VALUTAZIONE IMDb
7,6/10
15.889
LA TUA VALUTAZIONE
Alex, che è senzatetto e dipendente dall'alcol, e Michèle, che sta perdendo la vista, stringono una relazione mentre lui dorme sul ponte Pont-Neuf di Parigi.Alex, che è senzatetto e dipendente dall'alcol, e Michèle, che sta perdendo la vista, stringono una relazione mentre lui dorme sul ponte Pont-Neuf di Parigi.Alex, che è senzatetto e dipendente dall'alcol, e Michèle, che sta perdendo la vista, stringono una relazione mentre lui dorme sul ponte Pont-Neuf di Parigi.
- Regia
- Sceneggiatura
- Star
- Nominato ai 1 BAFTA Award
- 4 vittorie e 8 candidature totali
Chrichan Larsson
- Julien
- (as Chrichan Larson)
Trama
Lo sapevi?
- QuizLeos Carax was originally given permission to use the real Pont-Neuf bridge in Paris and have it closed for filming but delays in filming meant the permission expired and he had to reconstruct the whole thing on a lake near Montpellier, France. The construction of a new version of the Pont-Neuf - and its surrounding buildings in Paris - helped make the film one of the most expensive French films ever made.
- BlooperJust before Alex jumps out of the speedboat, a crew person is visible hunched down in ninja clothing to pilot the boat.
- Citazioni
Michèle Stalens: The people in our dreams, we should call them when we wake up. It would make life simpler. "Hello, I dreamed of you. Love woke me".
- Curiosità sui creditiAfter the last end title, during a fraction of a second, there is a handwritten inscription "à Luje - Amour - A." (To Luje - Love - A.) A. stands for Alexandre (Leos Carax' real first name) and Luje for Juliette (Binoche).
- ConnessioniFeatured in Enquête sur un film au-dessus de tout soupçon (1991)
- Colonne sonoreTime Will Crawl
Written and performed by David Bowie
Recensione in evidenza
This is one of the great romances precisely because it goes against the grain of all the great screen romances. Because of its ability to strike new terrain -- to go where no romance has gone before, to take chances, in essence -- it achieves a level of passionate intensity that most romantic films could only dream of mustering.
The camera work -- by Jean-Yves Escoffier, one of the great cinematographers working today (who shot Leos Carax's early films -- "Bad Blood" and "Boy Meets Girl" -- as well as Larry Clark's "Kids," and the directorial debut of Harmony Korine, "Gummo") -- is absolutely breathtaking. I cannot overemphasize this. It is, perhaps, one of the most beautiful color films ever made. The style of the film suits the subject matter perfectly. It proves that the great films have a form that not only compliments the subject matter, but becomes it. The content is the form, and vise versa. The film is shot "Cinema-Verite" style, with rough, hand-held, choppy camerawork, and a gritty, realistic aesthetic quality. There are moments of fancy and surrealism that would seem to utterly contradict this style. On the contrary, these moments are rendered believable, avoid presenting problems of logic, because of the film's harsh, balancing tone. The "wild" style of the film captures perfectly the passionate, stormy affair of the lovers -- the truest love, and certainly the most passionate, the film says, is that closest to nature, to the base element of humanity.
Another layer of enjoyment comes from the film's similarity to Jean Vigo's "L'Atlante." In fact, the final sequence in the film has the two lovers plummeting from the bridge into the cold water. They are picked up by a sand barge, on its final trip to the ocean. The husband and wife, who we learn have spent their life shipping sand, agree to take them along. It is almost as if the couple in "L'Atlante" have reappeared to prove that passionate, tumultuous love affairs can end happily, despite their problems. One of the last shots of the film shows the two lovers walking across the barge, over the hills of sand, to the bow -- a direct quotation of "L'Atlante."
The last shot (for enemies of James Cameron's "Titanic" -- an absolutely shallow romance; as cold and heartless as the iceberg that dooms the ship) shows the two lovers hovering over the bow of the ship, magically, as if suspended by love. It is obvious James Cameron plagiarized this moment ("Les Amants..." came out in 1991). This fact should be trumpeted far and wide. "Titanic" is a bloated whale of a movie. "Les Amants du Pont Neuf" is simply the greatest romance to have erupted on the screens in the last decade.
The camera work -- by Jean-Yves Escoffier, one of the great cinematographers working today (who shot Leos Carax's early films -- "Bad Blood" and "Boy Meets Girl" -- as well as Larry Clark's "Kids," and the directorial debut of Harmony Korine, "Gummo") -- is absolutely breathtaking. I cannot overemphasize this. It is, perhaps, one of the most beautiful color films ever made. The style of the film suits the subject matter perfectly. It proves that the great films have a form that not only compliments the subject matter, but becomes it. The content is the form, and vise versa. The film is shot "Cinema-Verite" style, with rough, hand-held, choppy camerawork, and a gritty, realistic aesthetic quality. There are moments of fancy and surrealism that would seem to utterly contradict this style. On the contrary, these moments are rendered believable, avoid presenting problems of logic, because of the film's harsh, balancing tone. The "wild" style of the film captures perfectly the passionate, stormy affair of the lovers -- the truest love, and certainly the most passionate, the film says, is that closest to nature, to the base element of humanity.
Another layer of enjoyment comes from the film's similarity to Jean Vigo's "L'Atlante." In fact, the final sequence in the film has the two lovers plummeting from the bridge into the cold water. They are picked up by a sand barge, on its final trip to the ocean. The husband and wife, who we learn have spent their life shipping sand, agree to take them along. It is almost as if the couple in "L'Atlante" have reappeared to prove that passionate, tumultuous love affairs can end happily, despite their problems. One of the last shots of the film shows the two lovers walking across the barge, over the hills of sand, to the bow -- a direct quotation of "L'Atlante."
The last shot (for enemies of James Cameron's "Titanic" -- an absolutely shallow romance; as cold and heartless as the iceberg that dooms the ship) shows the two lovers hovering over the bow of the ship, magically, as if suspended by love. It is obvious James Cameron plagiarized this moment ("Les Amants..." came out in 1991). This fact should be trumpeted far and wide. "Titanic" is a bloated whale of a movie. "Les Amants du Pont Neuf" is simply the greatest romance to have erupted on the screens in the last decade.
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingua
- Celebre anche come
- The Lovers on the Bridge
- Luoghi delle riprese
- Boulevard de Sebastopol, Parigi, Francia(Car hits Lavant)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 28.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 29.679 USD
- Fine settimana di apertura Stati Uniti e Canada
- 21.482 USD
- 4 lug 1999
- Lordo in tutto il mondo
- 29.679 USD
- Tempo di esecuzione2 ore 5 minuti
- Colore
- Proporzioni
- 1.78 : 1
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By what name was Gli amanti del Pont-Neuf (1991) officially released in India in English?
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