Carrie

Plot synopsis:
Several people are being interviewed in a police station, including a high school student, Sue Snell (Kandyse McClure) and gym teacher Miss Desjarden (Rena Sofer). Detective John Mulcahey (David Keith) is investigating the disappearance of high school student Carrie White (Angela Bettis). These interviews are interspersed with flashbacks to previous events.
The film then features a flashback of two weeks before the prom at Ewen High School. Carrie is a shy and withdrawn girl tormented by the popular girls; Christine "Chris" Hargensen (Emilie De Ravin) and Tina Blake (Katharine Isabelle) are especially vicious. After gym class, Carrie has her first period in the shower, and she panics. The other girls swarm the shower and taunt her. Hearing the commotion, Ms. Desjarden comes into the shower, and comforts Carrie as a light bulb shatters above them. Later, Principal Morton (Laurie Murdoch) decides to send Carrie home, but calls Carrie the wrong name (he calls her "Cassie", instead of "Carrie.") Carrie corrects him repeatedly, finally yelling as his desk suddenly moves several inches. As Carrie gathers her belongings to leave, she is the victim of a practical joke at her hallway locker, where the words "plug it up" are written on her locker door and when she opens the door, tampons fall out and onto the floor. On her way home, Carrie is accosted by a boy on a bicycle, whose joke goes wrong when he seemingly flies off his bike and crashes into a tree. When she reaches home, Carrie has a flashback to her own childhood before entering the house. Carrie's fanatically religious mother, Margaret White (Patricia Clarkson), who considers menstruation a sign of sexual sin, locks Carrie in her "prayer closet" as punishment.
The next day, Ms. Desjarden gives the girls a week's detention for their bullying. If they skip the detention, they face suspension and refusal of their prom tickets. Chris storms out in protest. After Chris' father John Hargensen, a lawyer, unsuccessfully attempts to get her prom ban rescinded, Chris enlists her boyfriend Billy Nolan to get revenge on Carrie. Meanwhile, Carrie discovers she has telekinesis, the ability to move or control objects with her mind. Carrie has a telekinetic episode in class and, when she goes home, practices her rediscovered talent. Sue, trying to atone for tormenting Carrie, asks her boyfriend, Tommy Ross (Tobias Mehler), to take Carrie to the prom. After some hesitation, Carrie agrees. When Carrie tells her mother about the prom invitation, Margaret forbids her to go; Carrie uses her powers to finally confront her mother, and Margaret seemingly gives in.
As prom night approaches, Chris and Billy prepare their revenge on Carrie when they find out that Carrie is on the Prom Queen ballot. On the day of the prom, Tina switches the ballots, and Carrie and Tommy are declared the Prom King and Queen winners. As Tommy and Carrie take their place onstage, Chris, who has been hiding with Billy in the rafters, pulls a rope to tip a bucket, sending a wave of blood onto Carrie. Chris and Billy run; when Chris releases the rope, the bucket falls on Tommy's head, knocking him out. Carrie goes into a shock-induced trance and telekinetic mayhem ensues. She locks everyone inside the gym and sets fire to it. She kills Tina by crushing her, and then electrocutes most of the remaining students, including Roy and Helen, killing everyone except for a few students, including Norma, who escape through a vent with Ms. Desjarden. Carrie then leaves the burning gym, unleashing a wave of destruction in the entire town. Chris and Billy see her walking in the road. Billy tries to run her down but Carrie tosses their truck into a pole, thus killing them.
When Carrie arrives home, she gets into a bathtub, where she finally snaps back to herself but cannot remember what happened. Margaret comes into the bathroom and calls her a witch for destroying the whole town; she then drowns Carrie in the tub. With her last ounce of strength Carrie stops her mother's heart. Sue finds Carrie near death and manages to revive Carrie with artificial respiration. At Sue's suggestion, Carrie fakes her death and Sue sneaks Carrie out of town to Florida. As the two drive off, Carrie has a nightmarish vision of her mother. When Carrie wakes, she looks at Sue and hallucinates Chris lunging at her. Noticing this, Sue asks her if she wants to stop for a moment, but Carrie tells her to keep driving.

Tags: romantic, melodrama

Review:
In Columbia Clay, Missouri, the young and naive Carrie Meeber (Jennifer Jones) boards the train expecting to meet her older sister in Chicago and have a better life in the big city.
Unable to find another job, she looks for Charles, and he invites her to have dinner at the Fitzgerald's, the most expensive restaurant of Chicago, where she meets the elegant middle-age manager George Hurstwood (Laurence Olivier).
Meanwhile, Carrie matures and becomes successful in her business."Carrie" is a cruel classic romance, with a stunning performance of the great British actor Laurence Olivier, who surprisingly was not nominated as Best Lead Actor to the Oscar.
Jennifer Jones, Eddie Albert and Miriam Hopkins give credibility to their characters with their great performances.
The romantic and dramatic story does not have the usual commercial happy end of Hollywood movies, but a credible and realistic conclusion, and maybe that is why I loved this film.
This was a pretty powerful melodrama, thanks to the great performance of Sir Laurence Olivier.Olivier plays an unhappily-married older man who falls for the young and beautiful Jennifer Jones (not hard to understand!).....and pays a huge price for his adultery.
Olivier is near-mesmerizing in this film and Jones is absolutely gorgeous, as she was in "Portrait Of Jennie," made about five years prior to this film.Eddie Albert was a bit annoying (but effective) in his role and Miriam Hopkins is downright brutal in her small part as Olivier's wife.
Not for nothing is Laurence Olivier heralded as one of the greatest actors of our time, and if ever a film proved it, it's "Carrie," an adaptation of Theodore Dreiser's "Sister Carrie." Dreiser is the man who brought us "An American Tragedy," remade as "A Place in the Sun." Poor Dreiser - he must have been one miserable human being to write such stories of man's desolation."Carrie" is the story of a distinguished man, George Hurstwood (Olivier) who runs a large Chicago restaurant, and how his obsession with a beautiful young woman, Carrie (Jennifer Jones) destroys his social standing, his reputation, and his life.
Miserable in a loveless marriage to Julie (Miriam Hopkins), George meets Carrie while she is living with a salesman, Charlie (Eddie Albert).
But his troubles are just beginning.William Wyler skillfully directed this film, which has one of Olivier's best screen performances as George.
He will break your heart.As Carrie, Jennifer Jones is excellent as an unhappy young woman who, because of poverty, innocence, and George's determination, is dragged into a downward spiral.
George is such a weak man that the only type of person he could ever dominate would be someone like Carrie - and finally, he isn't even able to dominate her.Hopkins was a master at playing a shrew, but more than that, she was a brilliant actress who knew the art of playing period pieces, as she demonstrated so admirably in "The Heiress." Eddie Albert is good in the familiar role of a likable salesman, but it had an added twist - this one had ulterior motives, but he was so smiley and gregarious, you almost couldn't believe it.Well worth seeing but have a box of tissues nearby.
When he finds she is not to be won over he must sacrifice everything to have her, including forfeiting his property and assets to a shrew of a wife, played unmercifully by Miriam Hopkins.Olivier's eyes are captivating in every scene with Jennifer Jones, his manners are impeccable the chemistry between them is dazzling.
I love this film and it is much more idealistic than the book which describes Carrie as disillusioned when Hurstwood can't support her and thinks him old and useless.
When Hurstwood's son surfaces Carrie encourages him to seek him out for help and decides to leave only for his benefit.Carrie is not portrayed in the film as the selfish character in Dreiser's novel.
Women who take their handkerchiefs to the cinema have always seemed indifferent to the film: indeed the only admirers I have personally found have been male, possibly identifying with the debonaire restaurateur, Hurstwood (magnificently played by Laurence Olivier), sowing the seeds of his downfall through human weakness which destroys everything except his innate dignity.
An unusual film to come out of Hollywood in the Fifties, it now emerges as one of the finest American films of that period.Jennifer Jones, Eddie Albert and Miriam Hopkins all deliver top-notch performances - subtle, believable, multi-dimensional and real.
Jennifer Jones is rather tepid playing Carrie Meeber, a small town girl who becomes involved in her first romance with a classy restaurateur from the big city.
Laurence Olivier's performance as Carrie's lover is sly and seductive, but there isn't any real chemistry between he and Jones, and Olivier could just as well be acting to a mirror (he's very good, very charismatic, and yet highly enamored of his own presence).
Superior film with Jennifer Jones and Laurence Olivier.
In a way they're reliving author Theodore Dreyser's other great masterpiece "An American Tragedy." In that classic as well as Carrie we see the differences within social classes in the U.S. and how it leads to ultimate ruin.Laurence Olivier proves he was a genius by giving a restrained, masterful performance as a wealthy man driven to ruin by his unhappy marriage to an embittered Miriam Hopkins and his love for Carrie (Jennifer Jones) who he meets when her beau (Eddie Albert) brings her to the restaurant he manages.
Albert more than holds his own in scenes with both Miss Jones and Olivier.When an embarrassed Olivier walks away from his son who he doesn't wish to be seen by him, it's a similar rejection faced by Barbara Stanwyck in that famous wedding scene of the great "Stella Dallas."It's still basically the same story with one person making it to the top as their spouse falls.
This filming of Theodore Dreiser's Sister Carrie focuses more on Laurence Olivier's character of George Hurstwood more than on the title character that Jennifer Jones portrays.
And one day accompanied by Eddie Albert, walks Jennifer Jones into his place and he flips for her.Carrie's a young girl from the farm gone to Chicago to seek life.
Melodrama had come a long way between the thirties austere black and white Stahl tear-jerkers to the fifties flaming Sirk extravaganzas ,which were often remakes of the first director's works ( "when tomorrow comes" "imitation of life" "magnificent obsession")At the beginning of the fifties ,Wyler -who had already approached melodrama ("Mrs Minniver","little foxes" and even elements of his admirable "best years of our lives) opted for full bore weepie,the "enough is enough" genre and thus anticipated on the great maudlin movies of the fifties which was another golden era for the style,not only Douglas Sirk but also Minelli,Cukor,Dmytryk ,King...
Jennifer Jones ,the romantic actress par excellence ,is the bridge between the two eras:she has nothing to do with Irene Dunne or Margaret Sullavan because she's primarily an intuitive:her face is constantly longing for the love which ceaselessly eludes her :no actress succeeded as she did as far romantic passion is concerned ("duel in the sun" "madame Bovary" "Ruby Gentry" are good examples).And yet,despite the title,the plot focuses on Olivier's character.the great thespian is very moving,going from riches to rag with equal command.The plot encompasses everything that makes a melodrama a delight for afficionados of the genre.Olivier's downfall is almost realist -and sometimes recalls Murnau's "der Letzte Mann" (1924).Wyler depicts his plight and humiliation in lavish detail .That's strange,because ,generally ,man is spared in melodramas .The legendary depth of field you can find in any Wyler movie is used with great results in the scenes when Carrie comes for the first time in the luxury restaurant where she's invited..
This is a curious little sleeper from 1952, a grim, objective look at the upward mobility of a country girl who first adapts to the needs of the men around her, and then moves on to a successful stage career on her own, leaving one of the men in abject poverty.Today Carrie succeeds not only because of it's splendid recreation of a time, but as one of the few American vehicles where the legendary Laurence Olivier, (who often walked through a character role for the paycheck) performs to his best advantage, evolving from an assured man of the world to a pathetic morsel at the bottom of the heap, a restrained and beautifully measured performance given 13 years later than his dynamic Heathcliff for the same directer in 1939's Wuthering Heights.Jennifer Jones, too, is a good deal less hysterical and florid than usual; the music score by David Raksin underscores without bombast, and the supporting cast provide excellent contrast.
It's peopled by such unlikeable, unappealing characters that by the time it's over and LAURENCE OLIVIER lands in a flophouse while JENNIFER JONES has achieved success, it has a deja vu feeling that you've seen this tale before in a little something called A STAR IS BORN.The production values are splendid, as you would expect in a Paramount film under Wyler's auspices, and the supporting cast includes EDDIE ALBERT (as a traveling salesman, the kind he's played before), and MIRIAM HOPKINS (as a shrewish wife who doesn't give the viewer any sympathy for her character).Motivations by the principal characters are somewhat muddied which is probably a script problem, but I lost interest in the tale long before it reached its painful end.It failed to win any acclaim from the critics except for Olivier's performance and was doomed to box-office failure.
Olivier and Albert certainly play supporting roles in this terrific William Wyler flick, but as in the Dreiser novel, Jones/Carrie is the star.
But the first wife is much worse, far more grasping, self-serving, and vicious than Carrie.Jones is good here, but Olivier is amazing..
The two characters, Jennifer Jones as Carrie and Laurence Olivier as Hurstwood totally and completely evolve and change.
This is a much more serious film then Holiday and this movie starts out with Jennifer Jones leaving her family in a small town to go to Chicago to live her sister and her husband.
Jones then meets Laurence Olivier who owns a big restaurant in town and they quickly fall in love.
There is a lot more that happens and i think Laurence Olivier is a great actor but he just wasn't right for this role but Jones does a good job..
Thanks to the superb craftsmanship of William Wyler, Laurence Olivier, Jennifer Jones, Mirian Hopkins, Eddie Albert, and production crew including David Raskin, this is Hollywood at its all-time best.Every aspect of this drama is remarkably presented, and it is a tribute to the entire production department that all elements come together so brilliantly.Olivier's decision to tone down his work (probably with the help of Wyler) truly enhances his effectiveness.
Once this particular scandal breaks out, Carrie gives him the boot and sets her sights on becoming a successful actress.This particular aspect of the story can be compared to IN THIS OUR LIFE, when Bette Davis ruins one man after the other, thinking constantly of making it big and only wanting pleasures for herself, not thinking about the consequences that will be caused in her wake of self-destruction.Another similar story line can be found in THE CATERED AFFAIR when Bette Davis again, runs her poor husband, Ernest Borgnine, and her family bankrupt when she tries to throw her daughter a lavish wedding.The only difference in this story is that Jennifer Jones' character, Carrie, finally comes to her senses and discovers that she has a conscience and decides to make things right by regenerating Olivier from destitution and poverty.While this wasn't one of Jennifer Jones' better films, it was certainly interesting to watch her portray such a heartless and selfish character.
Although she does come good in the end, I would have preferred to see how her character would have unfolded had she remained a selfish and heartless person.Overall, this film is a must for Jennifer Jones fans.
Based on the Theodore Dreiser novel, "Sister Carrie." Jennifer Jones plays Carrie Meeber, a young woman who moves to Chicago to find work and better herself.
I selected this film to watch mostly because of Jennifer Jones (I'm male, so shoot me), and having Sir Lawrence Olivier never hurt a movie.
She is young and impressionable, and develops a precocious infatuation for him!!Carrie (Jennifer Jones) is the main character in the movie, quite a bit of this film is through her eyes!..Initially, Charlie's (Eddie Albert's) wife, she does not feel comfortable with him entirely!!
Carrie becomes enthralled with Lawrence Olivier's character, she is easily cajoled, and thus very susceptible to George Hurstwood's professional charm!!...So now, Carrie wants to be married to an older, more distinguished man, whom she feels she can devote her life to!!...What is the problem with falling in love with this married man?
Performances by Jennifer Jones, Eddie Albert, Miriam Hopkins and of course Sir Lawrence Olivier, were to say the least, phenomenal!!.
William Wyler directed this film ("Director of Best Years of Our Lives") This movie stands behind his fabulous reputation, and ultimately delivers with noteworthy critical acclaim as well!!
Comparison is expected, but ultimately unfair in this case, as 'Carrie' is unique in it's own right.Olivier gives possibly the best film performance of his career as George Hurstwood, the tragic figure of the tale.
Jones is just as good as Carrie, the unknowing young girl who is first taken up one older man (Eddie Albert), than is the objective of affection and/or lust for another (Olivier).
Jones must surely be one of the greatest film actresses of all time; her ability to play such a range of characters (Carrie, Pearl Chavez, Bernadette) on screen is compelling.
The advertising makes it look like a glossy romance, and it is much deeper and darker.***Do not miss this one, it is highly regarded for all the right reasons.This movie really should have been called "George,"as it is the story of a man (Laurence Oliver) who ruins his life for love.
Jennifer Jones, playing Carrie, also gives one of her best performances, and their chemistry is fantastic.
Second to "Here Comes the Groom" as Paramount's top-grossing Australian release of 1952.COMMENT: One of Wyler's finest achievements, this memorable adaptation of Dreiser's first novel, is not only forcefully acted by its principals, but splendidly set and produced.Among many memorable scenes is one of the most haunting ever put on film.
The characters seem so convincing it's not surprising to learn that they were drawn from real people and events.Jennifer Jones plays Carrie, a young country girl who becomes involved with two men, Charles Drouet and George Hurstwood, in turn-of-the-century Chicago.
Through these difficult relationships, Carrie becomes a wiser, more independent woman, ultimately achieving fame on the stage.Eddie Albert plays Charles Drouet, and to his credit his performance holds up well against Olivier's tour-de-force.Laurence Olivier plays George Hurstwood, the older man who wins Carrie over with his suave demeanour, and respected position as the manager of a big hotel.
But as his position and powers decline, he becomes increasingly dependent on Carrie while she gains inner strength and leaves him.The harsher tone of the novel was softened in the movie version, especially with George Hurstwood's character.
The story surrounds small town girl Jennifer Jones who moves to Chicago, finds hardships but eventually love with the married Laurence Oliver who can't get rid of venomous spouse Hopkins.
You'll want to reach through the screen and throttle her, just like Bette Davis did in "Old Acquaintance"The lovely Jones is of course the focus, initially having alleged inappropriate relations with gregarious businessman Eddie Albert through whom she meets Olivier at the restaurant he runs (owned by Hopkins whom he signed it over to we find out).
Live Wisely and Prosper - A Tale to Learn By. Jennifer Jones is Carrie, based on the novel, Sister Carrie, by Theodore Dreiser, author of the novel which prompted the film, A Place in the Sun. Dreiser's themes in his novels dealt heavily with society and his characters' desire to or lack of desire to conform with the rest of the people around them.
But while Jennifer Jones is always beautiful and is the title character, the film really belongs to Laurence Olivier.
Director William Wyler's production values making us the viewers delve into the mindset of Theodore Dreiser's characters and Olivier's performance are superlative, making this a film not to be missed by serious film buffs, especially those interested in the mores of yesteryear.
It stars an actor as distinguished as Laurence Olivier and Jennifer Jones, one of the screen's great beauties of the forties and fifties.
This "Carrie" was made in 1952, a year after another of Dreiser's novels, "An American Tragedy", was filmed as "A Place in the Sun".
The film tells the story of Carrie's relationships with two men, a salesman named Charles Drouet whose mistress she briefly becomes, and George Hurstwood, the manager of an upmarket restaurant.
a martini for me, dry, and keep them coming.The mess: Adulteress/actress Jennifer Jones is typecast as Carrie, who lives as a kept woman for most of the movie.
You can't teach a man..' 'the director who gets Laurence Olivier to play a role in his film is fortunate indeed.
So exquisitely done and painful to watch.All the performances in this film are excellent especially Eddie Albert's, nicely juxtaposing Olivier's.
Which made the ending all the more poignant, when she realised she didn't have the power to feel, therefore to love.Stunning Jennifer Jones had the beauty of Carrie but she was married to producer David O.
Jennifer Jones' Carrie is a sensitive young woman who yearns for the respectability marriage would bring, however she was not to find it with Charlie Drouet (described in the book as a "masher") - Eddie Albert is very good in the role but a bit too sincere for the shallow Drouet - why didn't he marry her??