films scored by Michel Legrand
1619:Films directed by Joseph Losey
1604:British historical drama films
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1:
1644:French historical drama films
1614:Films based on A Doll's House
1609:English-language French films
931:. Dayton, Ohio. p. 193.
785:"Fonda's 'Doll' Arrives Late"
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394:
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176: (New York Film Festival)
1599:1970s historical drama films
1589:1970s English-language films
1487:The Assassination of Trotsky
672:Sayre, Nora (8 March 1978).
516:
7:
1383:The Gypsy and the Gentleman
943:– via Newspapers.com.
896:– via Newspapers.com.
716:"Queen Jane, Approximately"
10:
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923:Reed, Rex (2 April 1978).
482:, and was screened at the
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458:Cast and director conflict
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407:at the start of the film.
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1303:The Boy with Green Hair
970:. New York: Macmillan.
964:Bleiler, David (2001).
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1471:Figures in a Landscape
1242:A Doll's House, Part 2
1060:Sinyard, Neil (2013).
635:Gardner, pp. 234; 239.
480:New York Film Festival
354:– Anne-Marie the nanny
142:Les Films de la Boétie
1367:The Intimate Stranger
1343:Stranger on the Prowl
1066:. London: Routledge.
1045:. New York: Penguin.
789:The Los Angeles Times
742:"Festival de Cannes:
559:Caute, David (1994).
1639:Films shot in Norway
1629:Films set in Norway
1584:1970s British films
750:Festival-cannes.com
348:– Olssen the porter
144:World Film Services
1594:1970s French films
1527:Roads to the South
1359:A Man on the Beach
1351:The Sleeping Tiger
1289:Films directed by
1177:1973, dir. Garland
678:The New York Times
424:The New York Times
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1375:Time Without Pity
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929:Dayton Daily News
781:Champlin, Charles
499:the other version
342:– Helene the maid
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501:was directed by
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330:– Kristine Linde
318:– Torvald Helmer
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791:. p. 115.
783:(6 June 1980).
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312:– Nora Helmer
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1399:The Criminal
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1291:Joseph Losey
1240:
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1141:Henrik Ibsen
1099:
1088:
1062:
1041:
1018:Joseph Losey
1017:
988:
966:
958:Bibliography
937:. Retrieved
928:
918:
909:
890:. Retrieved
877:
867:
862:, pp. 95–96.
859:
854:
833:
825:
820:
803:– via
797:. Retrieved
788:
758:. Retrieved
754:the original
749:
743:
736:
724:. Retrieved
722:. Condé Nast
719:
706:
682:. Retrieved
677:
631:
623:
602:
590:. Retrieved
581:
571:
562:Joseph Losey
561:
554:
536:
520:
507:Claire Bloom
496:
471:
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398:
388:Don Giovanni
386:
385:(1971), and
380:
374:
371:Gerry Fisher
368:
346:Pierre Oudry
316:David Warner
298:
294:
290:
286:
280:
278:
269:David Mercer
266:
262:David Warner
250:Henrik Ibsen
243:
240:Joseph Losey
238:directed by
230:
229:
228:
185:Running time
161:Release date
154:British Lion
108:Gerry Fisher
79:Joseph Losey
70:Henrik Ibsen
55:David Mercer
45:Joseph Losey
18:
1423:The Servant
1327:The Prowler
1311:The Lawless
1172:1922 silent
1167:1918 silent
1162:1917 silent
939:14 November
799:14 November
712:Als, Hilton
492:Los Angeles
258:Nora Helmer
252:. It stars
189:106 minutes
76:Produced by
41:Directed by
1574:1973 films
1568:Categories
1415:The Damned
1391:Blind Date
1199:Television
680:. New York
584:. London.
547:References
505:and stars
428:Nora Sayre
395:Adaptation
365:Production
334:Edward Fox
324:– Dr. Rank
310:Jane Fonda
254:Jane Fonda
236:drama film
234:is a 1973
220:Box office
172:1973-10-01
135:Production
94:Edward Fox
90:Jane Fonda
51:Written by
1543:The Trout
858:Erskine,
824:Erskine,
622:Erskine,
517:Reception
352:Anna Wing
223:$ 787,740
215:$ 900,000
194:Countries
137:companies
114:Edited by
35:VHS cover
1551:Steaming
1447:Accident
1105:AllMovie
1039:(2014).
1015:(2004).
933:Archived
892:30 March
886:Archived
828:, p. 95.
793:Archived
760:29 March
684:31 March
626:, p. 97.
586:Archived
540:Rex Reed
523:feminism
391:(1979).
379:(1967),
376:Accident
204:Language
124:Music by
86:Starring
61:Based on
1503:Galileo
726:3 April
592:3 April
467:Release
434:Filming
207:English
170: (
1554:(1985)
1546:(1982)
1538:(1979)
1530:(1978)
1522:(1976)
1514:(1975)
1506:(1975)
1498:(1973)
1490:(1972)
1482:(1971)
1474:(1970)
1466:(1968)
1458:(1968)
1450:(1967)
1442:(1966)
1434:(1964)
1426:(1963)
1418:(1963)
1410:(1962)
1402:(1960)
1394:(1959)
1386:(1958)
1378:(1957)
1370:(1956)
1362:(1955)
1354:(1954)
1346:(1952)
1338:(1951)
1330:(1951)
1322:(1951)
1314:(1950)
1306:(1948)
1190:(1993)
1149:(1879)
1070:
1049:
1025:
1001:
974:
405:scenes
212:Budget
199:France
1455:Boom!
1220:Other
1155:Films
860:et al
826:et al
624:et al
446:Music
440:Røros
1228:Nora
1211:1992
1206:1959
1188:Sara
1094:IMDb
1068:ISBN
1047:ISBN
1023:ISBN
999:ISBN
972:ISBN
941:2018
894:2016
801:2018
762:2016
728:2016
686:2016
594:2016
509:and
304:Cast
275:Plot
260:and
1407:Eva
1143:'s
1103:at
1092:at
882:UPI
490:in
476:ABC
248:by
68:by
1570::
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995:96
927:.
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842:^
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664:^
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426:,
1319:M
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688:.
596:.
174:)
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