Un tailleur expert doit déjouer un dangereux groupe de gangsters afin de survivre à une nuit fatidique.Un tailleur expert doit déjouer un dangereux groupe de gangsters afin de survivre à une nuit fatidique.Un tailleur expert doit déjouer un dangereux groupe de gangsters afin de survivre à une nuit fatidique.
- Prix
- 1 victoire et 6 nominations au total
Histoire
Le saviez-vous
- AnecdotesMark Rylance was trained in tailoring techniques by the famous Huntsman tailors on Savile Row, previously seen in the Kingsman series. You can catch a glimpse of their iconic house tweed momentarily in the film.
- GaffesDespite an abdominal gunshot wound and an exit wound out his back, there are no bullet holes or blood on Richie's jacket or overcoat.
- Générique farfeluIn the closing credits, as each line fades, a single letter O (if present) lingers a little longer.
- ConnexionsFeatured in WatchMojo: Top 10 Best Movies of 2022 (So Far) (2022)
Commentaire en vedette
"Anyone can be tailor." Leonard (Mark Rylance)
Although sometimes I can't tell if I love film more than theater, with The Outfit I found a film that satisfies both affections. Writer-director Grahame Moore brings a Hitchcock frame of mind with one dominant location, an atelier holding no more than four or five characters, just like a theater stage, and a sense of foreboding coming from history and the characters themselves, just like the modern psychological thrillers do.
Just watch out for those scissors-Hitch would love the touch.
Underneath the simple set is a rumbling of sin as the meek tailor, Leonard, contends with three mobs threatening him and his secretary, Mable (Zoey Deutch). He is required to stitch around those who want to kill each other and destroy his business, with different crooks coming in the front door intent on finding a tape that allegedly would send them to jail.
The joy of this neo-noir thriller is the suspense that Hitchcock virtually patented because his non-mob characters are seemingly innocent types, and his sinners not quite in control of their ambitions. What Hitch and other thriller directors like Moore want is to show the vulnerability of the common citizen and the weaknesses of the seasoned mobsters.
Although it's up to Leonard, small haberdashery owner in Chicago, to protect his shop, he also, in a narcotic-like voice over, explains the allegorical implications of his cutting and sewing. For instance, he is not a tailor but rather a cutter. The former artless, the latter a professional trained for years on London's iconic Saville Row.
No recent film has surpassed The Outfit's ability to reveal the wickedness of humanity and its adaptability while supplying a dose of old-time noir. Delight in the spare set, the super acting, and the innumerable closeups that do as much to reveal character as the uncomplicated, Pinter-like dialogue.
Although this tidy feature, similar to Leonard in its meticulous revelation of character and motive, seems suited to streaming, it is a euphoric experience on the big screen as the spare audiences can be enveloped by the powerful characters and story, in a setting that puts all in a dynamic room with mystery aplenty.
Although sometimes I can't tell if I love film more than theater, with The Outfit I found a film that satisfies both affections. Writer-director Grahame Moore brings a Hitchcock frame of mind with one dominant location, an atelier holding no more than four or five characters, just like a theater stage, and a sense of foreboding coming from history and the characters themselves, just like the modern psychological thrillers do.
Just watch out for those scissors-Hitch would love the touch.
Underneath the simple set is a rumbling of sin as the meek tailor, Leonard, contends with three mobs threatening him and his secretary, Mable (Zoey Deutch). He is required to stitch around those who want to kill each other and destroy his business, with different crooks coming in the front door intent on finding a tape that allegedly would send them to jail.
The joy of this neo-noir thriller is the suspense that Hitchcock virtually patented because his non-mob characters are seemingly innocent types, and his sinners not quite in control of their ambitions. What Hitch and other thriller directors like Moore want is to show the vulnerability of the common citizen and the weaknesses of the seasoned mobsters.
Although it's up to Leonard, small haberdashery owner in Chicago, to protect his shop, he also, in a narcotic-like voice over, explains the allegorical implications of his cutting and sewing. For instance, he is not a tailor but rather a cutter. The former artless, the latter a professional trained for years on London's iconic Saville Row.
No recent film has surpassed The Outfit's ability to reveal the wickedness of humanity and its adaptability while supplying a dose of old-time noir. Delight in the spare set, the super acting, and the innumerable closeups that do as much to reveal character as the uncomplicated, Pinter-like dialogue.
Although this tidy feature, similar to Leonard in its meticulous revelation of character and motive, seems suited to streaming, it is a euphoric experience on the big screen as the spare audiences can be enveloped by the powerful characters and story, in a setting that puts all in a dynamic room with mystery aplenty.
- JohnDeSando
- 17 mars 2022
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- The Outfit
- Lieux de tournage
- London, Greater London, Angleterre, Royaume-Uni(on location)
- sociétés de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Brut – États-Unis et Canada
- 3 344 040 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 1 499 730 $ US
- 20 mars 2022
- Brut – à l'échelle mondiale
- 4 032 313 $ US
- Durée1 heure 45 minutes
- Couleur
- Mixage
- Rapport de forme
- 2.00 : 1
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