-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p7
02/10/2015 07:53 par tellurikwaves
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p7
02/10/2015 07:53 par tellurikwaves
ça sera tout pour cette scène...Voyez plutôt le film.
D'après ce que les actrices ont déclaré ici et là à la presse,
elles n'auraient pas couché ensemble,mais au contraire se sont senties très génées...
Je dirai qu'elles n'ont pas eu l'air de bouder leur plaisir
et que leurs commentaires ne sont qu'une vaste fumisterie
que je peux néanmoins comprendre
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p6
02/10/2015 07:43 par tellurikwaves
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-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p6
02/10/2015 07:43 par tellurikwaves
Pour les commentaires ,Interviews,démentis et autres propos contradictoires,
se référer à l'article 2 du dossier (Références Wiki)
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| Index | 238 reviews in total |
An Honest and Emotionally Devastating Film about Life, Love and Sexuality
I just want to start off by saying this is an amazing film about young love that is actually honest with its audience. There are countless of films about people falling in love, but when you see "Blue is the Warmest Colour". You realize just how rare films are that make a sincere attempt to catch what it really is like to fall for someone, without sentimentality, forced cuteness or cheap emotional manipulation. This is the rare love story that has real emotional truth about it. The fact that it is about two women who fall for each other is almost secondary to the way the film catches the universality of what it is like to fall in love and maintain the relationship. "Blue is the Warmest Colour is a naturalistic and touching film, whether you're gay, straight, bisexual, or whatever orientation. This is a film that can give you relationship advice and life guidance no matter what your orientation may be. It isn't an indulgent film bringing only a unique gay relationship to light and nothing more, and it isn't an ode to "coming out" and stockpiled clichés of "being different." It shows how an interaction with a person can have a truly provocative impact on you as a person.
The struggles between the two lovers is depicted in breathtaking detail. The director masterfully captures all of the turmoil and hardship going on between Adele's and Emma's relationship. The movie's long running time does not effect the film at all because you are so immersed into their characters. The sexual realization of Adele is perfectly shown in the movie. She is confused and doesn't know what she wants, it is a typical teenage problem. This movie is ultimately about Adele and her struggles to find her true self. The transformation that she experiences is utterly engrossing to watch. The film's nearly three hour running time is devoted to showing the growth of her character and it is absolutely amazing to watch it unfold right in front of your eyes.The intimate scene's between Adele and Emma are nothing short of miraculous in their depth and their honesty. The conversations are heartfelt, and the pain is evident and shared. It's realism of the world we live in is honest and raw.
The movie owes so much of it's emotional power to its two fantastic actresses. They really bring it their all in this. I've never had doubts of these two performances, the characters felt like real people and you felt so much for their relationship. Their emotional hardships feel completely real. The character's flaws and insecurities feel so authentic because you actually believe them as real human beings. We never lose sight of their chemistry and devotion to one another, even in the most difficult of times. The two of them are like fireworks, waiting to explode out. I cannot recommend this film enough to those of you out there who are interested in seeing this. This is one of the wisest and least condescending films I've seen this year. I congratulate the director, Abdellatif Kechiche and the two actresses, Adele Exarchopoulos and Lea Seydoux for an emotional and spiritual journey that had me compelled to the screen for 179 glorious minutes.
*
One of the best films I have ever seen. Go immediately.
I saw this film as a preview, at 11am on a Sunday morning, whilst nursing a horrible cold and it was the best decision I have made in a long time.
The film offers several basic and well used premises: the Eliza Doolittle/Henry Higgins: why won't you let me educate you thing, a dichotomy between big city and small city ideas and ideals and the well trotted out first love idea. However, the way this film is presented is entirely original. Kechiche sets it in Lille, a town in Northern France, full of provincial living and entirely captures how it is in general in this town - when the characters walk around you feel that he understands what he is talking about.
The film is about desire, desire to eat, desire to sleep with someone, desire to dance and it is portrayed within a first relationship between two women. The two women are fantastic and the plot has amusing little french jokes interspersed between the very emotionally demanding relationship that has you gasping at points. However the story is largely about one of them, Adele - and you feel over the three hours, that you get to know her, what she is about, what she finds attractive, what she wants (or what she thinks she wants). The actress playing her has a wonderfully expressive face and she needs it for the amount that happens. When she cries, when she eats, when she sleeps you believe her.
Much has been said about the sex scenes, which are very graphic, however these are entirely relevant to the plot and the furore seems to be about the actors criticising the director for pushing them too far, however, without this pushing this film wouldn't be nearly as good.
When it finished, and I realised that it had been three hours I couldn't believe it.
It was a revelation.
*
Amazing
I was fortunate enough to see this movie at a screening last night in Los Angeles. It was amazing, everything about it amazing! Kechiche is something special. He works on something until he gets it right, and the only time he gets it right is when he feels comfortable with what he has shot. At the Q&A afterward with Kechiche, Seydoux and Exarchopoulos, I learned that they shot some of the takes 100 times!
His methods are unconventional. Because of this you are able to experience cinema in a whole new light. The acting was so real, so moving; these actresses gave everything they had, I'm just blown away with what I viewed. My hat is off to Exarchopoulos and Seydoux as actresses. No matter how painful and difficult the process must of been to make this movie in the end I think that they would have to agree it was worth it. To know that you gave everything is something special, and something that I hope I can look back to on my career and say I felt as well. Kechiche, call me, I want to be in your next film!!
*
A movie you can't forget
Cinematic orgasm. Cinematic. Orgasm. Put the words together and separately, it does not matter actually. I was watching the film with a sense of bitten apricot in my mouth, so from time to time I kept checking if indeed something was dripping from my lips . In any case, you can feel all kinds of dripping in this garden of delight and from many different angles. A deep diving into puberty, into the raw desires of youth, above the thunderous victory of human need. Adele is the personification of youth, just in time when it begins to grown. That exact moment when the juices of love are instantly aggressive and the human body seems like a fruit with the heart as a kernel. When you are in the midst of immortality, gaining the illusion of eternity, just before the fruit is eaten, shortly before the kernel sits at your neck with the bitter taste of rejection, while you greedily swallow life, which seems so inexhaustible. I left my local cinema with the feeling of a hot lump in my throat and stomach. As a teenager in love and disappointed at the same time. And from that moment I keep seeing little hearts and stars everywhere. I keep seeing Adele everywhere.
*
Extraordinary
*** This review may contain spoilers ***
I have never seen a film about a face until Blue. Almost every emotion the face can show is expressed by the leading actress: longing, satisfaction, shame, allure, hunger, anger, grief, boredom, suspicion. I was worried after the opening scenes that the film was one of stark realism despite its whimsical title. However, after a short time, it took on its poetical style, and in the street, just before Adele sees Emma, we hear the first sound of music. From then on the film is an exercise in cinematic eloquence.
In one particular scene, Adele wanders into a lesbian club still under the impression of the blue-haired woman she had seen days or weeks before. The club is small and packed and she can't seem to find her bearings. Adele makes it to the back of the club which resembles a dark abyss. She has the look of someone at once desperately searching and giving up the search. Then, behind her, the top of Emma's head appears from somewhere out of the shadows as a looming orb of dark blue. You don't see where Emma comes from; you don't see her face or body, just a color. When Emma sits down at the bar with Adele their first exchange is instantly dynamic and absorbing. If you compare this conversation with the talk Adele engages in with her classmates at the beginning , it's easy to admit that Adele is far more mature, thoughtful, and intellectually eager than her peers.
To appreciate the subtleties of this scene we have to recall one of the first moments in the film when Adele's teacher asked her class if love at first sight feels like the gaining of something or the losing of something. Is it possible that the director is also trying to answer this question?
The sex scenes will doubtlessly make some uncomfortable; such authenticity is something rarely seen on screen, but they are neither gratuitous nor pornographic. There's nothing more gratuitous than the old lie that's been told throughout cinematic history of woman as a passive sexual being, and the women in this film are anything but passive.
Contrary to other reviews, no single sex scene in Blue is 10 minutes long. There are three sex scenes and together they add up to 10 minutes, but the scene everyone is talking about is at most five minutes, unless the film they showed at Cannes if different from the one making the film festival circuit.
*
An extraordinary Love story, applicable to all of us !!
I waited some days to review this title after seeing this film. This movie triggered me thinking about love and life and I waited to give it my neutral review. I am watching movies since the latest 30 years and I have to say ; This movie is special !! After 30 years of seeing all kind of movies I have narrowed my scope of movies to see. They have to be special, show me something different, give me ideas to think about or to evaluate in my own life. So, movies like World war Z is not directly my style. This movie although is one of the best love stories I have seen. No unnecessary emotional or cuteness parts, each part of the story is real and genius. It is the soft moments of a love story, the hard moments bringing to the screen. The movie is made in away you are in the skin of Adele and Emma ( can't remember the actress names ). They take you with them in their love story, their feelings. That is also the reason that the 3 hours of the movie is not too long at all. I was surprised it took 3 hours when the film ended. The movie handles the passion between them, a passion that many of us forget over the years in a relation. That passion is also expressed in about 3 sex scenes, 3 scenes which are quiet honest and direct. Some people will find these scenes too long ( one of them could take 10 minutes ), but I find it necessary to establish your follow up of the passion they have between each other, so that when things goes worse you also are one with the situation.
This movie, natural, honest about love, life and sexuality could be attended by children of 12 and more, if they are explained things of life ( they also can see all kind of war movies … ). Many will say "Oh, lesbian movie, what the hell you are". This is a movie for all of us, independent of your orientation being gay, hetero, bisexual, … It is a Love story.
Each feeling, being angry / disappointment / sad / etc …, can be seen on the faces of Adele and Emma and by this I have to say that these actresses are just superb, in fact I don't know another word to say extraordinary acting. It has certainly been very difficult for them to make this film. The director : Bravo to him.
There are some scenes which are just fantastic : The first meeting between them, the encounter between them in the lesbian bar in which Adele is in a strange world as adolescent. The tree scene, where they actually get in love both of them. The level of a good love story with all it's feelings and situations has been raised to a higher one. Who can ever do this better.
And the last remark. The film treats the love story, it's personal problems, the passion, but does not handle the problems which can have their family or friends, not in detail.
And now, go and watch it !
*
The life of Adele
This year's Palm d'Or winner is a coming of age story about a teenage girl, Adele (the literal title in French is The Life of Adele), who discovers her homosexuality and begins a relationship with Emma, a college student. For a while, I was thinking this was a good but fairly unremarkable entry into the queer cinema canon, but, over the film's three hours, well, you see why the long running time was necessary. It is just a very detailed picture of a life. It feels more real than most films - it feels like more time has past and that we've just felt Adele's growth. Frankly, I didn't feel the length of it at all - I wanted it to be longer. It really helps that the actresses are so perfect. Adele Exarchopoulos is simply fantastic - this is the performance of the year, really. Her face is so expressive. The film takes place over several years, and you really do see her grow from a child to an adult. Lea Seydoux plays Emma. Her role is less demanding, but she's still great in it. Now, the biggest story of this film has probably been the graphic sex scenes. My opinion on them: I actually do think they're a bit too graphic, gratuitous and almost pornographic. I try to justify them artistically in my mind, and I'm afraid I can't. There's a plot point near the end where you kind of have to know that the girls' sex life was fantastic, but I'm not sure we had to see it in anywhere near as much detail as we did. They're without a doubt awkward to sit through, but they don't ruin the film either.
*
Great scenes with beautiful characters
I certainly blinked when I found out this movie was 3 hours long, especially considering that it won the Palm d'Or where many winners have a slow and painful plot. This movie on the other hand does a great job keeping every scene riveting through great dialog and riveting emotions. I would compare many of the scenes in this movie to Tarantino scenes where scenes take on a life of their own. Cleverness and awkwardness were dispersed in a way to make it seem real and ultimately human. I felt wonderfully disappointed when certain scenes ended. The actresses held nothing back in their body language and added much to the moment-to-moment importance of their character development.
*
One of the most emotionally intense, powerful movies of the year
I saw this film on the last night it was playing at my local theater and I jumped on the opportunity. Once it was over I realized how smart of a decision it was. I read a review of the film that said something along the lines of, "the trouble with this film being 3 hours is that you want to watch it for several more." I couldn't agree more with that statement. The story, along with its characters, moves the film along to the point where it didn't feel like 3 hours.
This film was probably the most emotionally intense and powerful movie I've seen in a very long time. You believed everything you were seeing and it forced you to feel it along with the characters. As much that has been written about this film, the acting can not be overstated. These two actresses are a revelation in this movie.
It seems that whenever the topic of homosexuality is covered by a film it usually contains some sort of hate crime or bias against homosexuality somewhere in the story that the film's characters have to face and overcome. What's refreshing about this film is that there is a dash of that but its in the beginning of the film and never becomes the focus of the conflict with the characters. The film acknowledges that bias is there but brushes it aside to say that there is something bigger and more important at play with the characters. Really nice to see that in a film.
This movie ranks as one of the best films I've seen this year and am so happy I had a chance to see it.
*
Stunning
This is a very tender , passionate tale of young love that I found fascinating . The three hours will simply fly by as you follow the life of Adele who falls in love with an arty student . The lead actress is stunning in both looks and believability , and you are swept along with her on her journey . This is acting on the edge...powerful and dramatic...worthy of many awards . The story rattles along at pace , and hardly has time to fully explore all the issues that are on show . Adeles family and friends for example simply disappear after a while , which was odd , as they were an important part of the anti-lesbian feeling present early on in the film . Nonetheless , its almost impossible to find fault . I didn't shed a tear at any stage (but came close a few times ) . The now infamous sex scenes were in my opinion incredibly moving and central to the plot (however they were rather long...men will be used more to a "Wham Bam 30 seconds approach " ! ) You should all go to see this ...male and female alike...though perhaps don't take your Mother !
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p5
02/10/2015 07:38 par tellurikwaves
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-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p5
02/10/2015 07:38 par tellurikwaves
Les deux photos les plus diffusées sur les moteurs de recherches (par douzaines)
Quelle hypocrisie ! alors qu'on sait très bien que c'est la scène de sexe
-répartie en 3 fois dans le film- qui a suscitée le plus grand intérêt
*
Sites externes(liste partielle)
Lien vers la liste complète
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Official Sites
- Official Facebook [Brazil]
- Official Facebook [Germany]
- Official Facebook [France]
- Official Facebook [Japan]
- Official Facebook [United States]
- Official site [Germany]
- Official site [Spain]
- Official site [Italy]
- Official site [Japan]
- Official site [United States]
Miscellaneous Sites
- AceShowbiz.com
- All Cinema (Japanese)
- Cine.gr (Greek)
- Cinedor Estrenos (Spanish)
- CineMagia.ro - Info (Romanian)
- CinemaQuebec - Trailer (MP4) (French)
- CINeol (Spanish)
- El Séptimo Arte (Spanish)
- Estrenos de Cine (Spanish)
- Film-Fan.Net (German)
- film-zeit.de [Überblick] (German)
- Filmstarts.de - Trailer, Photos & more (German)
- Indiemoviez (Spanish)
- KinoGallery.com - film info, release date & more (Russian)
- LaButaca.net (Spanish)
- MovieClock - Info, showtimes, user reviews
- MovieMaze.de (German)
- Moviepilot.com - News & Infos
- Movieplayer.it - News and Info, Pics, Trailers (Italian)
- movies.ch (German, French, Italian)
- movies.ch (German, French, Italian)
- MUBI: The global community for film lovers
- myFILM.gr (Greek)
- Soundtrack.Net
- Spielfilm.de (German)
- Uncut - Filminfo (German)
- Variety article (February 2012)
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p4
01/10/2015 11:35 par tellurikwaves
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-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p4
01/10/2015 11:35 par tellurikwaves
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p3
01/10/2015 11:33 par tellurikwaves
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-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p3
01/10/2015 11:33 par tellurikwaves
Copines de classe,Père et éphémère boy-friend
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p2
30/09/2015 06:02 par tellurikwaves
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-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012) p2
30/09/2015 06:02 par tellurikwaves
Léa Seydoux en conférence de presse
*
Notes et références
- « Bientôt une suite à La vie d'Adèle ? » [archive] (consulté le 10 mars 2014)
- Le titre anglais est la traduction littérale du titre du roman graphique dont est adapté le film, Le bleu est une couleur chaude. Ce titre fait référence aux couleurs de cheveux d'Emma et est en même temps en contradiction avec le fait que la couleur bleue soit une couleur froide.
- « Dossier de presse de film » [archive], Festival de Cannes, (consulté le 29 mai 2013)
- Clarisse Fabre, « Des techniciens racontent le tournage difficile de "La Vie d'Adèle" » [archive], Le Monde, (consulté le 26 mai 2012)
- « La Vie d'Adèle : Chapitres 1 et 2 : visa et classification » [archive], sur cnc.fr, CNC : « mention : interdit aux mineurs -12 ans avec avertissement, avertissement : plusieurs scènes de sexe réalistes sont de nature à choquer un jeune public »
- cinézik, allobo et YouTube
- Le titre diffusé dans la séquence de la boîte de nuit gay n'est pas référencé.
- « Sexe, Palme, Kechiche... : la mise au point de l'auteure du Bleu est une couleur chaude » [archive], sur Allociné, (consulté le 26 octobre 2013)
- « Premier visuel utilisé dans la communication du film avant le festival de Cannes » [archive] (consulté le 26 octobre 2013)
- « Un film tourné et coproduit en Nord-Pas-de-Calais en compétition officielle au Festival de Cannes » [archive], sur crrav.com,
- Maxime Pargaud, « La vie d'Adèle, un « chef-d’œuvre bouleversant » » [archive], Le Figaro, (consulté le 26 octobre 2013)
- « Festival de Cannes : le palmarès du « Point » » [archive], Le Point, (consulté le 26 octobre 2013)
- Thomas Malher, « Cannes, épisode 8 : brûlant Kechiche et « scandaleux » Ozon » [archive], Le Point, (consulté le 26 octobre 2013)
- « Cannes : la palme d'or pour La vie d'Adèle » [archive], Le Point, (consulté le 26 octobre 2013)
- David Perrotin, « Mariage homosexuel : Christine Boutin dérape encore » [archive], sur metronews.fr, (consulté le 21 juin 2013)
- Julie Reynié, « Christine Boutin : « On est envahi de gays » » [archive], sur rtl.fr, (consulté le 21 juin 2013)
- Marie-Laure Makouke, « Christine Boutin sera-t-elle sanctionnée pour ses propos homophobes ? » [archive], sur terrafemina.com, (consulté le 11 mars 2014).
- Matthieu Carlier, « Christine Boutin et son nouveau dérapage anti-gay dans les Grandes Gueules de RMC » [archive], sur huffingtonpost.fr, (consulté le 11 mars 2014).
- « Une actrice de "La vie d'Adèle" traite Christine Boutin de "Frustrée de la fouffe !" » [archive], sur midilibre.fr, (consulté le 11 mars 2014).
- « La vraie vie d'Adèle Exarchopoulos » [archive], sur paulette-magazine.com, (consulté le 11 mars 2014).
- Clarisse Fabre, « Le Spiac-CGT dénonce les conditions de travail sur le tournage de “La Vie d'Adèle” » [archive], Le Monde, (consulté le 26 mai 2012)
- L'ATOCAN, « Billet d'humeur » [archive]
- Pauline Gallard, « La Vie d'Adèle : Julie Maroh est amère », Gala, (lire en ligne [archive])
- Seydoux et Exarchopoulos ne veulent plus jamais tourner avec Kechiche [archive].
- Léa Seydoux et Adèle Exarchopoulos s'expliquent sur leurs scènes d'amour à l'écran [archive]
- (en) The Stars of ‘Blue is the Warmest Color’ On the Riveting Lesbian Love Story [archive]
- Marie Turcan, « Kechiche : "Léa Seydoux est née dans le coton" », Le Figaro, (lire en ligne [archive])
- « La Vie d'Adèle "ne devrait pas sortir", d'après Abdellatif Kechiche » [archive], sur premiere.fr,
- Pierre Murat et Laurent Rigoulet, « Polémique autour de La Vie d'Adèle : Abdellatif Kechiche s'explique dans Télérama », Télérama, (lire en ligne [archive])
- Pierre Murat et Laurent Rigoulet, « Abdellatif Kechiche : « Je n’ai plus envie de cinéma, j’ai besoin de calme » » [archive], Télérama, (consulté le 25 octobre 2013)
- Abdellatif Kechiche, « Abdellatif Kechiche : « A ceux qui voulaient détruire La Vie d’Adèle » » [archive], Rue89, (consulté le 25 octobre 2013)
- Maxime Pargaud, « La Vie d'Adèle, un « chef-d'œuvre bouleversant » » [archive], Le Figaro, (consulté le 25 octobre 2013)
- Serge Kaganski, « La Vie d'Adèle d'Abdellatif Kéchiche : une bombe filmique » [archive], Les Inrockuptibles, (consulté le 25 octobre 2013)
- Jean-Michel Frodon, « Cannes 2013 : La Vie d'Adèle, le séisme Kechiche » [archive], Slate.fr, (consulté le 25 octobre 2013)
- Emmanuel Burdeau, « La Vie d'Adèle, d'Abdellatif Kechiche, décroche la Palme d'or » [archive], Mediapart, (consulté le 25 octobre 2013)
- Cahiers du cinéma, no 693 et no 695. http://www.cahiersducinema.net/Octobre-2013-no693.html [archive]
- Arnaud Hallet, « Nous ne vieillirons pas ensemble » [archive], Revue Zinzolin, (consulté le 25 octobre 2013)
- Éric Neuhoff, « La Vie d'Adèle, le zèle du désir » [archive], Le Figaro, (consulté le 25 octobre 2013)
- Laurent Dandrieu, « Adèle, une vie d'enfer » [archive], Valeurs actuelles, (consulté le 25 octobre 2013)
- Une satisfaction pour ces Césars ? Gallienne loin devant Kechiche… [archive], entretien, bvoltaire.fr, 2 mars 2014
- « La Vie d'Adèle - Critiques presse » [archive], sur Allociné (consulté le 25 octobre 2013)
- « La Vie d'Adèle - Critiques spectateurs » [archive], sur Allociné (consulté le 25 octobre 2013)
- Citation originale : « Raw, honest, powerfully acted, and deliciously intense, Blue Is the Warmest Color offers some of modern cinema's most elegantly composed, emotionally absorbing drama. »
- « Blue Is The Warmest Color (2013) » [archive], sur Rotten Tomatoes (consulté le 25 octobre 2013)
- (en) « 17 Films Rated NC-17: Did They Deserve The 'Certificate Of Doom'? » [archive], IndieWire, (consulté le 25 octobre 2013)
- Marie Rousseau, « La Vie d’Adèle : un cinéma new-yorkais brave l’interdiction aux moins de 17 ans » [archive], Rue89, (consulté le 25 octobre 2013)
- (en) « The Best Movies of 2013 - Blue Is the Warmest Color » [archive], sur Complex.com (consulté le 30 décembre 2013)
- « Box-office France 2013 » [archive], sur Jpbox-office.com (consulté le 1 mai 2014)
- « Box-office français dans le monde - Novembre 2013 » [archive], sur Unifrance (consulté le 25 décembre 2013)
- Total cumulé des entrées France sur Jpbox-office.com et des entrées dans le monde sur « Box-office français dans le monde - Mars 2014 » [archive], sur Unifrance (consulté le 1 mai 2014)
- Allocine.fr ; "La Vie d'Adèle" atteint le million d'entrées !" [archive] Consulté le 28 février 2014.
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(en) « Grand Prix — Best Film of the Year 2013 » [
-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012)
30/09/2015 05:39 par tellurikwaves
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-DR- LA VIE D'ADELE de Abdellatif Kechiche (2012)
30/09/2015 05:39 par tellurikwaves
La Vie d'Adèle : Chapitres 1 et 2*souvent désigné simplement sous le titre La Vie d'Adèle, est une comédie dramatique belgo-hispano-française écrite, produite et réalisée par Abdellatif Kechiche, sortie en 2013.Le film est tiré du roman graphique Le bleu est une couleur chaude de Julie Maroh. C'est ce titre qui sera retenu pour sa sortie internationale. La Vie d'Adèle est présenté lors du Festival de Cannes 2013 en sélection officielle, où il reçoit un accueil quasi unanime de la presse. Il se place très rapidement comme le grand favori pour la Palme d'or, qu'il obtient finalement. La récompense suprême est même attribuée de façon exceptionnelle au réalisateur Abdellatif Kechiche ainsi qu'à ses deux actrices principales Léa Seydoux et Adèle Exarchopoulos.
Mais, alors qu'il reçoit un accueil critique positif de la part des médias français et internationaux, le film est entouré par une polémique opposant le réalisateur Abdellatif Kechiche avec d'une part certains de ses techniciens et d'autre part les deux actrices principales, tous dénonçant un tournage difficile.Abdellatif Kechiche a déclaré qu'il comptait faire une version plus longue de 40 minutes[1].
Résumé (partiel)
Âgée de dix-sept ans, la jeune Adèle croit que forcément une fille doit rencontrer des garçons et rêve du grand amour. Elle se laisse brièvement séduire par Thomas, élève de Terminale, et met rapidement fin à cette liaison. Elle croise alors Emma, une jeune femme aux cheveux bleus ; c'est le coup de foudre. C'est cette rencontre-là qui bouleverse totalement sa vie. Emma hante chaque nuit ses rêves et ses désirs les plus intimes. Adèle et Emma se rencontrent à nouveau fortuitement, se découvrent, s'aiment follement, vivent ensemble. Mais Emma est une artiste peintre pleine d'ambition, évoluant dans un milieu cultivé et intellectuel ; Adèle tient la maison, fait la cuisine, se contente d'exercer son métier d'institutrice et d'aimer Emma....
Fiche technique
- Titre : La Vie d'Adèle
- Titre français : La Vie d'Adèle : Chapitres 1 et 2 ou La Vie d'Adèle'
- Titre international : Blue Is the Warmest Colour[2]
- Réalisation : Abdellatif Kechiche
- Scénario : Abdellatif Kechiche et Ghalya Lacroix[3] d'après le roman graphique Le bleu est une couleur chaude de Julie Maroh
- Direction artistique : Julia Lemaire
- Photographie : Sofian El Fani
- Prise de son : Jérôme Chenevoy
- Montage : Camille Toubkis, Albertine Lastera, Ghalya Lacroix, Jean-Marie Lengelle et Sophie Brunet[3]
- Production : Abdellatif Kechiche, Vincent Maraval et Brahim Chioua ; Laurence Clerc et Olivier Thery Lapiney (producteurs exécutifs)
- Sociétés de production : Quat'sous Films, Wild Bunch
- En coproduction avec : France 2 Cinéma, Scope Pictures, Vértigo Films et RTBF
- Sociétés de distribution : Wild Bunch Distribution (France) ; Sundance Selects (États-Unis)
- Budget : 4 000 000 d'euros[4]
- Pays d'origine : France, Belgique et Espagne
- Langue originale : français
- Format : couleur - 2.35 : 1 - 35 mm
- Genre : Film d'amour
- Durée : 179 minutes[3]
- Dates de sortie :
France : 23 mai 2013 (Festival de Cannes), 9 octobre 2013 (sortie nationale) 
Canada : 5 septembre 2013 (Festival de Toronto), 9 octobre 2013 (sortie nationale) 
Espagne : 20 septembre 2013 (Festival de San Sébastien), 25 octobre 2013 (sortie nationale) 
Belgique : 27 septembre 2013 (Festival de Namur), 9 octobre 2013 (sortie nationale)
- Classification :
- France : interdit aux moins de 12 ans avec avertissement lors de sa sortie en salles[5] et déconseillé aux moins de 16 ans à la télévision.
- États-Unis : NC-17 (interdit aux moins de 18 ans)
Cast
- Adèle Exarchopoulos : Adèle
- Léa Seydoux : Emma
- Jérémie Laheurte : Thomas
- Mona Walravens : Lise
- Salim Kechiouche : Samir
- Catherine Salée : la mère d'Adèle
- Fanny Maurin : Amélie
- Aurélien Recoing : le père d'Adèle
- Anne Loiret : La mère d'Emma
- Benoît Pilot : Le beau-père d'Emma
- Sandor Funtek : Valentin
- Aurélie Lemanceau : Sabine
- Baya Rehaz : Meryem
- Benjamin Siksou : Antoine
- Karim Saidi : Kader
- Alma Jodorowsky : Béatrice
- Quentin Médrinal : Eli
- Stéphane Mercoyrol : Joachim
- Lucie Bibal : Lucie
- Maelys Cabezon : Laetitia
- Samir Bella : Samir
- Wisdom Ayanou : Wisdom
Production
En préproduction, Abdellatif Kechiche cherche à Paris la personne à qui confier le rôle d'Adèle. Après avoir rencontré Adèle Exarchopoulos, le réalisateur multiplie les rendez-vous dans son bar favori de Belleville (La Vielleuse), où il la teste par des silences, des discussions, des tests scéniques du scénario ainsi que des tests sportifs. Après plus d'un mois, c'est en observant sa façon de manger de la tarte au citron, sa façon de bouger la bouche et d'agir, il décide qu'Adèle Exarchopoulos est l'actrice qu'il cherchait pour ce rôle.
Pour le rôle d'Emma, Abdellatif Kechiche avait d'abord pensé à Sara Forestier, une actrice qu'il avait lui-même fait découvrir, puis à Mélanie Thierry pour incarner le personnage. Cependant, Léa Seydoux avait demandé à venir et à rester sur le tournage, elle avait tout fait pour obtenir ce rôle et le garder bien qu'au bout des vingt jours de tournage, le réalisateur avait énoncé qu'elle pouvait en rester là si elle le souhaitait (se référer aux polémiques de tournage)[réf. insuffisante].
Le réalisateur a pour vocation de choisir des acteurs débutants, sortant d'écoles d'art dramatique ou de seconds ou petits rôles dans de précédents films. C'est pourquoi il faut noter la présence de Stéphane Mercoyrol, d'Aurélie Lemenceaux, de Lucie Bibal (une amie d'Emma dans le film) et de plusieurs autres petits comédiens.
La grande majorité des figurants visibles dans les scènes du lycée sont de réels lycéens de cet établissement que les responsables de casting et Abdellatif Kechiche ont choisis sur place, lors de castings ou de repérages directement sur les lieux[ souhaitée] souhaitée].
Conception
Le film est librement adapté du roman graphique Le bleu est une couleur chaude de Julie Maroh. Il devait initialement reprendre le titre de la bande dessinée[8],[9].
Tournage
Concernant les polémiques à propos des conditions de tournage, voir la section correspondante.Initialement prévu pour une durée de deux mois et demi, le tournage du film a duré cinq mois, de mars à août 2012 , pour un budget de 4 000 000 d'euros[4]. Il a eu lieu à Lille notamment au Lycée Pasteur, à la Grand'Place de Lille (Place du Général-de-Gaulle) pour la rencontre entre Adèle et Thomas (Jérémie Laheurte) et Boulevard de la Liberté pour la rencontre avec Emma (Léa Seydoux) ainsi qu'à la galery Metling Art et enfin à la discothèque gay Le Privilège située dans le Vieux-Lille. Le tournage a également eu lieu à Roubaix à La Piscine, Musée d'art et d'industrie, et Liévin pour la maison où habite Adèle (dans le film) et à la maternelle Lamartine[10].
Exploitation
Les œuvres d'arts visibles tout au long du film, notamment à la fin dans la galerie d'art, ont été réalisées par Cécile Desserle, une artiste peintre de Montpellier. Exposant à Lille, Abdellatif Kechiche, passant dans la rue, tomba sous le charme de ses œuvres et demanda à contacter Cécile Desserle, auprès de qui, il fit des commandes de portraits d'Adèle Exarchopoulos. Un passage du film évoque La vie de Marianne de Marivaux (scène du cours de philosophie).
Festivals
Le film est présenté au cours du festival de Cannes 2013, où il devient rapidement le favori en compétition officielle pour la Palme d'or[11],[12],[13].Cette récompense fut attribuée de façon exceptionnelle à trois personnes : le réalisateur Abdellatif Kechiche et les deux actrices principales Léa Seydoux et Adèle Exarchopoulos[14].
Polémiques et controverses
Déclarations de Christine Boutin
Au soir du 26 mai 2013, suite à la remise de la Palme d'or au film et à la manifestation parisienne d'opposition au « mariage pour tous » qui a eu lieu le même jour, Christine Boutin, présidente du Parti chrétien-démocrate (PCD), regrette qu'un tel film soit ainsi récompensé et déclare au micro de RMC, dans l'émission Les Grandes Gueules, que l'homosexualité est « une mode », qu'« on est envahi de gays » dans la société et qu'il s'agit d'une forme de « pensée unique »[15],[16]. Ces propos font réagir de nombreuses associations de défense des droits des homosexuels[17]. Ainsi, Nicolas Gougain, alors porte-parole de l'Inter-LGBT, considère que Christine Boutin « a complètement déraillé »[18].
Dans le monde politique, cinq cadres de l'UMP (auquel le PCD est associé) publient un communiqué de presse où ils qualifient les propos de Christine Boutin de « déclarations aussi haineuses que déplacées » et appellent leur « famille politique à s’en désolidariser clairement et largement afin qu’elle ne prenne pas le risque d’apparaître complice de ces déclarations infamantes »[17].
Quelques jours après les propos de Christine Boutin, dans la « Boîte à questions » de l'émission Le Grand Journal sur Canal+, Adèle Exarchopoulos traite l'ex-ministre de « frustrée de la fouffe » en lui adressant un doigt d'honneur[19]. Quelques mois plus tard, l'actrice « regrette de l'avoir insultée » mais elle insiste sur le fait qu'elle « trouve ses propos minables » et considère que « la bêtise de ces gens-là peut devenir dangereuse »[20].
Conditions de tournage
À la suite de sa présentation au festival de Cannes, le Syndicat des professionnels de l'industrie de l'audiovisuel et du cinéma (Spiac-CGT) publie un communiqué relatant les conditions de tournage « [il a eu lieu dans un] climat lourd, [avec] des comportements proches du harcèlement moral », poussant des techniciens et ouvriers à démissionner[4]. D'autres critiques visaient également « les horaires anarchiques » et des heures travaillées non déclarées[21].
« Si ce long métrage devait devenir une référence artistique, nous espérons qu'il ne devienne jamais un exemple en termes de production. »
— L'ATOCAN[22].
Quelque 750 heures de rushes ayant été tournées, il se peut, selon Hugues Dayez (RTBF), que l'œuvre soit un work in progress.
Quelques jours après l'attribution de la Palme d'or, Julie Maroh, l'auteur de la bande dessinée dont le film est tiré, dit regretter le choix de nombreuses scènes de sexe lesbien chirurgicales, démonstratives et crues, qu'elle juge dénuées de désir amoureux puis exprime sa déception quant au comportement méprisant de Kechiche à son égard qui n'a plus répondu à aucun de ses messages après la cession des droits d'adaptation, ne l'a pas invitée avec l'équipe à Cannes et a omis de la mentionner lors de son discours de remerciements pour la récompense[23].
En septembre 2013, les deux actrices principales affirment à leur tour que le tournage fut très difficile et parfois violent, et ne souhaitent plus jamais tourner avec ce réalisateur[24]. Elles se déclarent également choquées et gênées par les scènes de sexe très explicites (bien que simulées et utilisant des prothèses), au point qu'Adèle Exarchopoulos explique avoir fermé les yeux et s'être imaginée ailleurs lors de la diffusion du film à Cannes[25],[26].
La réaction consécutive très violente du réalisateur, dirigée contre Léa Seydoux uniquement qu'il accuse d'être trop gâtée et « née dans le coton », relance la polémique dans les médias[27].
Fatigué des controverses tout au long de la promotion de son film, Kechiche déclare en septembre 2013 à Télérama : « Selon moi, ce film ne devrait pas sortir, il a été trop sali. »[28],[29]. Dans cette interview, Kechiche répond cependant aux différentes accusations le concernant[30] et dans une très longue tribune diffusée en octobre sur Rue89[31]. Kechiche pensait engager Sara Forestier ou Mélanie Thierry pour remplacer Léa Seydoux si elle avait décidé de se retirer du film[30]. Dans sa tribune, le réalisateur accuse par ailleurs plusieurs personnalités du cinéma, parmi lesquelles ses anciens producteurs Jean-François Lepetit et Marin Karmitz et Léa Seydoux, d'avoir instrumentalisé une controverse stérile visant à le diffamer et à empêcher le succès du film[31].
Lors de la cérémonie des Césars du cinéma 2014, bien que nommé huit fois, le film n'obtient que le César du meilleur espoir féminin, décerné à Adèle Exarchopoulos. La presse n'hésite pas à dénoncer dans ces votes une forme de boycott suite aux polémiques d'après-tournage, tant avec les comédiennes que les techniciens[ souhaitée] souhaitée].
Accueil
Réception critique
Après sa diffusion au festival de Cannes, La Vie d'Adèle reçoit un accueil critique majoritairement favorable[32]. Dans Les Inrockuptibles, un journaliste parle d'une « bombe filmique »[33] ; le magazine en ligne Slate juge le film magnifique[34]. Mediapart ne partage pas l'enthousiasme des médias précédents mais voit ce film comme une « bonne surprise »[35]. Plutôt enthousiastes malgré des réserves importantes, les Cahiers du cinéma consacrent leur couverture au film, ainsi qu'un dossier de trente pages contenant de longs entretiens ; le film est classé du Top 10 2013 de la rédaction, et premier du classement des lecteurs. du Top 10 2013 de la rédaction, et premier du classement des lecteurs.
On ne rencontre que quelques voix discordantes, comme dans la revue Zinzolin où le critique dit ne pas avoir été ému par le film ; il dénonce le manque de nuance d'Abdellatif Kechiche, la vacuité des dialogues et plus précisément des dialogues sur l'art, les poncifs dans les séquences chez les parents respectifs des deux personnages[37]. D'autres critiques négatives, comme dans le Figaro, reprochent au film sa longueur et la répétitivité des scènes[38], ou Valeurs actuelles le critiquant comme une « histoire d’amour sans relief et filmée avec un plat naturalisme[39]. », Laurent Dandrieu allant jusqu'à le qualifier d'« insupportable pensum lesbien, ennuyeusement militant et laidement pornographique. »[40].
À sa sortie en France le 9 octobre 2013, le film obtient la note de 4,6/5 pour 30 critiques presse sur le site Allociné[41] alors que les spectateurs le notent plus sévèrement à 3,6/5 sur plus de deux mille avis[42]. Sur l'agrégateur de critiques anglo-saxon Rotten Tomatoes, le film obtient 91 % de critiques positives sur plus de 50 avis, le consensus du site indiquant que le film était : « cru, honnête, joué avec force et délicieusement intense. [Il] nous offre l'un des drames du cinéma moderne le plus élégamment composé et le plus émotionnellement captivant[43],[44]. »
Aux États-Unis, le film, distribué par Sundance Selects sous le titre Blue is the Warmest Color, est classifié « NC-17 » (interdit aux moins de 17 ans) par la Motion Picture Association of America en raison de son « contenu sexuel explicite ». Ce classement, souvent synonyme d'échec commercial en raison d'une interdiction de promotion dans les médias[45], est cependant contrebalancé par les réactions positives des médias américains[46].En décembre 2013, le magazine américain Complex le classe 4e 47].
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Distinctions
Showing all 8 wins and 43 nominations
Academy Awards, USA 2014
| Nominated Oscar |
Best Achievement in Visual Effects Roger Guyett Pat Tubach Ben Grossmann Burt Dalton |
BAFTA Awards 2014
| Nominated BAFTA Film Award |
Best Special Visual Effects Ben Grossmann Burt Dalton Pat Tubach Roger Guyett |
BAFTA Awards 2013
| Nominated BAFTA Children's Award |
BAFTA Kids Vote - Feature Film |
ASCAP Film and Television Music Awards 2014
| Won ASCAP Award |
Top Box Office Films Michael Giacchino |
Academy of Science Fiction, Fantasy & Horror Films, USA 2014
| Nominated Saturn Award |
Best Science Fiction Film |
| Best Supporting Actor Benedict Cumberbatch |
|
| Best Director J.J. Abrams |
|
| Best Costumes Michael Kaplan |
|
| Best Special Effects Pat Tubach Ben Grossmann Burt Dalton |
Annie Awards 2014
| Nominated Annie |
Outstanding Achievement in Animated Effects in a Live Action Production Ben O'Brien Karin Cooper Lee Uren Chris Root |
| Outstanding Achievement in Animated Effects in a Live Action Production Dan Pearson Jay Cooper Jeff Grebe Amelia Chenoweth |
Art Directors Guild 2014
| Nominated Excellence in Production Design Award |
Fantasy Film Scott Chambliss (production designer) Ramsey Avery (supervising art director) James Clyne (visual effects art director) Lauren E. Polizzi (art director) Kasra Farahani (art director) Michael E. Goldman (art director) Harry E. Otto (art director) Andrew Murdock (art director) Jason Baldwin Stewart (on set art director) Natasha Gerasimova (assistant art director) Steve Christensen (assistant art director) Andrea Dopaso (illustrator) John Eaves (illustrator) Nathan Schroeder (illustrator) Ryan Church (illustrator) Christopher S. Ross (illustrator) Victor James Martinez (illustrator) Steven Messing (set designer) Karl Strahlendorf (set designer) John Chichester (set designer) Tex Kadonaga (set designer) Kevin Cross (set designer) Andrew Reeder (set designer) Anne Porter (set designer) Jane Wuu (set designer) Richard F. Mays (set designer) Allen Coulter (set designer) Karl J. Martin (set designer) Scott Schneider (set designer) Lorrie Campbell (set designer) Easton Michael Smith (set designer) Tammy S. Lee (set designer) Tim Croshaw (set designer) Clint Schultz (lead graphic designer) Karen Manthey (set decorator) |
Awards Circuit Community Awards 2013
| Nominated ACCA |
Best Visual Effects |
BAFTA/LA Britannia Awards 2013
| Won Britannia Award |
British Artist of the Year Benedict Cumberbatch For 12 Years a Slave , The Fifth Estate , August: Osage County and The Hobbit: The Desolation of Smaug |
British Society of Cinematographers 2013
| Nominated GBCT Operators Award |
Colin Anderson |
Broadcast Film Critics Association Awards 2014
| Nominated Critics Choice Award |
Best Visual Effects |
| Best Action Movie | |
| Best Sci-Fi/Horror Movie |
California on Location Awards 2012
| Won COLA |
Location Team of the Year - Features Becky Brake (Supervising Location Manager) Steve Woroniecki (Location Manager) Taylor Boyd (Key Assistant Location Manager) Leo Fialho (Key Assistant Location Manager) Peter Gluck (Key Assistant Location Manager) Kathy McCurdy (Key Assistant Location Manager) Rob Swenson (Key Assistant Location Manager) Scott Trimble (Key Assistant Location Manager) Shelly Armstrong (Assistant Location Manager) Christina Beaumont (Assistant Location Manager) |
Central Ohio Film Critics Association 2014
| Nominated COFCA Award |
Actor of the Year Benedict Cumberbatch For August: Osage County , The Fifth Estate , The Hobbit: The Desolation of Smaug and 12 Years a Slave |
CinEuphoria Awards 2014
| Nominated CinEuphoria |
Best Special Effects (Sound or Visual) - International Competition Roger Guyett Luke O'Byrne Ron Ames Ben Grossmann |
Denver Film Critics Society 2013
| Nominated DFCS Award |
Best Science-Fiction/Horror Film |
Empire Awards, UK 2014
| Nominated Empire Award |
Best Sci-Fi/Fantasy |
Golden Schmoes Awards 2013
| Nominated Golden Schmoes |
Best Sci-Fi Movie of the Year |
| Best Special Effects of the Year | |
| Biggest Disappointment of the Year |
Golden Trailer Awards 2014
| Won Golden Trailer |
Best Fantasy/Adventure TV Spot Paramount Pictures AV Squad, The For the TV commercial entitled "Go: 30".
|
| Nominated Golden Trailer |
Best Action Paramount Pictures Transit For the first theatrical trailer "Illusion".
|
| Best Fantasy Adventure Paramount Pictures AV Squad, The For the third theatrical trailer "Destiny".
|
Golden Trailer Awards 2013
| Nominated Golden Trailer |
Best Summer Blockbuster 2013 TV Spot Paramount Pictures AV Squad, The For "Return (Super Bowl Trailer)".
|
| Best Summer 2013 Blockbuster Poster Paramount Pictures Empire Design |
Hollywood Film Awards 2013
| Won Hollywood Movie Award |
J.J. Abrams |
IGN Summer Movie Awards 2013
| Nominated IGN Award |
Best Sci-Fi Movie |
International Film Music Critics Award (IFMCA) 2013
| Nominated IFMCA Award |
Best Original Score for a Fantasy/Science Fiction/Horror Film Michael Giacchino |
International Online Cinema Awards (INOCA) 2013
| Nominated Halfway Award |
Best Supporting Actor Benedict Cumberbatch |
Key Art Awards 2013
| 2nd place Key Art Award |
Best Audio/Visual Technique Paramount Pictures Pusher Media For its music in the second trailer.
|
| 3rd place Key Art Award |
Best Trailer - Audio/Visual Paramount Pictures AV Squad, The For the trailer "Assume the Position".
|
MTV Movie Awards 2014
| Nominated MTV Movie Award |
Best Villain Benedict Cumberbatch As Khan
|
| Favorite Character Benedict Cumberbatch As Khan
|
Online Film & Television Association 2014
| Nominated OFTA Film Award |
Best Visual Effects Roger Guyett Pat Tubach Ben Grossmann Burt Dalton |
People's Choice Awards, USA 2014
| Nominated People's Choice Award |
Favorite Movie |
| Favorite Movie Duo Chris Pine Zachary Quinto |
|
| Favorite Action Movie |
Phoenix Film Critics Society Awards 2013
| Nominated PFCS Award |
Best Visual Effects |
| Best Stunts |
Satellite Awards 2013
| Won Satellite Award |
Best Overall Blu-Ray |
St. Louis Film Critics Association, US 2013
| Nominated SLFCA Award |
Best Visual Effects Roger Guyett Pat Tubach Ben Grossmann Burt Dalton |
Teen Choice Awards 2013
| Nominated Teen Choice Award |
Choice Summer Movie Star: Male Chris Pine |
| Choice Summer Movie Star: Female Zoe Saldana |
Visual Effects Society Awards 2014
| Nominated VES Award |
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture Roger Guyett Luke O'Byrne Ron Ames Ben Grossmann |
| Outstanding Models in a Feature Motion Picture Bruce Holcomb Ron Woodall John Goodson Tom Fejes |
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Trivia (fin)
One of the shuttles in the shuttle bay is named Takei, a nod to George Takei, the original Hikaru Sulu.
*
Benedict Cumberbatch and Alice Eve have worked together twice before, in Hawking (2004) and Starter for 10 (2006).
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The second of J.J. Abrams' Star Trek films, wherein two female characters are seen in their underwear. In this film: one of the women in bed with Kirk, and Carol Marcus. In the previous film Star Trek (2009): Uhura and Gaila.
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Both Bruce Greenwood and Peter Weller have voiced the role of DC Comics hero Bruce Wayne/Batman: Greenwood in Batman: Under the Red Hood (2010) and Young Justice (2010), and Weller in Batman: The Dark Knight Returns, Part 1 (2012)/Batman: The Dark Knight Returns, Part 2 (2013).
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When Kirk, Spock and Uhura meet with the two security guards at "Mudd's" spaceship (on the Enterprise), Kirk addresses the security guard on the left as Hendorff. In the original series episode Star Trek: The Apple (1967), the first security officer to die was also Ensign Hendorff.
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There are a number of bar code scanners incorporated into design of various stations manned by the Enterprise crew. All scanners have the red reflective glass in upper section. Most noticeable are two white-beige scanners between Sulu's and Chekov's stations on the bridge, two black ones in the middle of Science Officer 0718's station that is to the right of captain's chair, and one small scanner that looks like a beige pyramid with sphere on top which is located on Chekov's station near the warp drive.
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Like the previous movie, this one also contains a reference to Nurse Chapel of the original series (played by Majel Barrett) - interestingly, this callback breaks continuity with Star Trek as in that movie McCoy is heard addressing a "Nurse Chapel" (who replies from off screen), whereas in this one we get the impression that Christine Chapel became a nurse following an encounter with Kirk in the interim between the two movies (since Kirk and Uhura did not know each other before Star Trek (2009), the reference to a common acquaintance is unlikely to refer to someone from before that point in time).
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This is Scott Lawrence's second "Star Trek" appearance; he previously guest starred in Star Trek: Voyager: The Void (2001) as Captain Garon of the Nygeans.
*
Peter Weller previously starred in Les aventures de Buckaroo Banzaï à travers la 8e dimension (1984), along with former Trek villain Christopher Lloyd; and in RoboCop (1987) alongside fellow Trek veterans Ronny Cox, Kurtwood Smith and Miguel Ferrer.
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Two stars of the television series Spartacus: le sang des gladiateurs (2010) have small roles in the film. Cynthia Addai-Robinson as a woman witnessing the Enterprise and the Vengeance crashing in San Fransico and Nick E. Tarabay as the Klingon who speaks to Uhura.
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This is the first "Bad Admiral" story to feature the original crew of the Enterprise. Previously, stories about corrupt Starfleet Admirals were frequently featured on Star Trek: La nouvelle génération (1987).
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There are a few actors and actresses from comic book movies in this film: Zoe Saldana plays Gamora (Les Gardiens de la Galaxie (2014), Guardians of the Galaxy Vol. 2 (2017)), Karl Urban played Judge Dredd (Dredd (2012)) and Benedict Cumberbatch plays Dr. Stephen Strange (Doctor Strange (2016)).
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Cameo
Christopher Doohan: The son of the original Scotty James Doohan, makes a cameo appearance in the film as a Transport Officer alongside the current Scotty Simon Pegg.
*
Spoilers
Near the end of the film, when Khan sent the USS Vengeance on a collision course with San Francisco, it crushes Alcatraz on its way towards the city. According to director J.J. Abrams, this was a sly nod to the fact that the series Alcatraz (2012) (which he executive produced) was cancelled after only one season.
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at 1 hour 17 minutes 18 seconds) When the Vengeance fires on the Enterprise when they are both at warp, one can fleetingly see an R2-D2 being sucked out into space along with various debris, tools, and Enterprise crewmen.
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Despite being in several major battles, the Enterprise does not fire weapons at any point in the film.
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Leonard Nimoy makes his eighth appearance as Spock in the "Star Trek" film series. That breaks the record held by William Shatner, James Doohan, Walter Koenig and Majel Barrett for most appearances in the film series.
In Star trek II - La colère de Khan (1982), Spock sacrifices his life to restore the Enterprise's warp drive and dies of radiation poisoning as Kirk watches from outside. In this film, the roles are reversed and Kirk gives his life to restore the warp drive as Spock looks on. Spock's subsequent line, "KHAAAAAN!" was spoken by Kirk in the original but in a different context in a different part of the story.
*
The collection of models on Admiral Marcus' (Peter Weller) desk resembles the gallery of old ships named "Enterprise" as seen in Star Trek, le film (1979). The ships and aircraft, all class-pathfinders, that can be seen are:
- The "Wright Flyer" (1903) First craft to achieve controlled, heavier-than-air flight.
- The "Spirit of St. Louis", in which Charles A. Lindbergh became the first man to fly a solo, non-stop flight from New York to Paris.
- V2
- X-15
- A Gemini Capsule, from which the first American Spacewalks occurred.
- A Soyuz Spacecraft, the mainstay Russian Space Agency spacecraft.
- the NASA space shuttle "Enterprise" (which actually exists)
- the "XCV 330 USS Enterprise" (the ship with the rings around its hull)
- Zefram Cochrane's warp ship, the Phoenix, from Star Trek: Premier Contact (1996)
- the Enterprise NX-01 from the television series Star Trek: Enterprise (2001)
- and the USS Vengeance, foreshadowing its appearance and Marcus' villainy.
- *
The scene which Khan is put back into suspended animation was written, as a possibility, that Khan, with Benedict Cumberbatch returning in the role, may return in a future installment.
*
Khan and Spock's climactic battle on a hovering garbage cruiser was shot over a period of four days. Much of the cruiser was actually made of rubber, due to the extreme physical nature of the fight between the two characters.
*
Writer Damon Lindelof apologized on Twitter for the seemingly gratuitous and much criticized scene where Alice Eve strips down to her underwear. J.J. Abrams would counter the criticism later when he appeared on Conan O'Brien's talk show and premiered a deleted scene featuring Benedict Cumberbatch showering. For her part, Eve later stated that she didn't feel exploited by the inclusion of her strip scene.
When Kirk recovers from radiation poisoning and returns to the bridge Sulu offers him back his captain's chair and says "'Captain' does have a nice ring to it." In Star trek VI - Terre inconnue (1991), Sulu is indeed the Captain of his own starship, the USS Excelsior.
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This is Peter Weller's second "Star Trek" appearance; he previously guest starred in Star Trek: Enterprise: Demons (2005) and Star Trek: Enterprise: Terra Prime (2005) as John Frederick Paxton. In both appearances, he plays villains.
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Two of J.J. Abrams' children appear in the film during the scene when Khan crashes the Vengeance into San Francisco. His son Henry appears as a member of the crowd that first notices the ship crashing down (he is directly behind the woman in front). Abrams' daughter Gracie appears as a Starfleet cadet a few moments later in another shot.
Khan's crew is hidden in torpedoes. At the end of Star trek II - La colère de Khan (1982), Spock's body is placed in a torpedo.
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After watching the Enterprise emerge from the sea and take off into space at the beginning of the movie, one of the Nibiru tribesmen draws an outline of the ship in the sand. According to Zecharia Sitchin book "The 12th Planet" extraterrestrials from the planet Nibiru were the true origin of Babylonian religion, art and mythology.
*
According to writer Damon Lindelof, the story began with deciding whether Khan Noonien Singh would be the villain, and they weighed the pros and cons of him appearing. J.J. Abrams felt it would "be fun to hear what Alex and Bob a
-DR-STARTREK : INTO DARKNESS de Scott Hicks (2013) p19
26/09/2015 17:39 par tellurikwaves
-
-DR-STARTREK : INTO DARKNESS de Scott Hicks (2013) p19
26/09/2015 17:39 par tellurikwaves
Trivia (part 1)
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Benedict Cumberbatch's character was not revealed to the actor until a week after he was cast. A studio representative flew to London from Los Angeles with the script handcuffed to his wrist.
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An "in joke" reference is made to Simon Pegg when he is trying to open the bay doors during Kirk and Khan's boarding attempt. The security guard asks Scotty to "show his other hand". It is common knowledge to Star Trek fans that James Doohan never revealed both hands in any of the original series because of the loss of one of his fingers (lost in combat during the D-Day invasion while storming the beach).
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There is an inside joke with Chekov being asked to put on a red shirt by Kirk, and Chekov's less than enthusiastic reaction. In a famous interview, Walter Koenig stated that being a part of Star Trek all of these years was fantastic, as long as you didn't wear a red shirt, since most of those who wore the red shirts in the original series were almost always killed.
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There's mention of the ship the "USS Bradbury". This is in tribute to science-fiction writer Ray Bradbury who passed away in June 2012.
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Scotty refers to McCoy as "Bones" - this is the only instance in the history of Star Trek (1966) where someone other than Kirk refers to him by this nickname. In Star Trek: The Tholian Web (1968), when McCoy gets angry, Spock tells him that Kirk would have said "Forget it, Bones.".
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Karl Urban pays homage to DeForest Kelley as he wears a pinkie ring on his left hand, just as Kelley did in the original Star Trek (1966) series and six movies.
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The seat belts that deploy from crew chairs on the bridge and at a warp core control station had originally been featured in a deleted final scene from Star Trek: Nemesis (2002).
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J.J. Abrams briefly considered casting William Shatner in a pivotal small role but ultimately changed his mind.
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One of the key action setpieces, the space jump sequence, was largely achieved by pulling Chris Pine and Benedict Cumberbatch along the floor on a hoist.
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Benedict Cumberbatch was recommended to J.J. Abrams by his Super 8 (2011) co-producer Steven Spielberg, who directed the actor in the film Cheval de guerre (2011).
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For the opening sequence, a huge scale volcano was built, complete with jets of flaming gas. The crew described this set as being "insanely hot".
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According to J.J. Abrams, the time travel-alternate reality concept used in the previous film Star Trek (2009) was a deliberate ploy to enable a reboot for new sagas/films: "The idea, now that we are in an independent timeline, allows us to use any of the ingredients from the past - or come up with brand-new ones - to make potential stories.".
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J.J. Abrams pitched the villain to Benedict Cumberbatch as a combination of The Joker (The Dark Knight: Le chevalier noir (2008)), Hannibal Lecter (Le silence des agneaux (1991)) and Jack Torrance (Shining (1980)).
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Chekov's temporary posting to Chief Engineer is based on a long running backstory and fan joke. When he was recognized in Star trek II - La colère de Khan (1982) from a supposed encounter in Star Trek: Space Seed (1967), it was explained Chekov was assigned in security department. During the Space Seed incident, Chekov attempted to seal off engineering (as Walter Koenig had not yet joined the cast). Kirk was so impressed by his bravery, he moved him to bridge navigation. This also explained why Chekov in the first three films was later bridge weapons and tactical officer.
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One of the conditions for Leonard Nimoy to make an appearance as Spock in this film was for J.J. Abrams to make sure coffee ice cream was available at all times on the set. Leonard Nimoy loved coffee ice cream.
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This marks the first time a Star Trek film has shot outside the United States, with shooting in Iceland for special effects sequences.
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Paramount Pictures requested that director J.J. Abrams make the film in 3D. However, Abrams wanted to shoot the two-dimensionally on film using IMAX cameras. The two compromised, making this the first feature film to be shot in IMAX and converted to 3D in post-production.
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The warp core pictured in the film is actually Lawrence Livermore National Laboratory's National Ignition Facility (NIF), the world's largest and most energetic laser system. Real-life scientists are attempting to create nuclear fusion. In 2012, with the approval of the Department of Energy, NIF was utilized for the first time as a film set during a normal maintenance cycle for the facility. All additive costs were completely reimbursed by the film company so as to have no impact on NIF's experimental plan.
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In Star trek VI - Terre inconnue (1991), Uhura (to Nichelle Nichols' objections) was unfamiliar with Klingonese during their covert mission into Klingon territory. However the alternate reality-Uhura is fluent in the language and able to use the skill while in Klingon space.
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During the opening sequence, McCoy says "Shut up, Spock, we're trying to save you, damn it!". McCoy spoke a very similar line in the original series episode "The Immunity Syndrome", when he states, "Shut up, Spock! We're rescuing you!".
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Dermot Mulroney plays cello in the scoring orchestra for this movie. Mulroney, who is better-known as an actor (Un compagnon de longue date (1989), Le mariage de mon meilleur ami (1997), etc.), is also a classical cellist who occasionally plays in recording sessions for soundtracks.
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In the scene where Dr. "Bones" McCoy and Carol Marcus are about to open one of the 72 missiles to prove Khan's claim that there's more then just a missile inside, Bones mentions that he once performed a emergency C-Section on a pregnant Gorn, noting "those little bastards bite!". This is reference to a off-screen event in the video game tie-in Star Trek (2013) where Sulu stuns a pregnant Gorn and Bones performs said C-Section.
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Benicio Del Toro was in early talks for the role of John Harrison, but eventually declined due to monetary issues. Demian Bichir, Édgar Ramírez and Jordi Mollà were considered afterwards, before Benedict Cumberbatch was finally cast.
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After the attack on the Kelvin Memorial Archive, all top brass is summoned to the Daystrom Conference Room at Starfleet Headquarters. The conference room name is in reference to Richard Daystrom who invented the duotronic processor - the basis for the Enterprise's computer.
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Screenwriters Roberto Orci and Alex Kurtzman explained that the dilemma for the sequel was whether to pit the crew against another villain like in Star Trek (2009), or to have an "exploration sci-fi plot where the unknown and nature itself is somehow an adversary", like on Star Trek (1966).
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Of all the titles proposed for the film, including many joke titles, Damon Lindelof preferred "Star Trek: Transformers 4" best: "It's technically available, we can go there!".
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In the opening sequence, on Nibiru as Kirk and Bones are running, the ground looks artificially hexagonal, almost as thought the ground were paved with hexagonal slabs, however this pattern can happen in nature, as it has in the "Giants Causeway" in Northern Ireland.
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When Kirk is in the med-bay, the screen displaying information on Kirk's vital conditions includes a notation for "Dr. Boyce". Dr. Boyce was the name of the ship's doctor in the original series pilot Star Trek: The Cage (1986).
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During the first shot of Khan running through the city streets after having crashed the USS Vengeance (right before Spock is beamed down in pursuit), you can hear the sound of sirens of what seem to be emergency responders arriving to the scene (off screen). The sound effect used is the same as the sound effect for the police hovercrafts in Minority Report (2002), which is directed by Steven Spielberg and is also set in the future. J.J. Abrams is a known Spielberg fan.
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During Spock's fight with Khan, a six-note musical cue can be heard which is strongly reminiscent of the score from an episode of the original series, "Amok Time", during a scene where Kirk and Spock are fighting to the death. This can be heard on the score in the track called "The San Fran Hustle" at approximately 1:58.
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Chekov spends much of the film in engineering rather than the bridge, so that he does not interact with Khan. This is in keeping with Star Trek: Space Seed (1967), which aired before Chekov was added to the cast. Ironically, Chekov is the only crew member Khan interacted with directly in Star trek II - La colère de Khan (1982). Khan's face-to-face interaction with the rest of the crew on board the Enterprise is a first since "Space Seed".
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Benedict Cumberbatch is best known for playing the title character on Sherlock (2010). Leonard Nimoy played Sherlock Holmes on stage in the 1970s, and even makes reference to this fact in Star trek VI - Terre inconnue (1991), citing Holmes's logic that "when you eliminate the impossible, whatever remains, however improbable, must be the truth." Star Trek VI cast member Christopher Plummer also played Holmes, and also speaks a trademark line, "The game's afoot." Nimoy also recorded a song in the 1970s, "The Ballad of Bilbo Baggins", inspired by J.R.R. Tolkien's The Hobbit. Cumberbatch voices the dragon Smaug in Le Hobbit: La désolation de Smaug (2013), in which his Sherlock castmate Martin Freeman plays Bilbo Baggins.
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At the end of the sequence where Kirk and Khan make the jump to the Vengeance, and Scotty is being detained by a guard, notice just before Scotty hits the airlock button - he is seen taking and holding a large breath - which is exactly the wrong thing to do when experiencing the vacuum of space. Scotty should have exhaled and kept his mouth open, so that there would be no differential pressure in his lungs, and therefore, he could survive with little injury.
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When calling down to the shuttle bay, Sulu commands the crew to prepare the transport captured during the "Mudd incident last month", a reference to the same character who appeared in Star Trek: Mudd's Women (1966) and Star Trek: I, Mudd (1967) as a rogue trader. He also appeared in the comic prequel "Star Trek: Countdown to Darkness".