tellurikwaves Blog : CINEMA :Les blessures narcissiques d'une vie par procuration

Š DR -LE COUTEAU DANS L'EAU de Roman Polanski (1962) p3

02/10/2013 07:08 par tellurikwaves

Š DR -LE COUTEAU DANS L'EAU de Roman Polanski (1962) p3

02/10/2013 07:08 par tellurikwaves

Fiche technique
Titre : Le Couteau dans l'eau
Titre original : Nóz w wodzie
Titre anglophone : Knife in the Water
Réalisation : Roman Polanski
Scénario : Roman Polanski,
Jerzy Skolimowski et Jakub Goldberg
Dialogues : Jerzy Skolimowski
Décors : Boleslaw Kamykowski
Photographie : Jerzy Lipman
Montage : Halina Prugar-Ketling
Musique : Krzysztof Komeda
Production : Stanislaw Zylewicz
Distribution : Pologne Zespol Filmowy,
États-Unis Kanawha
Pays d'origine : Pologne
Langue : polonais
Format : Noir et blanc • 1,37:1 • 35mm
Genre : drame
Durée : 94 minutes
Dates de sortie :
Pologne : 9 mars 1962
États-Unis : 28 octobre 1963

Š DR -LE COUTEAU DANS L'EAU de Roman Polanski (1962) p2

02/10/2013 06:54 par tellurikwaves

Š DR -LE COUTEAU DANS L'EAU de Roman Polanski (1962) p2

02/10/2013 06:54 par tellurikwaves

Résumé

André, un homme de trente-six ans, s'en va passer le week-end avec sa jeune femme Christina sur un lac de Mazurie. Tôt le matin, alors qu'ils se dirigent en voiture vers l'embarcadère où leur yacht est amarré, un jeune auto-stoppeur les arrête en se plaçant au milieu de la route. Après une vive altercation, le mari propose à l'étudiant de l'emmener. Il accepte

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Commentaire

C’est le baptême du feu pour Polanski: sa toute première réalisation de long-métrage. Si Le Couteau dans l’Eau présente les caractéristiques d’une œuvre de jeune cinéma des années 60, avec son scénario sociologique au dialogue employant un ton contemporain pour les jeunes, la qualité de la réalisation est telle que le film est toujours actuel. Polanski obtient avec un minimum d’effets une efficacité maximale. Ce thriller psychologique au budget modeste baigne dans une atmosphère réaliste, où l’émotion est liée au décor (le plaisir de la voile sur les lacs de Mazurie a inspiré l'histoire à Polanski).

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Dès son premier film,* Polanski connaît de nombreuses difficultés de tournage, dont il parvient à se relever à chaque fois. Aux problèmes matériels, de climat, de raccords sur le lac, de l'actrice boulimique et inexpérimentée qui ne retient pas ses répliques, des dépassements de planning ou de budget, s'ajoutent le début de rupture de Polanski avec sa femme, puis l’accident de la route dont il est victime. Il sortira de l'hôpital contre l'avis des médecins au bout de deux semaines, et parviendra à boucler le tournage. Ne bénéficiant d’aucune vedette, Le Couteau dans l’Eau est un vrai tour de force conçu par un jeune cinéaste de 28 ans.

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Romain des Biens

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* Premier film a être distribué au niveau international. Il en a réalisé plusieurs auparavant (que je n'ai pas encore vu / ref. DVD Classik

Š DR -LE COUTEAU DANS L'EAU de Roman Polanski (1962)

02/10/2013 06:44 par tellurikwaves

Š DR -LE COUTEAU DANS L'EAU de Roman Polanski (1962)

02/10/2013 06:44 par tellurikwaves

Le Couteau dans l'eau (Nóz w wodzie) est le premier long-métrage réalisé par Roman Polanski en Pologne en 1962.En 2010, le magazine américain Empire l'a classé 64e des 100 meilleurs films du monde, hors films anglophones.

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External Reviews

Š DR - Anim Gif "LET'S DANCE"

01/10/2013 04:13 par tellurikwaves

Š DR - Anim Gif "LET'S DANCE"

01/10/2013 04:13 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) fin

30/09/2013 11:52 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) fin

30/09/2013 11:52 par tellurikwaves

A History lesson in more ways than one.(fin)

Author: johnnyboyz (j_l_h_m@yahoo.co.uk) from Hampshire, England

17 September 2007

But the film also consists of both outdoor and indoor scenes that are fascinating to watch. The indoor scenes for reasons just said and the outdoor scenes as more of a historical lesson if anything. This is post war Paris captured on film with cars and buildings acting as brilliant, timeless and irreplaceable mise-en-scene. And yet, Bob the Gambler has enough essence of noir, crime and innovation to keep it worth watching. There's a shot of a nipple in the film that surely would've had censors doing somersaults, several suggestions that sex has happened is implied by way of the scenes ending and there's even room for a shot from the backseat of a travelling car as the two occupants drive to their destination and maybe share a glance.

Two things: 1. Would a Hollywood film from the time include such a scene or just get them there without the journey and 2. The shot is eerily similar to that of the one in Goddard's 1960 film Breathless where Michael is describing what he likes about the girl sitting next to him in list form. If Melville had been a bit bolder and included some jump cuts, the New Wave would've started there and then – no question.

There is further proof that the film has aged well and that the director was thinking big at the time in the script.My personal favourite scene is when they're going over the heist plan and one of the robbers stands to attention as non diegetic music stars up before Bob yells at him to sit back down and then the music immediately stops. Melville toys with us once again and has fun with the soundtrack simultaneously whilst probably having a stab at Hollywood for the time. That said, the script is full of witty putdown and lines that don't advance the story but are truly 'real'; very akin to today's Hollywood films after Tarantino gave everybody permission to do so.

Bob the Gambler is a number of things and utilises a number of conventions that whilst watching in today's world,seem very familiar to us thanks to recent films but this was France, mid 1950s and even more fascinating: pre-French New Wave. If ever there was a film to watch in order to see what French film was like 'pre-movement', then this is it. Not one to be brushed aside.

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p26

30/09/2013 11:46 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p26

30/09/2013 11:46 par tellurikwaves

A History lesson in more ways than one.(1)

Author: johnnyboyz (j_l_h_m@yahoo.co.uk) from Hampshire, England

17 September 2007

It's probably common practice to brush aside films that were once made before a country really had a 'boom' in terms of coming up with their own film form or film movement. Bob the Gambler was made in the mid 1950s, a few years before Goddard amongst a few others devised the French New Wave and made it popular with films like The 400 Blows and Goddard's own Breathless. You can take numerous examples from down the decades: Does any one remember or still watch any German films before their Expressionism movement in the 1920s? What about Italian film before the 1940s or Danish films before the Dogme '95 movement? This is where Bob the Gambler is living proof that it hasn't aged that badly as we (or at least I'm) still stumbling across pre-film movement films and enjoying them for what they are.

It's not just Bob the Gambler that is an example of French film and how pre-new wave French film has survived; a lot of the Lumière brothers films should be the first point of call for someone wondering where film and cinema came from; the answer is of course the French. Bob the Gambler as a film is just simply fascinating–its look, its use of locations and its actual narrative just ooze class. Melville uses a very clever technique to introduce not just the characters and the setting but also the film as a whole without even touching on the story.

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This is done through the opening thirty or so minutes which just consists of character interaction as we discover what types of people these characters are and any other necessary information about pasts or whatever is delivered to us through dialogue. We discover a bit about Bob and his relation to the police as well as a bit on the shady past of the character of Paolo who will contribute to the plot later on since he works at the casino.

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p25

30/09/2013 11:41 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p25

30/09/2013 11:41 par tellurikwaves

Brilliant Genre Film that Fights Conventions

Author: Stroheim-3 from Boston, MA

8 September 1999

I just watched Bob le flambeur for a class on the French New Wave. The film is brilliant. The title character is a complicated former gangster who has mellowed out since spending time in prison. He reminds me a great deal of Burt Lancaster's character in Atlantic City. He is an old-timer in a world that has moved on.

Bob is a gambler (hence the title of the film) that never wins. He has a relatively big win at the races but then blows it all in a casino. He seems destined to be a loser. The fact that he always loses may have some bearing on why he refuses the sexual advances of the young and beautiful Ana. Instead of bringing her into his web of misfortune, he "gives" her to his Polo (the son-figure). Nevertheless, the relationship between Bob and Ana is frought with sexual tension.

Half way through the film, Bob loses all of his money and decides to put a crew together to rob the casino of 800 million francs (this reminded my a lot of Kubrick's The Killing). What follows is Bob's retreat into his original gangster form. At one point, he slaps Ana across the face - something that he (at the beginning of the film) would not have ever done. In addition the second half of the film is filled with sequences of the gang "training" to rob the place. Some of these are extremely hypnotic such as the lock-picker opening a copy of the casino's safe.

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p24

30/09/2013 11:35 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p24

30/09/2013 11:35 par tellurikwaves

Early genre movie that helped to set the standards for coming movies.

Author: Boba_Fett1138 from Groningen, The Netherlands

http://bobafett1138.blogspot.com/

27 July 2010

This is such a great movie, that does about everything right. It's an early French crime caper movie, that obviously helped to set the standards for later movies.It's not like there weren't any movies like this prior to this movie but this is one that has all of the modern genre element type of ingredients in it, that we can still see back in todays movies. It perhaps makes this movie seem as a bit of a formulaic and generic one by todays standards but in the light of when this movie got made, it surely is a greatly original one. And it still really is one that is among the best, regardless of the fact that you probably have seen all of the elements in this movie being handled in later ones and better known ones as well.

It has a great story with some equally great characters in it. It's a very rich movie that also manages to capture the right tone,thanks to some fine directing.It has lots of typical crime elements in it, such as an heist, likable 'bad guys' and the cat and mouse game between them and the police.

It really is a fine made movie, that got directed by Jean-Pierre Melville. The movie has a good look over it, as well as a nice steady pace. The scene's are being build up great and the entire story gets told effectively. It's a great 'how-to' on directing and storytelling. It feels really like a Hollywoodized version of a French movie but in this case that's a good thing. It's also why this also helped to influence movies from Hollywood as well.No reason why to not like this movie.9/10

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p23

30/09/2013 11:30 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p23

30/09/2013 11:30 par tellurikwaves

Perfected the clichés that made every filmmaker want to rob casinos.

Author: Ben_Cheshire from Oz

29 September 2009

"Bob the high-roller," as he was called in the translation I watched; loves gambling. He's also a thief. Everyone thinks he's retired, including the police sergeant he keeps in touch with. But he suddenly gets a taste for it again, and decides to put a group together and rob a casino. Remade un-memorably with Nick Nolte as The Good Thief, this black and white French original created the clichés that made the whole world sing, from Ocean's Eleven (1960), Reservoir Dogs (1991), Casino (1994) and every other breezy heist movie ever made. Stanley Kubrick said he stopped making crime movies because Melville made the perfect one here.

Great characters, a memorable score with jazzy sections, great performances, and probably the best pacing and story of any heist/noir/crime movie from the 30's, 40's or 50's. This is just guaranteed compulsively good entertainment, and as a first experience from Jean-Pierre Melville, instantly encourages me to see everything else he did. My next steps will by Le Cercle Rouge, Army in the Shadows and Le Samourai.

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p22

30/09/2013 11:22 par tellurikwaves

Š DR -BOB LE FLAMBEUR de Jean Pierre Melville (1956) p22

30/09/2013 11:22 par tellurikwaves

Revolutionary crime-noir, from the director of Le Samourai

Author: Graham Greene from United Kingdom (fin)

27 March 2008

The plot unfolds at a natural pace, slowly at first, but gradually building momentum once all the major players have been introduced,with Melville creating something of a confrontational three-way struggle between Bob, Paolo and Isabelle Corey's deceptive femme-fatal. As the film progresses, we delve deeper into both the plot and the back story, finding Bob seriously out of pocket after a spot of bad luck at the casino... and, with only one way to go to get the cash back, he decides to pull off the ultimate gamble...

by which, allow himself to be pulled back down into the criminal underworld that he'd almost escaped. From this point on the film becomes concerned with the intricacies of crime, the impact of friendship and the fixation and fundamental need to succeed, or else, forfeit the next ten to twenty years of your life... and for the aging Bob, this is not an option. At this point, loyalties are tested and precision film-making is pushed to the limits as the plot continues headlong towards its climax. The story takes all manner of twists and turns along the way, with Melville keeping the story rooted in the details of his characters and the intricacy of the crime it's self, so that by the end the film the wholething has seemingly worked towards chance and blind luck... proving to some extent Melville's grand metaphor that life is the ultimate gamble.

Melville's film is one of the classic post-war noir films, if not one of the most important French films ever made... an evocative depiction of glistening black and white France, replete with shady gangsters, crooked cops, gambling dens, back street cafés and the ultimate heist, made all the more potent by the astounding performance of Roger Duchesne as the laconic and iconic Bob, and with great support from Daniel Cauchy as Paulo, Isabelle Corey as the wide-eyed Anne and Guy Decomble as Inspector Ledru.