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IMDbPro

L'uomo di Londra

Titolo originale: A londoni férfi
  • 2007
  • Unrated
  • 2h 19min
VALUTAZIONE IMDb
7,0/10
4700
LA TUA VALUTAZIONE
L'uomo di Londra (2007)
Trailer for this black and white film starring Tilda Swinton
Riproduci trailer1: 41
1 video
55 foto
CrimineDrammaMistero

Dopo aver assistito ad un crimine durante il suo turno di lavoro al porto, un uomo trova una valigetta piena di soldi e, mentre lui e la sua famiglia innalzano i propri standard di vita, alt... Leggi tuttoDopo aver assistito ad un crimine durante il suo turno di lavoro al porto, un uomo trova una valigetta piena di soldi e, mentre lui e la sua famiglia innalzano i propri standard di vita, altre persone iniziano ad investigare sul caso.Dopo aver assistito ad un crimine durante il suo turno di lavoro al porto, un uomo trova una valigetta piena di soldi e, mentre lui e la sua famiglia innalzano i propri standard di vita, altre persone iniziano ad investigare sul caso.

  • Regia
    • Béla Tarr
    • Ágnes Hranitzky
  • Sceneggiatura
    • Georges Simenon
    • Béla Tarr
    • László Krasznahorkai
  • Star
    • Miroslav Krobot
    • Tilda Swinton
    • Erika Bók
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,0/10
    4700
    LA TUA VALUTAZIONE
    • Regia
      • Béla Tarr
      • Ágnes Hranitzky
    • Sceneggiatura
      • Georges Simenon
      • Béla Tarr
      • László Krasznahorkai
    • Star
      • Miroslav Krobot
      • Tilda Swinton
      • Erika Bók
    • 31Recensioni degli utenti
    • 71Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 3 candidature totali

    Video1

    The Man From London
    Trailer 1:41
    The Man From London

    Foto55

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    Interpreti principali15

    Modifica
    Miroslav Krobot
    Miroslav Krobot
    • Maloin, az éjszakai váltóõr
    Tilda Swinton
    Tilda Swinton
    • Maloin felesége
    Erika Bók
    Erika Bók
    • Henriette
    János Derzsi
    János Derzsi
    • Brown
    Ági Szirtes
    • Brown felesége
    István Lénárt
    • Londoni rendõrfelügyelõ
    Gyula Pauer
    • Kocsmáros
    Mihály Kormos
    Mihály Kormos
    • Brown segítõtársa
    Kati Lázár
    • Henriette fõnökasszonya
    Éva Almássy Albert
    • Kurva a kocsmában
    Ágnes Kamondy
      László feLugossy
      • Vendég a kocsmában
      Philippe Guerrini
      • Szõrmekereskedõ 1
      Jacques Pilippi
      • Szõrmekereskedõ 2
      Alfréd Járai
      • Vendég a kocsmában 2
      • Regia
        • Béla Tarr
        • Ágnes Hranitzky
      • Sceneggiatura
        • Georges Simenon
        • Béla Tarr
        • László Krasznahorkai
      • Tutti gli interpreti e le troupe
      • Produzione, botteghino e altro su IMDbPro

      Recensioni degli utenti31

      7,04.7K
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      Recensioni in evidenza

      chaos-rampant

      Trackless noir waste, empty but filled with time

      The night is quiet, shapes of faint, lifeless forms in the grim perimeters about, the streets lie black and steaming in these alien reaches of a city of curious architecture, much like yours perhaps. This is a world lying in wait, beset by a thing unknown.

      When it finally comes it's the hull of a ship, a long vertical shot tracking across a vessel that looks like a bleached bone of a whale washed out on shore. The camera moves three times back and forth on its tracks, as though some kind of ritual must be performed for this to begin.

      There's not much plot or story to speak of. A suitcase full of money. A crime committed. Smalltime crooks and an ordinary man in the wrong place the wrong time. The banality of a plot so unmistakeably familiar contrasted with intimate moments, people living some kind of life. Small bursts of life woven into a genre framework so frail and transparent as though to be nonexistent, a form of dramatic percussion to the wandering and the aimlessness. Staccato rhythms throughout the movie abet this, the passage of time. The thumps of a ball on a wall, sounds of billiard from an adjucent room, the slashes of a meat-cleaver, rhythms to which existence can dissipate.

      Transfixing and hypnotic, this is the visual equivalent to the albums of drone artists Sunn0))) and their 14 minute monotonous drones. Mostly aural, Tarr's camera ferries us back and forth in these godless corridors, where our only bearing is time.

      It doesn't come from anywhere nor goes, it's rather a mantra, whereby repeating it we can concentrate on the texture of the sound itself. And how it reverberates.
      6frankde-jong

      One of the lesser films of Bela Tarr, but still with beautiful moments

      In "The man from London" an ordinary civilian finds by accident a lot of money originating from a criminal transaction. We regularly find this story element in films, for example in "No country for old men" (Ethan and Joel Coen) from the same year.

      How different do these two films elaborate on this basic ingredient. In "No country for old men" the "lucky" finder is being chased by a hit man and the emphasis is on action. In "The man from London" the finder is chased by his own guilty feelings and the emphasis is much more on internal psychological elements.

      Needless to say that also in the Tarr film the finder ends up everything but lucky. The film has the usual Tarr elements as slowness, bleakness and beautiful images. Especially the first half hour has striking black and white imagery.

      Watching this movie I realised that the mood of a Tarr movie has much in common with the mood of a Kaurismaki movie. Erika Bokk belongs to a Tarr movie just as much as Kati Outinen belongs to a Kaurismaki movie. Music from an accordian is indispensable for a Tarr movie just as much as the Finnish tango is for a Kaurismaki movie.

      As beautiful as the images are so artificial and clumsy is the dialogue, especially the dialogue of the English inspector . This is in my opinion the main reason why "The man from London" does not for a single moment succeed in its attempt to be a neo noir Tarr style.
      dbdumonteil

      Quai Des Brumes

      If you are FRench ,first thing to bear in mind is that this is the second version of Georges Simenon's novel .This is not to say it's a "remake" for the two versions are as different as they can be.But it must be written that Henry Decoin's movie(1) was made in the darkest hour of the Occupation in 1943 ,and produced by the Continental ,a German firm ,so the writers had to deal with the censorship.What am I driving at?simply that at the time,there was no need to create a nightmarish atmosphere (although Decoin succeeded in doing so) for the nightmare was all around.

      Compared to the "modern" version ,the old one may seem conventional (but please give it a try if you can ) .This one looks like a nightmare with its stark black and white ,its interminable fixed shots ,its lugubrious music -sometimes a simple accordion tune looks like Tangerine Dream or even Nico music - its actors whose performances are so overblown it's almost unbearable .The movie is very long and I must admit that ,If I did not know the plot,I would have got lost since the first reel.The lines are few and far between and it sometimes recalls films of the silent age this side of German Expressionismus.Bela Tarr refuses any suspense ,any show (the scene in the cabin by the sea is revealing:close shot on a padlock).The atmosphere is much more important than the detective story ;even the social comment which was present in Decoin's movie (If only my son could get into Ecole Polytechnique) gets totally lost in the treatment, deliberately so of course ;this man does not really want to get by ,his wife is a shrew ,his daughter is ugly and all the furs in the world can't change that .The characters melt into the background .

      (1) "L'Homme De Londres"
      morfax12

      Watching paint that's already dry!

      Self-indulgent, boring piece of garbage; the worst sin a director can commit. This is the slowest, least interesting attempt at film-making that I have ever seen. I'm sure the co-directors/ "writers" must have sat through the rushes by themselves and patted themselves on the back. I don't see how the other cast and crew could sit with them and keep straight faces. I can't believe there are people who fund this garbage; they must have money to burn. I only wish I'd seen the reviews before paying to rent it. Although I'd be even more upset if I had paid to see it in a theatre. Did I see correctly? Did this garbage actually get some kind of award at Cannes?
      GManfred

      Stylish European Noir

      I hadn't seen a film by Bela Tarr before, and at first I was put off by the slow, deliberate style - the first scene took about 15 minutes and was agonizingly slow. The whole picture moved at the same lethargic pace and I thought it was remindful of an Ingmar Bergman film. I never felt comfortable with Bergman as I thought his style pretentious, but I got a different feeling from watching "The Man From London".

      The slow pace, as in the languid opening shot, accentuates the prevailing mood of the film, and lends motivation (or lack of) to the protagonist Maloin. He is a simple man who has resigned himself to his fate, a boring, tedious existence as a night watchman with a shrewish wife (Tilda Swinton, in a role that is too small), until his life is turned upside down when he witnesses a murder from his watchtower. The picture is full of long, lingering closeups and long shots and the characters speak in the same deliberate manner as the pacing of the film.

      I suppose if he had wanted to, Tarr could have edited out about 30 minutes of film to speed it up, but he would have ruined the overall effect of the picture, which exemplifies the predominant mental state of Maloin and the struggle with his conscience that has thrown his life into chaos. You have probably seen films you would like better but you have never seen one as offbeat or as memorable as "The Man From London". Serious movie fans ought to include this one in their respective film canons - it is very worth seeing will certainly throw your list into disarray.

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      Trama

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      Lo sapevi?

      Modifica
      • Quiz
        Extensive dubbing was necessary in part because the Steadicam operator Marcus Pohlus was audibly panting and weeping in several scenes.
      • Blooper
        When Maloin and the bartender set up the chessboard and pieces for their daily game, they place the board with a black square in the lower right corner.
      • Citazioni

        Londoni rendõrfelügyelõ: I understand this has come as a shock. You could not have known that your husband led a double life.

      • Connessioni
        Referenced in Novak (2009)

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      Dettagli

      Modifica
      • Data di uscita
        • 31 gennaio 2008 (Ungheria)
      • Paesi di origine
        • Ungheria
        • Germania
        • Francia
        • Italia
      • Sito ufficiale
        • Official site (Japan)
      • Lingue
        • Ungherese
        • Inglese
        • Francese
      • Celebre anche come
        • The Man from London
      • Luoghi delle riprese
        • Bastia, Haute-Corse, Francia
      • Aziende produttrici
        • TT Filmmûhely
        • 13 Productions
        • Cinema Soleil
      • Vedi altri crediti dell’azienda su IMDbPro

      Botteghino

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      • Budget
        • 6.000.000 € (previsto)
      • Lordo in tutto il mondo
        • 50.626 USD
      Vedi le informazioni dettagliate del botteghino su IMDbPro

      Specifiche tecniche

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      • Tempo di esecuzione
        2 ore 19 minuti
      • Colore
        • Black and White
      • Mix di suoni
        • Dolby Digital
      • Proporzioni
        • 1.66 : 1

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