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Ajouter une intrigue dans votre langueThe black sheep of a family and the local minister discover their true vocations during the Revolutionary War.The black sheep of a family and the local minister discover their true vocations during the Revolutionary War.The black sheep of a family and the local minister discover their true vocations during the Revolutionary War.
- Nomination aux 1 BAFTA Award
- 1 nomination au total
Neil McCallum
- Christie Dudgeon
- (as Neil Mc Callum)
Joe Beckett
- British Officer
- (non crédité)
Steven Berkoff
- British Corporal
- (non crédité)
Histoire
Le saviez-vous
- AnecdotesThe character of The Reverend Anthony Anderson was loosely based on the historical figure of Peter Muhlenberg, known as the "Fighting Parson of the American Revolution".
- GaffesSeveral times while going through the forest, the British refer to "snipers." However, the term sniper didn't come into being until about 40 years after the American Revolutionary War. The term came into usage in 1824, while the war ended in 1783.
- Citations
Major Swindon: What will history say, sir?
General John Burgoyne: History, sir, will tell lies, as usual!
- Crédits fousThe opening credits appear over a map of North America during the Revolutionary War, which then zooms into an animated battle played out by paper models.
- ConnexionsReferenced in Un numéro du tonnerre (1960)
- Bandes originalesYankee Doodle
(uncredited)
traditional 18th Century Anglo-American folk song
Heard under main title
Commentaire à la une
This is in answer to otter_c, who wrote: "The only disappointment is Laurence Olivier as General Burgoyne. Olivier castigated himself in his autobiography for botching one of Shaw's most hilarious roles, his personal griefs were overwhelming him at the time. He's nervous and unfocused, line after wonderful line falls flat. (He returned to form shortly after in "Spartacus" and "The Entertainer")"
All due respect to both you and Sir Lawrence, but I think this is an instance where his self-appraisal is a little off-target.
I've always enjoyed this performance as a very excellent portrait of a thinking man and wit under a great deal of pressure, with no idea that Olivier did not care for it -- thing is, Burgoyne IS distracted; he has more important fish to fry than this petty punitive hanging, and even before he gets the news about Howe he is deeply concerned for the continued viability of his command: He tosses off his bon mots as the after-thoughts of the kind of intellect who could actually write plays when he wasn't under siege in an unpopular war in unfriendly country.
And I find that makes them and Burgoyne funnier than, say, Ian Richardson's total self- awareness in the '87 BBC production.
Olivier liked to be In Control when he worked; and in some of the roles in which I do not much care for him I feel it makes him artificial and excessively mannered. So naturally, a performance given when he was overwhelmed with grief is gonna rankle the perfectionist in him; but since he was preoccupied with other, more important (to him) matters it put him willy-nilly square in the same frame of mind as I gauge Gentlemanly Johnny to have been in as disaster loomed, I feel it really helps make the performance live in a way the studied Olivier technique might not have come within yards of.
The two men -- the actor and the general he portrays -- are up against it, but instinct pulls each through even if more distractedly than if under less severe constraints; there is still enough of the essence of each to make a credible showing.
The artist is not always the best critic of his own work; and Olivier's General Burgoyne is excellent work whether the actor knew what he was doing or not.
All due respect to both you and Sir Lawrence, but I think this is an instance where his self-appraisal is a little off-target.
I've always enjoyed this performance as a very excellent portrait of a thinking man and wit under a great deal of pressure, with no idea that Olivier did not care for it -- thing is, Burgoyne IS distracted; he has more important fish to fry than this petty punitive hanging, and even before he gets the news about Howe he is deeply concerned for the continued viability of his command: He tosses off his bon mots as the after-thoughts of the kind of intellect who could actually write plays when he wasn't under siege in an unpopular war in unfriendly country.
And I find that makes them and Burgoyne funnier than, say, Ian Richardson's total self- awareness in the '87 BBC production.
Olivier liked to be In Control when he worked; and in some of the roles in which I do not much care for him I feel it makes him artificial and excessively mannered. So naturally, a performance given when he was overwhelmed with grief is gonna rankle the perfectionist in him; but since he was preoccupied with other, more important (to him) matters it put him willy-nilly square in the same frame of mind as I gauge Gentlemanly Johnny to have been in as disaster loomed, I feel it really helps make the performance live in a way the studied Olivier technique might not have come within yards of.
The two men -- the actor and the general he portrays -- are up against it, but instinct pulls each through even if more distractedly than if under less severe constraints; there is still enough of the essence of each to make a credible showing.
The artist is not always the best critic of his own work; and Olivier's General Burgoyne is excellent work whether the actor knew what he was doing or not.
- rick_lapin
- 14 nov. 2014
- Permalien
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Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- Le Disciple du diable
- Lieux de tournage
- Sociétés de production
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Box-office
- Budget
- 1 500 000 $US (estimé)
- Durée1 heure 23 minutes
- Couleur
- Rapport de forme
- 1.85 : 1
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By what name was Au fil de l'épée (1959) officially released in India in English?
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