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Vier Hochzeiten und ein Todesfall

Originaltitel: Four Weddings and a Funeral
  • 1994
  • 6
  • 1 Std. 57 Min.
IMDb-BEWERTUNG
7,1/10
175.790
IHRE BEWERTUNG
BELIEBTHEIT
1.873
338
Kristin Scott Thomas, Hugh Grant, Andie MacDowell, Simon Callow, John Hannah, James Fleet, and Sophie Thompson in Vier Hochzeiten und ein Todesfall (1994)
Home Video Trailer from Gramercy Pictures
trailer wiedergeben0:31
1 Video
99+ Fotos
Romantische KomödieSatireSchwarze KomödieDramaKomödieRomanze

Im Verlauf von fünf gesellschaftlichen Ereignissen muss ein überzeugter Junggeselle die Idee in Betracht ziehen, die Liebe entdeckt zu haben.Im Verlauf von fünf gesellschaftlichen Ereignissen muss ein überzeugter Junggeselle die Idee in Betracht ziehen, die Liebe entdeckt zu haben.Im Verlauf von fünf gesellschaftlichen Ereignissen muss ein überzeugter Junggeselle die Idee in Betracht ziehen, die Liebe entdeckt zu haben.

  • Regie
    • Mike Newell
  • Drehbuch
    • Richard Curtis
  • Hauptbesetzung
    • Hugh Grant
    • Andie MacDowell
    • James Fleet
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,1/10
    175.790
    IHRE BEWERTUNG
    BELIEBTHEIT
    1.873
    338
    • Regie
      • Mike Newell
    • Drehbuch
      • Richard Curtis
    • Hauptbesetzung
      • Hugh Grant
      • Andie MacDowell
      • James Fleet
    • 320Benutzerrezensionen
    • 80Kritische Rezensionen
    • 81Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Für 2 Oscars nominiert
      • 24 Gewinne & 27 Nominierungen insgesamt

    Videos1

    Four Weddings and a Funeral
    Trailer 0:31
    Four Weddings and a Funeral

    Fotos428

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    Topbesetzung67

    Ändern
    Hugh Grant
    Hugh Grant
    • Charles - Wedding One
    Andie MacDowell
    Andie MacDowell
    • Carrie - Wedding One
    • (as Andie Macdowell)
    James Fleet
    James Fleet
    • Tom - Wedding One
    Simon Callow
    Simon Callow
    • Gareth - Wedding One
    John Hannah
    John Hannah
    • Matthew - Wedding One
    Kristin Scott Thomas
    Kristin Scott Thomas
    • Fiona - Wedding One
    David Bower
    David Bower
    • David - Wedding One
    Charlotte Coleman
    Charlotte Coleman
    • Scarlett - Wedding One
    Timothy Walker
    • Angus the Groom - Wedding One
    Sara Crowe
    Sara Crowe
    • Laura the Bride - Wedding One
    Ronald Herdman
    • Vicar - Wedding One
    Elspet Gray
    Elspet Gray
    • Laura's Mother - Wedding One
    Philip Voss
    Philip Voss
    • Laura's Father - Wedding One
    Rupert Vansittart
    Rupert Vansittart
    • George the Boor at The Boatman - Wedding One
    Nicola Walker
    Nicola Walker
    • Frightful Folk Duo - Wedding One
    Paul Stacey
    • Frightful Folk Duo - Wedding One
    Simon Kunz
    Simon Kunz
    • John with the Unfaithful Wife - Wedding One
    Rowan Atkinson
    Rowan Atkinson
    • Father Gerald - Wedding Two
    • Regie
      • Mike Newell
    • Drehbuch
      • Richard Curtis
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen320

    7,1175.7K
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    Empfohlene Bewertungen

    9jckruize

    Droll romantic comedy showcases Hugh Grant in his best role.

    Richard Curtis, author of Rowan Atkinson's sublime Blackadder TV series, here contributes a romantic comedy screenplay which is actually romantic AND actually funny. American hacks should take note: it's possible to write comedy based on the battle of the sexes that doesn't rely on misogyny and gross-out humor.

    Hugh Grant at his most charming leads a talented ensemble cast in this warm-hearted tale of unrequited and requited love that so impressed stodgy Academy voters it actually got a Best Picture nomination. I won't quibble with those who say it was undeserving -- although some of the other user comments are ridiculously hostile to such a lightweight romp -- but I will defend its makers for crafting a genuine crowd-pleaser that relies on story, character and witty dialogue for its appeal.

    The essence of good romantic comedy is what Curtis and director Mike Newell capture particularly well in this film (more effectively than Curtis' other Grant hit, NOTTING HILL) and it's this: love makes us do stupid things. We err in choice, we blunder in execution, we make utter fools of ourselves, and yet we don't give up. We still strive. We still search for that perfect someone. And the glory is -- sometimes we get lucky.

    Going along on this quest with Grant and friends is as enjoyable an entertainment as you're lucky to find in your local DVD section.
    peacham

    Delightful Diversion

    "Four Weddings And A Funeral" is indeed a delightful little comedy with some wondeful writing and polished performances.Hugh Grant shines in a role that unfortunately left Him typecast to this day (for a different side of Grant see his brilliant Fredrich Chopin in "Impromptu".) and Kristen Scott Thomas is perfect as the enigmatic Fiona...witty,beautiful and touching. Simon Callow nearly steals the film as Gareth..He is one of the world's finest stage actors and its nice to see him get a film role he can really sink his teeth into. Andie McDowall is very convincing as the object of Grant's affection and Corin Redgrave has a well acted cameo as McDowall's fiancee Hamish. over all a jolly good film,funny,touching and sharp.
    8JamesHitchcock

    A British Romantic Comedy as Good as Hollywood at its Best

    Richard Curtis's films have sometimes been criticised for giving a too cosy, conservative view of British society. "Four Weddings and a Funeral" seems to take place in an England of eternal summer, a land which consists almost entirely of green and pleasant countryside and the more exclusive districts of London and which is populated solely by members of the upper and upper-middle classes. The script does cross the border into an equally idealised Scotland of mists, tartans and Highland flings, but even these scenes were actually shot in Surrey. Such criticism contains an element of truth, but is largely irrelevant when it comes to assessing the merits of the film because it ignores the fact that most romantic comedies (in other media as well as in the cinema) are set against a relatively narrow background in terms of social class, often enabling the writer to satirise the manners of that class. Jane Austin, for example, the most successful writer of romantic comedy in nineteenth-century England, set all her works among the wealthy landed gentry or prosperous bourgeoisie of the day.

    Most of the action of the film takes place either at, or immediately before or after, one of the four church services mentioned in the title. The main character, Charles, is a well-to-do young man, probably educated at public school, and clearly a member of the professional classes, although we never actually discover what his job is. The film starts with a wedding at which Charles is best man to Angus, one of his old friends, and at which he meets Carrie, an attractive young American woman. The film then traces the ups and downs of the relationship of Charles and Carrie, via two more weddings (the second of which is Carrie's own, after she and Charles have split up), the funeral of Gareth, another friend of Charles who suffers a heart attack while dancing at Carrie's wedding, and one final marriage ceremony.

    Hugh Grant, as Charles, gives a very good performance. Grant has a relatively narrow range as an actor, but he is capable of some excellent work within that range. There are some subtle differences between Charles and William, the character Grant played in "Notting Hill", another romantic comedy written by Curtis. William is a shy young man who uses ironic, self-deprecating humour as a cover for his shyness and lack of self-confidence. He is very much in love with Anna, that film's heroine, but is afraid to declare his love because he cannot believe that a beautiful and successful film star would take any interest in the owner of a small bookshop. Charles, by contrast, is less shy than William and enjoys more success with women. His humour is also ironic, but for a different reason. He is afraid of his emotions and of commitment and uses irony as a means of distancing himself from life and of avoiding having to commit himself.

    The film can be seen as the story of Charles's journey to emotional maturity. He has had a number of brief affairs, all of which have petered out precisely because he is afraid of his emotions. His relationship with Carrie initially goes the same way and she marries a richer and older man. The change in Charles's character is partly due to the fact that he sees his carefree bachelor world disappearing as most of his friends get married, but the event which seems to have the greatest effect on him is Gareth's funeral, at which a moving eulogy is read by Matthew, Gareth's gay partner, touchingly played by John Hannah. Charles realises the strength of the love that Gareth and Matthew shared for one another and comes to appreciate that such a relationship is something to be valued.

    Grant does well to make Charles a sympathetic figure, despite his having many failings quite apart from his ironic distancing of himself from the world. He is clumsy, accident-prone (he manages to lose the ring at Angus's wedding), much given to profane language and can be appallingly tactless, especially about his former girlfriends. The other main character, Carrie, can perhaps be seen as a female Charles, someone who is on the same journey as him but who has travelled slightly further. (It is significant that her name is short for Caroline, the feminine equivalent of the name Charles). She freely admits to having had over thirty previous lovers, but she is the first to want to bring emotional commitment to their relationship. Am I, incidentally, the only one to have liked Andie MacDowell's performance?- she has come in for a lot of criticism, in my view undeserved, on this board.

    The film is, however, more than simply a study of relationships- it is also very funny with some superb lines. Hugh Grant can be very amusing, and there was a great cameo from Rowan Atkinson as a bumbling, nervous trainee priest who keeps fluffing his lines during one of the weddings. ("Awful wedded wife", or "Holy Goat" for "Holy Ghost"). I also liked David Bower as Charles's deaf brother David, the late Charlotte Coleman as his impudent younger sister Scarlett and Anna Chancellor as his ex-girlfriend Henrietta (also known as Duckface), whose embarrassing emotional incontinence perhaps explains why Charles is so keen to distance himself from his feelings. I was less impressed by Simon Callow as Gareth, loud, extrovert and excessively hearty (like most characters Callow plays).

    To sum up, this was a very good film indeed; proof that the British cinema can produce romantic comedies as good as Hollywood at its best. 8/10
    9jhclues

    Rich In Story and Characters

    The effects of personal want, need, love and desire on the friendships of a circle of eclectic individuals is examined with a spot of humor in the witty, clever and oh-so-British comedy of love, romance and finding that special someone, `Four Weddings and a Funeral,' directed by Mike Newell. Hugh Grant and Andie MacDowell head a delightful ensemble cast in this story of a group of long-time friends, all single, who watch and participate over a period of months as one by one those amongst them step up at last to the altar. Of them all, Charles (Grant) seems the most likely-- and at the same time the least likely-- to be next. Young, handsome and charismatic, Charles has no problem developing a relationship (he's had a number, in fact, as we learn in one particularly hilarious scene), but sustaining one is seemingly beyond his grasp. Until, at the wedding of one of his friends, he meets Carrie (MacDowell), an American, and she quickly enchants him. It is not the end of the story, however; for Charles, Carrie and the audience, it's only-- as they say-- the beginning.

    Set in contemporary England, one of the aspects of this film that makes it so engaging is the propriety with which the humor is presented. Refreshingly subtle, there's more of Noel Coward than Tom Green or Rob Schneider to it; a matter of manners, mores and innuendo taking precedence over gross-out, in-your-face, shock schlock humor. And though Grant and MacDowell are at the forefront of the piece, Newell does an excellent job of developing all of the characters, succinctly supplying enough detail to each individual to give the film some depth and dimension, without having to actually go too deep. He never lets you forget that first and foremost, this is a comedy. There's some insight provided, but this is not an in-depth commentary on human nature, though there are some overtones and implications in that direction (Charles is always late to the weddings, for example; perhaps a subconscious denial of the impending nuptials?). Most importantly, the characterizations are rich, and the story is involving and presented with an even flow that allows you to effortlessly be swept away with it.

    Certain actors make a career out of playing a variation of the same character in film after film, striving for that definitive portrayal. W.C. Fields played the hen-pecked husband in a number of films, finally perfecting that particular character in the person of Harold Bissonette in `It's A Gift.' For Hugh Grant, it's the retiring, somewhat self-conscious and stammering, eyelid fluttering charmer, of which he's done a variation in such films as `Sense and Sensibility,' `The Englishman Who Went Up A Hill, But Came Down A Mountain,' Notting Hill' and `Mickey Blue Eyes.' But Charles is his definitive portrayal of that character, the one in which he achieves the balance and honesty that makes the character so believable. It's a good bit of work by Grant, and definitely one of his most memorable performances.

    Andie MacDowell, meanwhile, gives a rather composed performance as Carrie, the quiet American with a reserved bluntness who captivates Charles. MacDowell brings a sense of quietude to the role that is sensuously seductive, which lends credibility to Charles' infatuation with her. It's a role for which MacDowell is perfectly suited, as it allows her to play effectively to her naturally calm demeanor and exquisite beauty and femininity.

    In a part that has to be an actor's dream, Simon Callow is absolutely exuberant as Gareth, one of the fixtures of Charles' circle of friends. More than just an effervescent character, Gareth is something of the conscience of the film, laughing away and laying bare any and all pretense or hypocrisy like a modern day flesh-and-blood Spirit of Christmas Present. It's a character that gives needed balance and perspective to the film, and he's wonderfully played by Callow.

    Also turning in especially noteworthy performances are John Hannah as Matthew; Kristin Scott Thomas, who is quite alluring as Fiona; James Fleet as Tom, a character very reminiscent of his Hugo in the TV series `The Vicar of Dibley,' (and very effective here); Charlotte Coleman, memorable in the role of Scarlett; and Rowan Atkinson as the hapless Father Gerald.

    Rounding out the supporting cast are David Bower (David), Timothy Walker (Angus), Sara Crowe (Laura), Anna Chancellor (Henrietta), Simon Kunz (John), David Haig (Bernard), Sophie Thompson (Lydia Jane) and Corin Redgrave (Hamish). There's enough twists and turns along the way to keep this film unpredictable, including one scene near the end that initially seems so mean-spirited that it may have you biting your fist and crying, `Oh, NO!' But, not to worry, Newell provides an instant resolution consistent with the rest of the film, and it not only works but gets a good laugh to boot. Entertaining, pleasant and funny, `Four Weddings and a Funeral' makes for a satisfying, feel-good cinematic experience that just seems so wonderfully civilized amid the seemingly endless rancor abounding in our world today. It's what's known as the magic of the movies. I rate this one 9/10.
    Lolly53

    Wonderful Movie...except for that insipid Andie MacDowell

    This movie is brilliant, funny, charming, witty, touching. It has two problems, both of them related to the lead female character, Carrie (played by Andie MacDowell).

    The first is that the character is not written to be at all likeable. She is engaged to a rich older man she clearly doesn't really love (I think we're supposed to infer that she's a golddigger) and cheats on him with someone she doesn't really care about either (Hugh Grant). Later we learn that she's a slut and a homewrecker (see her appearance at wedding #4--don't tell me it wasn't conniving!). What would make us want this woman to win our beloved Charlie (Hugh Grant) (who is also something of a cad, but a loveable one)?

    Carrie might not have been so unpalatable if they'd found an actress who could actually ACT to play her, but instead, they hired Andie MacDowell, who may be pretty, but is as stiff and lifeless as the scenery. Maybe she thinks that's what's called for in a British movie. I wonder that the people casting movies haven't realized that Andie MacDowell simply plays the same character in every movie she's in. By the end of this film, you're incredibly frustrated. You want to adore this movie, because everything about it is so perfect, except for the fact that you hate Andie MacDowell' s character with a passion and wish that she would die so that Charlie could find happiness with a woman who can act.

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    Handlung

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    • Wissenswertes
      For several years after its release, this movie was the highest-grossing British movie in history, with worldwide box office in excess of $260 million.
    • Patzer
      The image of King Charles III is reversed. His medals are shown on his right side; however, personal medals are always worn on the left near the heart.

      Those worn in someone else's honor are worn on the right.
    • Zitate

      [at Gareth's funeral]

      Matthew: Gareth used to prefer funerals to weddings. He said it was easier to get enthusiastic about a ceremony one had an outside chance of eventually being involved in. In order to prepare this speech, I rang a few people, to get a general picture of how Gareth was regarded by those who met him: 'Fat' seems to have been a word people most connected with him. 'Terribly rude' also rang a lot of bells. So very 'fat' and very 'rude' seems to have been a stranger's viewpoint. On the other hand, some of you have been kind enough to ring me and let me know that you loved him, which I know he would have been thrilled to hear. You remember his fabulous hospitality, his strange experimental cooking: the recipe for "Duck à la Banana" fortunately goes with him to his grave. Most of all, you tell me of his enormous capacity for joy. When joyful, when joyful for highly vocal drunkenness. But I hope joyful is how you will remember him, not stuck in a box in a church. Pick your favourite of his waistcoats and remember him that way. The most splendid, replete, big-hearted, weak-hearted as it turned out, and jolly bugger most of us ever met. As for me, you may ask how I will remember him, what I thought of him. Unfortunately, there I run out of words. Perhaps you will forgive me if I turn from my own feelings to the words of another splendid bugger: W.H. Auden. This is actually what I want to say: "Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone. Silence the pianos and with muffled drum, Bring out the coffin, let the mourners come. Let the aeroplanes circle, moaning overhead, Scribbling on the sky the message 'He is Dead'. Put crepe bows 'round the white necks of the public doves, Let traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest; My noon, my midnight, my talk, my song. I thought that love would last forever; I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood, For nothing now can ever come to any good."

    • Crazy Credits
      The list of credits is presented as "Cast (almost in order of appearance)".
    • Alternative Versionen
      Charles curses heavily each time he is late for a wedding. In the italian TV version he uses milder words for the first wedding, and switches to harsh language for the others.
    • Verbindungen
      Featured in Four Weddings and a Funeral: Production Featurette (1993)
    • Soundtracks
      But Not for Me
      (1930)

      Written by George Gershwin and Ira Gershwin

      Performed by Elton John

      Produced by Steve Lindsey

      Published by Warner Chappell Music Ltd.

      © 1993 William A. Bong Ltd.

      Elton John appears courtesy of Photogram Ltd. and MCA Records, Inc.

      Recorded at Ocean Way Recording Studios, Los Angeles and Metropolis, London

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    Details

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    • Erscheinungsdatum
      • 11. August 1994 (Deutschland)
    • Herkunftsland
      • Vereinigtes Königreich
    • Sprachen
      • Englisch
      • Britische Gebärdensprache
    • Auch bekannt als
      • Cuatro bodas y un funeral
    • Drehorte
      • St Clement's, West Thurrock, Essex, England, Vereinigtes Königreich(Funeral)
    • Produktionsfirmen
      • Polygram Filmed Entertainment
      • Channel Four Films
      • Working Title Films
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

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    • Budget
      • 4.400.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 52.700.832 $
    • Eröffnungswochenende in den USA und in Kanada
      • 138.486 $
      • 13. März 1994
    • Weltweiter Bruttoertrag
      • 245.700.832 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 1 Std. 57 Min.(117 min)
    • Sound-Mix
      • Dolby Stereo
    • Seitenverhältnis
      • 1.85 : 1

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