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Burning Secret

  • 1988
  • Tous publics
  • 1h 46min
NOTE IMDb
6,5/10
553
MA NOTE
Faye Dunaway, Klaus Maria Brandauer, and David Eberts in Burning Secret (1988)
Period DramaDrama

Ajouter une intrigue dans votre langueAn American diplomat's lonely 12-year-old son is infatuated by a suave baron. Soon his friend heartlessly turns his seductive attentions to his mother. The boy's jealousy and feelings of bet... Tout lireAn American diplomat's lonely 12-year-old son is infatuated by a suave baron. Soon his friend heartlessly turns his seductive attentions to his mother. The boy's jealousy and feelings of betrayal become uncontrollable.An American diplomat's lonely 12-year-old son is infatuated by a suave baron. Soon his friend heartlessly turns his seductive attentions to his mother. The boy's jealousy and feelings of betrayal become uncontrollable.

  • Réalisation
    • Andrew Birkin
  • Scénario
    • Andrew Birkin
    • Stefan Zweig
  • Casting principal
    • David Eberts
    • Faye Dunaway
    • Klaus Maria Brandauer
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,5/10
    553
    MA NOTE
    • Réalisation
      • Andrew Birkin
    • Scénario
      • Andrew Birkin
      • Stefan Zweig
    • Casting principal
      • David Eberts
      • Faye Dunaway
      • Klaus Maria Brandauer
    • 8avis d'utilisateurs
    • 5avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 5 victoires et 2 nominations au total

    Photos4

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    Rôles principaux26

    Modifier
    David Eberts
    • Edmund
    Faye Dunaway
    Faye Dunaway
    • Sonya
    Klaus Maria Brandauer
    Klaus Maria Brandauer
    • Baron
    Ian Richardson
    Ian Richardson
    • Edmund's father
    John Nettleton
    John Nettleton
    • Doctor Weiss
    Martin Obernigg
    • Concierge
    Václav Stekl
    Václav Stekl
    • Assistant Concierge
    Vladimír Pospísil
    • Hotel Manager
    Karel Karas-Kratochvíl
    • Doorman
    Ivo Niederle
    Ivo Niederle
    • Sanatorium Manager
    Jarmila Derkova
    • Frau Isambard
    Josef Kubícek
    • Station Master
    Veronika Jeníková
    Veronika Jeníková
    • Kissing Woman
    Roman Hájek
    • Kissing Man
    Raoul Schránil
    Raoul Schránil
    • Hotel Guest
    • (as Raul Schranil)
    Karel Peyr
    • Hotel Guest
    Nelly Gaierová
    Nelly Gaierová
    • Hotel Guest
    • (as Nelly Gajerova)
    Vaclav Pesca
    • Hotel Guest
    • (as Vaclav Peska)
    • Réalisation
      • Andrew Birkin
    • Scénario
      • Andrew Birkin
      • Stefan Zweig
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs8

    6,5553
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    Avis à la une

    10danpatter2002

    Memorable and haunting

    A superb script is perhaps the best reason to see this movie, but it's a splendid film on all counts. I saw it during its original theatrical release and once since then, but it's the kind of movie that sticks in the memory.

    Brandauer gives his usual splendid performance. The man has never given a bad one as far as I know, and this is one of his best. The camera loves him and you can read this character's thoughts from his eyes alone. The sometimes uneven Dunaway is just wonderful here, and still very beautiful when this was made. David Eberts, as her son, is also very fine and believable.

    The atmosphere created by this movie will haunt you. Yes, I suppose it is an "art film," whatever that means. There are no car chases and the themes are very adult and provocative in the best sense. Photography and settings are beautiful. Give this a look, it will stick with you.
    8yusufpiskin

    David Eberts

    This film came to mind again the other day when I watched the film "Sredni Vashtar" (1981) by British director/screenwriter Andrew Birkin, whose screenplays already hold a privileged place in my physical media collection.

    Undoubtedly, there are few works in recent literary history that have sparked as much controversy as Thomas Mann's "Death in Venice," written in 1912, and this short story, written a year later by Stefan Zweig under the title "Burning Secret." So much so that all the film, theater, and TV adaptations of these works have caused great controversy...

    "Burning Secret" was banned and its publication prevented so many times that Adolf Hitler and the Reich Ministry of Public Enlightenment and Propaganda banned the book separately and the film adapted from it, titled "Das brennende Geheimnis, Mutter, dein Kind ruft!," separately.

    This adaptation was quite risky for MGM because they actually wanted Stanley Kubrick to direct the film. They both wanted the project and feared that Kubrick, who had already generated great controversy with his film "Lolita," would take things even further with this script.

    Ultimately, the film was written and directed by Andrew Birkin, but according to him, there was never a comfortable working environment on set due to the constant quarrels between Klaus Maria Brandauer and Faye Dunaway.

    He even says in an interview that he made the film with David Eberts, which I didn't quite believe, but later, when I saw his videos with Hans Zimmer, I did...

    This film and all the adaptations of this book are very underrated because MGM doesn't have the guts to release these films today.
    9Cantoris-2

    Exquisite

    The several published criticisms linked by IMDB are all over the map about this movie, not only as to their reactions to the art-film mood (a negative reaction to which, although I can't say I really understand, one must admit clearly reflects many people's values and expectations in cinematic entertainment these days), but even as to Brandauer's acting, a craft about which one would think one could be objective.

    Well, I'm here to say I liked it all. So art films like this give art films a bad name? And what Hollywood is now serving up as standard fare-- ever-louder explosions, flashier collisions, and interminable series of action scenes so frenetic as to make the whole idea of suspension of disbelief a moot issue-- doesn't give anything whatsoever a bad name? Sorry, beside that I'll be a sucker for woozy art films, if that's what they are, any day. We need a few more.

    About a film like this, one is able to ponder, to wonder what might be implied, and to ask questions even about what might not have been implied.

    So the acting is poor by giving the impression that the Baron and Mrs. Tuchman, even as they were becoming lovers, loathed each other? This is a real-life possibility, you know. To give just one example: suppose that I have such low self-esteem as to feel unattractive, even a freak, and to take it for granted that no one would take any initiative towards me. Then someone does. What might I feel? Perhaps I'd feel that the other person must be weird too, has a fetish for the kind of freak I am. Furthermore, since I am not worth loving, the other person cannot possibly want to love me, but wants something less worthy from me. Because I loathe myself, I must loathe anyone who gets close to me.

    If there is a subtle loathing between these two characters in this film, it is not a flaw, because it is perfectly in order to ponder how or why that might be, beneath the surface: there are things beneath the surface. Not a lot of movies made today would support such a complicated sentiment. One critic, evidently, was too used to them.

    Another point to ponder: what did Edmund tell his father? The usual assumption is that, although he intended to reveal his mother's unfaithfulness, at the last minute he drew back and concealed it. I'm not so sure about that. Everything indicates that Mr. Tuchman is a very wise and gentle man, with exceptional insight into the labyrinths of the human heart; and Edmund is a boy who expresses his feelings with a touching forthrightness and sincerity and who despises lying. Just maybe he told the truth, the whole truth: his mother was very lonely, so much that she was taken in and seduced by a very deceitful man, and the incident left her sorry and even more miserable than before. It seems to me that when the father met her again, he knew everything. Diplomat that he was, he realized then that his professional burdens had caused him to neglect his wife, and he was quietly going to make amends. "There is nothing more to say about this." Would such a man be unaware if his own son had just concocted a tissue of lies? It would be quite ironic if he, of all people, congratulated his son for becoming a man due to a successful cover-up. Or is he congratulating him for developing diplomacy: to know the truth but not necessarily to tell the truth in so many words. However it happened, Edmund's father knew and Edmund was the messenger. They had an understanding.

    "To know all is to forgive all." Is this what the film suggests? And if so, is it true? These are the questions which perceptive critics should be debating.

    One might ponder the echoes of World War I reverberating around the plot. The baron had been wounded by an American soldier. Edmund was an American. Edmund's father was an American. Edmund's mother was not. Perhaps revenge was part of his motives. I hasten to say that I caught no such overtones in Zweig's short story, and would expect none, because he was very much an internationalist. Perhaps we have a subtle innovation on the part of the moviemakers here, but it only increases the interest.

    Finally, the baron's behavior towards Edmund, after developing such a blissful friendship with romantic suggestions, was so callous that it could not have done this boy, who was also lonely, any emotional good. And all this to chalk up one more casual female conquest. How much better a man might he have been were he truly interested in Edmund the way he at first appeared to be.
    9mnfried

    The story of a boy's sudden growth into manhood and an irresponsible womanizer.

    I read this story in the original in 1939 when I was an adolescent. I understood it only from the boy's point of view. It was a wonderful experience to see it at a time when my son was a grown man and I could understand the film from each individual's point of view. The makers of this film are to be congratulated for their sensitivity, and their tremendous skill for presenting this story written in a different social and historical context from their own. The acting of the entire cast was subtle and powerful. The mother's relationship with her son is beautifully realized. All in all, I highly recommend this film. I plan to buy it for my own collection.
    7HotToastyRag

    Very well paced

    If you're thinking of blowing off Burning Secret, don't be so hasty. It's slow, but the pace fits in perfectly with the time period. It's set during the early 20th century, and Faye Dunaway plays a married woman staying at a health spa with her young son. In modern times, she might think of it as the perfect opportunity to play around, with her elderly husband at home. But in the 1910s, women didn't have affairs - especially high-class ladies - as readily. Faye's son, David Eberts, suffers from asthma, and her only priority is to see him receive good medical treatment. The spa is located in the beautiful Austrian countryside in winter, and while she enjoys the scenery and amenities, she loves her son. When David meets another patient, Klaus Maria Brandauer, she thinks Klaus is merely being polite in forming a friendship. David starts putting Klaus on a pedestal, and Faye has to weigh her reputation as a married woman spending time with an eligible man against the happiness of her son.

    It's an interesting, subtle story that sucks you in and keeps you interested until the credits roll. Some might find it too slow, but I really enjoyed the realistic pace. Faye was perfect as a well-bred lady, and Klaus was intriguing without being too charming. Also, Faye's costumes were gorgeous! I'm starting to think she had it in her contract that she had to wear beautiful clothes. She looked lovely in Burning Secret. I think it was her first film after her plastic surgery, and her eyes looked beautiful.

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    Histoire

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    Le saviez-vous

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    • Anecdotes
      Initially, this was a project of Stanley Kubrick for MGM. He was so enthusiastic about the novel that he hired novelist Calder Willingham to write a screenplay with him. However, Production Code restrictions hindered the realization and the project never went into fruition. In July 2018, a complete screenplay for Burning Secret written by Kubrick and Willingham was found, so time will tell if their adaptation of the novel will come to light.
    • Citations

      Baron: Perhaps we may go exploring instead.

      Edmond: Where to?

      Baron: That's the fun of exploring. One never knows where to.

    • Connexions
      Referenced in Serial Mother (1994)
    • Bandes originales
      Waltzes
      (uncredited)

      Music by Carl Michael Ziehrer

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    FAQ15

    • How long is Burning Secret?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 19 juillet 1989 (France)
    • Pays d’origine
      • Royaume-Uni
      • Allemagne de l'Ouest
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Brennendes Geheimnis
    • Lieux de tournage
      • République tchèque
    • Sociétés de production
      • B.A. Produktion
      • Bayerischer Rundfunk (BR)
      • C.L.G. Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 46 minutes
    • Couleur
      • Color
    • Mixage
      • Dolby
    • Rapport de forme
      • 1.66 : 1

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    Faye Dunaway, Klaus Maria Brandauer, and David Eberts in Burning Secret (1988)
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    By what name was Burning Secret (1988) officially released in Canada in English?
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