Ajouter une intrigue dans votre langueA young, compassionate man struggles to save his family and friends from the abusive exploitation of his cold-hearted, grasping uncle.A young, compassionate man struggles to save his family and friends from the abusive exploitation of his cold-hearted, grasping uncle.A young, compassionate man struggles to save his family and friends from the abusive exploitation of his cold-hearted, grasping uncle.
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- AnecdotesOn reading the script, Hollywood censor Joseph Breen objected to the use of the expression "dem'd", but said that "deshit" and "deshed" were allowed. Most importantly, a character could not be shown hanging himself in order to escape the police, but could if it was out of remorse.
- Citations
Ralph Nickleby: Noggs, take down this letter. "To Mr. Squeers, the Saracen's Head, Snow Hill. I have decided to finance any legal action you may care to take against my nephew."
Newman Noggs: Ho, ho, ho! He isn't there.
Ralph Nickleby: Who isn't?
Newman Noggs: Mr. Squeers. He's at Bow Street Police Station!
Ralph Nickleby: You're lying.
Newman Noggs: Ohhh no, I'm not. And Mr Squeers hasn't been lying either. Mr Squeers has confessed to conspiracy with regard to a birth certificate and certain letters purporting to prove that Mr Snawley was the father!
Ralph Nickleby: I don't know what you're talking about.
Newman Noggs: Don't you? Mr Squeers says otherwise. So does Mr Snawley. So do the police.
Ralph Nickleby: Hold your tongue, you treacherous, sneaking...!
Newman Noggs: I've held my tongue for 15 years! Stood by helpless while you've ruined many another as once you ruined me.
Ralph Nickleby: You ruined yourself. You'd sell your soul, if you had one, for a little gin.
Newman Noggs: But I wouldn't sell my own flesh and blood. And it's not only little Kate I'm thinking of. I've seen the boy, Smike, the living image of his mother, of your wife!
Ralph Nickleby: My wife?
Newman Noggs: Didn't know I knew that, did you, that you had a son? Your wife died, but the child lived. And you had to keep his birth a secret, or the money would have gone to him. You put him out with a poor family, didn't you, to bring him up as their own? You paid them well for it, haven't you, ever since? Well, they didn't keep the boy!
Ralph Nickleby: It isn't true.
Newman Noggs: They put him to school in Yorkshire. They put him in Dotheboys Hall!
Ralph Nickleby: They cheated me!
Newman Noggs: Yes. They cheated you. Just as you've cheated hundreds of others!
Ralph Nickleby: In the gutter for this! And I'll deal with you too!
Newman Noggs: Will you? Will you? I've waited all these years for a chance to settle our account. And now, at last, it's come. The police have been here, and I've told them everything. There'll be another charge against you now: depriving your own son of his birthright, robbing him of a fortune! They'll transport you for that, you know! Hahahahahaha! They'll confiscate every penny you've got! Hahahahahaha! You can't escape now! It doesn't matter where you go! Off to see a lawyer, is that it? See if he can help you! Or are you going to bring the boy home? Own him as your own son, give him back the money? No use! No good! Nothing can help you now, money or lawyers! It doesn't matter where you go! YOU'RE TOO LATE! HAHAHAHAHAHAHA! TOO LATE! HAHAHAHAHAHAHA!
- ConnexionsFeatured in Arena: Dickens on Film (2012)
Here's the problem with Dickens. He makes a lot of story, just chocks things full of characters, motives, events. Its not that he is describing a world so much as creating one. That's the central notion here that in entering a Dickens project, you enter a world that is especially suited for the narrative arcs he will give us.
Those are arcs concerned with the ridiculous state of man, a particular kind of London-oriented man. There are only two balls he juggles, this writer. One is the notion of justice (though not always precisely what we would like) and the other is the ridiculousness. We'll see that as humor when we consider certain characters or events, but its really rooted in the nature of the world.
Its a great formula, this notion of the world, a sort of battle between the firm laws of fate that always spin correctly and the contrasting notion that there is a wobble in some of those wheels, perhaps coming from our weaknesses, perhaps God just having a bad day.
If you want to translate one of his projects to film, you need to capture this first. And you need to do it at the most basic level, quite literally in the creation of the world we see. The cinematic vocabulary IS up to it. The version of this story by McGrath understood this intuitively, though he would probably describe it superficially as the balance of gravitas and humor.
This version... Well, they got all the bits of the story in there. And they have a remarkably pretty girl as the sister-at-risk. And, alas, the world they have created is quite competent and coherent visually. In fact if this weren't Dickens, it would almost make sense to watch it without sound. If you know the story, you can do that with some of these old films that have disastrous management of sound, speech and score as this does.
But that coherent world we'd see has nothing to do with the world of Dickens.
Stay away from this one. Its dreadful. Everything that makes it a movie gets in the way of everything that makes it a good book.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
- tedg
- 30 sept. 2006
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- The Life and Adventures of Nicholas Nickleby
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- Durée1 heure 48 minutes
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- Rapport de forme
- 1.37 : 1