[go: up one dir, main page]

    Kalender veröffentlichenDie Top 250 FilmeDie beliebtesten FilmeFilme nach Genre durchsuchenBeste KinokasseSpielzeiten und TicketsNachrichten aus dem FilmFilm im Rampenlicht Indiens
    Was läuft im Fernsehen und was kann ich streamen?Die Top 250 TV-SerienBeliebteste TV-SerienSerien nach Genre durchsuchenNachrichten im Fernsehen
    Was gibt es zu sehenAktuelle TrailerIMDb OriginalsIMDb-AuswahlIMDb SpotlightLeitfaden für FamilienunterhaltungIMDb-Podcasts
    OscarsEmmysSan Diego Comic-ConSummer Watch GuideToronto Int'l Film FestivalSTARmeter AwardsAwards CentralFestival CentralAlle Ereignisse
    Heute geborenDie beliebtesten PromisPromi-News
    HilfecenterBereich für BeitragendeUmfragen
Für Branchenprofis
  • Sprache
  • Vollständig unterstützt
  • English (United States)
    Teilweise unterstützt
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Watchlist
Anmelden
  • Vollständig unterstützt
  • English (United States)
    Teilweise unterstützt
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
App verwenden
  • Besetzung und Crew-Mitglieder
  • Benutzerrezensionen
  • Wissenswertes
  • FAQ
IMDbPro

Carrington - Liebe bis in den Tod

Originaltitel: Carrington
  • 1995
  • R
  • 2 Std. 1 Min.
IMDb-BEWERTUNG
6,8/10
6071
IHRE BEWERTUNG
Jonathan Pryce and Emma Thompson in Carrington - Liebe bis in den Tod (1995)
Home Video Trailer from MGM Home Entertainment
trailer wiedergeben0:31
1 Video
18 Fotos
Zeitraum: DramaBiographieDramaRomanze

Film über die platonische Beziehung zwischen der Künstlerin Dora Carrington und dem Schriftsteller Lytton Strachey im frühen zwanzigsten Jahrhundert.Film über die platonische Beziehung zwischen der Künstlerin Dora Carrington und dem Schriftsteller Lytton Strachey im frühen zwanzigsten Jahrhundert.Film über die platonische Beziehung zwischen der Künstlerin Dora Carrington und dem Schriftsteller Lytton Strachey im frühen zwanzigsten Jahrhundert.

  • Regie
    • Christopher Hampton
  • Drehbuch
    • Christopher Hampton
    • Michael Holroyd
  • Hauptbesetzung
    • Emma Thompson
    • Jonathan Pryce
    • Steven Waddington
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,8/10
    6071
    IHRE BEWERTUNG
    • Regie
      • Christopher Hampton
    • Drehbuch
      • Christopher Hampton
      • Michael Holroyd
    • Hauptbesetzung
      • Emma Thompson
      • Jonathan Pryce
      • Steven Waddington
    • 61Benutzerrezensionen
    • 21Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
    • Nominiert für 2 BAFTA Awards
      • 7 Gewinne & 9 Nominierungen insgesamt

    Videos1

    Carrington
    Trailer 0:31
    Carrington

    Fotos18

    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    Poster ansehen
    + 12
    Poster ansehen

    Topbesetzung25

    Ändern
    Emma Thompson
    Emma Thompson
    • Dora Carrington
    Jonathan Pryce
    Jonathan Pryce
    • Lytton Strachey
    Steven Waddington
    Steven Waddington
    • Ralph Partridge
    Samuel West
    Samuel West
    • Gerald Brenan
    Rufus Sewell
    Rufus Sewell
    • Mark Gertler
    Penelope Wilton
    Penelope Wilton
    • Lady Ottoline Morrell
    Janet McTeer
    Janet McTeer
    • Vanessa Bell
    Peter Blythe
    Peter Blythe
    • Phillip Morrell
    Jeremy Northam
    Jeremy Northam
    • Beacus Penrose
    Alex Kingston
    Alex Kingston
    • Frances Partridge
    Sebastian Harcombe
    • Roger Senhouse
    Richard Clifford
    Richard Clifford
    • Clive Bell
    David Ryall
    David Ryall
    • Mayor
    Stephen Boxer
    Stephen Boxer
    • Military Rep
    Annabel Mullion
    Annabel Mullion
    • Mary Hutchinson
    Gary Turner
    • Duncan Grant
    Georgiana Dacombe
    • Marjorie Gertler
    Helen Blatch
    • Nurse
    • Regie
      • Christopher Hampton
    • Drehbuch
      • Christopher Hampton
      • Michael Holroyd
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen61

    6,86K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Empfohlene Bewertungen

    8kwft620-radio

    Art for art's sake

    A movie that asks the question, how did it ever get made? Absolutely not a chance that it was made for profit. Once I stopped asking the question, I could enjoy the superior cinematic quality of all the elements that elevate a film to a work of art. I suppose it must have been exhibited in a theater, somewhere, though getting it booked must have been quite an accomplishment for its backers. I caught it on cable which allowed me to sip on a brandy while the film took its time unfolding in a style that I would describe as a splendidly animated coffee table book.

    I am moved to comment on Carrington to express my gratitude to its makers.
    10josiegrrl

    Love in its many forms

    When love comes, it doesn't always come in a form that allows its fullfillment, as Dora Carrington knows. Her lifelong love of Lytton, a man for whom romantic love only knows a male face, is both a source of great anguish and great joy. Emma Thompson portrays Dora with great sensitivity, depicting her other loves and lovers as genuine yet never enough to supplant her love of Lytton. In our society the love of "one and only" can be an oppressive ideal that few can attain, and Hollywood is its loudest proponent. This movie allows for a well thought out exploration on of the many other faces of true love. Superb acting, direction, editing, costuming, the works. I highly recommend it.
    didi-5

    art and fluid sexuality

    "Carrington" has Christopher Hampton's great stamp on it and the fine performances of Emma Thompson (as the lead, artist Dora Carrington), and Jonathan Pryce (hilarious as Lytton Strachey). Also in the cast are Sam West, Jeremy Northam, Steven Waddington and Rufus Sewell, all entangled in some way with Carrington and all the time the love of her life is the one man she can't fully have.

    Her story is a tragic one and extremely moving, with a lot of twists and turns along the way. Lots of sections are explicit while others are brilliantly understated, particular concerning Carrington and Strachey together. Light relief is provided with scenes including the conscientious objector hearing. We also get an insight into what makes Carrington tick as an artist, what inspires her and makes her grow.

    My favourite scene of all though is Carrington, alone in a garden watching all the lovers in the house switching off the lights in their rooms until she sits in darkness.
    10Malcs

    "How do you spell ‘intangible'?"

    "How do you spell ‘intangible'?" Dora Carrington asks of Lytton Strachey midway through this film as she sits writing at her desk. How do you spell intangible, indeed. Carrington tells the story of people who tried, in their own way, and at a time when society did not encourage such experiments, to acknowledge openly what most of us are aware of but still reluctant to discuss: that a great many differences exist between love and desire.

    Carrington is one of the great epic romances, but a romance where sexual congress between the two who are passionately in love with each other has nothing whatever to do with the deep wells of feeling they share with each ther. Like The Unbearable Lightness Of Being and Out of Africa, Carrington is a film that dares to examine the difference between desire and love, and looks at an adult subject in an adult way. As opposed to Hollywood's usual matter-of-fact insistence that love is a game with a win/lose dialectic simplistically painted in broad stokes, Carrington traces, rather, the fact that love is indeed a mystery which must be acknowledged and honored for the way that it can bring out the best in both people rather than a way of keeping emotional score.

    Emma Thompson is able to bring out the awkward, self-effacing aspects of Dora Carrington all the way down to the pigeon-toed stance the way the real life Carrington apparently stood. With all the impatience of a little girl who wishes that one day she'll wake up and finally find herself to be a sophisticated woman, she worships Lytton for his "cold and wise" attitude, his ability to see straight through the conventions of the time, and adopts him as her emotional mentor.

    She's an artist whom everyone in the Bloomsbury set knew, even though she never really considered herself a part of the circle, unlike Lytton, whom everyone swarmed around for his scorched earth policy of anti-Victorian insights and rapier wit. Carrington, it would appear, spent her whole life trying to figure herself out, like any true artist, and Thompson very ably transmits that lost quality throughout the film: even as she gains her confidence socially, sexually and artistically, the motivations of her heart she would never let be pressured, no matter how much physical affection and attention she needed. Which I think is an important distinction to make.

    A virgin many years past the point of reason, it is as if Carrington bought in to the sexual revolution of the flapper era between the world wars and the way it tried to repeal the oppressiveness of Victorian morals, learning how to cultivate and appreciate the sensual needs of the body, but deep down realized that a healthy, vigorous sex life with a plethora of partners does not necessarily mean more love, but simply more sex. As Carrington points out in the film, with Lytton she was able to be herself in all her confusion and joy, and without the obligatory pressures of regular sexual performance was able to find in Lytton the only person she ever really felt emotionally comfortable with. Echoing that great line of TS Eliot's in Four Quartets, of a "love beyond desire."

    Jonathan Pryce, as Lytton Strachey, has the honor of portraying one of the best screen roles of all-time. Like Rex Harrison's Henry Higgins, or Liza Minnelli's Sally Bowles, his performance as Lytton is so fully realized that his character becomes unprecedented. Incorporating the attitude of, say, a bearded Oscar Wilde, Pryce's Lytton takes no prisoners and is disgusted by what he sees around him: the behaviour of the upper classes he finds himself eventually skirting is embarrassingly inexcusable to his ethically conscientious grounding. English boys are dying, he scowls, for their right to shamelessly frolic on the lawns of garden parties.

    When Lytton moves in with Carrington they both want commitment (with a small c), but also personal freedom. This ambiguity toward each other is parallel to their ambiguity toward the concept of fame, which they both courted in a very teasing way, but soon grew to realize that there is a lot more to be said for secure domesticity (no matter how loosely defined) than their behaviorally adventurous artistic peers. Because Carrington is intelligently written, directed, and acted, however, we do not see the behavior of each of them as simply willful and spoiled, but as part of the contradictions they need to stay individuals in a culture, and at a time, where the conventional notions of love and sex were strictly regimented.

    Jonathan Pryce plays Lytton with a sort of detachment that is supposed to come from the character's distaste for commitment.

    What's most surprising about this epic romance is that given the amount of territory it traverses (seventeen years) at an almost leisurely pace, it clocks in at only a hair over two hours, but when those two hours are over, you certainly feel as if you've been somewhere, seen something, been privy to so many more truths and realizations than you'll see in any other standard film about a romance. What we have here is a paradox: an old-fashioned story about an avant-garde arrangement. An intelligent, thoughtful love story, told with enough care and attention that we really get involved in the passions between the characters, not the algebra surrounding them.
    film-critic

    No, she accepted. It was ghastly.

    I would like to go back for a moment and dig deeper into the idea of full circle. I caught this idea as I was watching this film, and I thought it was amazing the way the director showed this transition. The first person, outside of Lytton, that Carrington falls for is a man who is only interested in a physical relationship. Although she claims she is not interested in him sexually, it is at this time in Carrington's life, she is interested in a man's mind, not what is under his pants. She breaks off this relationship to live with Lytton, a man who can give her the intellect that she desires. As Carrington grows older, she finds comfort in physical relationships. In fact, the majority of this film is about physical relationships. Carrington is never hesitant to jump into the arms of another man. A part of me thinks that she is constantly trying to find another Lytton out there, but there is another part of me that says that she was just trying to get the physical from men, because she had the perfect man at home (Lytton of course). So after being with a man that only wants to have a physical relationship, she jumps into the arms of a soldier. One that is great with the physical, amazing towards Lytton, and perfect for Carrington. As this comes to a surprising end, we see her jump into a relationship that was purely sexual. There was no interaction between the two except for when they were on his boat having sex.

    Carrington experiences the best sex of her life with this man, but it again ... much like the others ... comes to a complete halt when he tells her that he is not really interested in her sexually. Odd, isn't how this films started with Carrington and her first boyfriend. We have come full circle.

    If we were to look at this film in a symmetrical angle, we would notice a circle outside with Lytton in the direct center of this circle. The circle would represent Carrington's life. All around the circle would be the men that she has been with, while Lytton would be her stability point. All throughout her encounters with other men she always is able to find comfort with her center figure ... Lytton. If you watch this film closely, you will notice that there is only one point in the movie where Carrington goes outside the circle. It is when she is having a party at her house. Carrington goes outside only to sit down on a stump that happens to be facing the house. She is able to see all the windows in the house, and all of her past lovers with their new ones. Even Lytton with his new boyfriend.

    This is the moment that we see Carrington thinking about her life. Seeing what she has been a part of, and watching it somewhat crumble down. This is her only moment outside of the circle that she has built. Lytton is the foundation to this circle, and it is obvious that without Lytton everything around Carrington must crumble as well.

    That my friends, is how you build a love story.

    Grade: *** out of *****

    Mehr wie diese

    Verliebt in Chopin
    6,8
    Verliebt in Chopin
    Geheimprotokoll
    6,9
    Geheimprotokoll
    Lenny
    7,5
    Lenny
    Wiedersehen in Howards End
    7,4
    Wiedersehen in Howards End
    Weiße Zeit der Dürre
    7,0
    Weiße Zeit der Dürre
    Hospital
    7,1
    Hospital
    Peter's Friends - Freunde sind die besten Feinde
    7,0
    Peter's Friends - Freunde sind die besten Feinde
    Operation Blue Sky
    6,4
    Operation Blue Sky
    The Winter Guest
    6,8
    The Winter Guest
    Engel und Insekten
    6,8
    Engel und Insekten
    The Blue Boy
    5,9
    The Blue Boy
    Der Mann in der Schlangenhaut
    7,1
    Der Mann in der Schlangenhaut

    Handlung

    Ändern

    Wusstest du schon

    Ändern
    • Wissenswertes
      Christopher Hampton finally got to direct the script he'd been sitting on since 1976, but only because original helmer Mike Newell opted to direct Donnie Brasco (1997) instead.
    • Zitate

      Dora Carrington: [voice-over, a letter] My dearest Lytton, There is a great deal to say, and I feel very incompetent to write it today. You see, I knew there was nothing really to hope for from you, well, ever since the beginning. All these years, I have known all along that my life with you was limited. Lytton, you're the only person who I ever had an all-absorbing passion for. I shall never have another. I couldn't, now. I had one of the most self-abasing loves that a person can have. It's too much of a strain to be quite alone here, waiting to see you, or craning my nose and eyes out of the top window at 44, Gordon Square to see if you were coming down the street. Ralph said you were nervous lest I'd feel I have some sort of claim on you, and that all your friends wondered how you could have stood me so long, as I didn't understand a word of literature. That was wrong. For nobody, I think, could have loved the Ballards, Donne, and Macaulay's Essays and, best of all, Lytton's Essays, as much as I. You never knew, or never will know, the very big and devastating love I had for you. How I adored every hair, every curl of your beard. Just thinking of you now makes me cry so I can't see this paper. Once you said to me - that Wednesday afternoon in the sitting room - you loved me as a friend. Could you tell it to me again. Yours, Carrington.

      Lytton Strachey: [voice-over, his written reply] My dearest and best, Do you know how difficult I find it to express my feelings, either in letters or talk ? Do you really want me to tell you that I love you as a friend ? But of course that is absurd. And you do know very well that I love you as something more than a friend, you angelic creature, whose goodness has made me happy for years. Your letter made me cry. I feel a poor, old, miserable creature. If there was a chance that your decision meant that I should somehow or other lose you, I don't think I could bear it. You and Ralph and our life at Tidmarsh are what I care for most in the world.

    • Verbindungen
      Featured in Emma Thompson om 'Carrington' (1995)
    • Soundtracks
      Adagio from 'String Quintet in C Major', D. 956, op. post. 163
      Composed by Franz Schubert

    Top-Auswahl

    Melde dich zum Bewerten an und greife auf die Watchlist für personalisierte Empfehlungen zu.
    Anmelden

    FAQ19

    • How long is Carrington?Powered by Alexa

    Details

    Ändern
    • Erscheinungsdatum
      • 14. Dezember 1995 (Deutschland)
    • Herkunftsländer
      • Vereinigtes Königreich
      • Frankreich
    • Sprache
      • Englisch
    • Auch bekannt als
      • Carrington
    • Drehorte
      • Cliveden House, Taplow, Buckinghamshire, England, Vereinigtes Königreich
    • Produktionsfirmen
      • Polygram Filmed Entertainment
      • Freeway Films
      • Cinéa
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Bruttoertrag in den USA und Kanada
      • 3.242.342 $
    • Eröffnungswochenende in den USA und in Kanada
      • 151.722 $
      • 12. Nov. 1995
    • Weltweiter Bruttoertrag
      • 3.242.342 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      • 2 Std. 1 Min.(121 min)
    • Farbe
      • Color
    • Sound-Mix
      • Dolby Digital
    • Seitenverhältnis
      • 1.85 : 1

    Zu dieser Seite beitragen

    Bearbeitung vorschlagen oder fehlenden Inhalt hinzufügen
    • Erfahre mehr über das Beitragen
    Seite bearbeiten

    Mehr entdecken

    Zuletzt angesehen

    Bitte aktiviere Browser-Cookies, um diese Funktion nutzen zu können. Weitere Informationen
    Hol dir die IMDb-App
    Melde dich an für Zugriff auf mehr InhalteMelde dich an für Zugriff auf mehr Inhalte
    Folge IMDb in den sozialen Netzwerken
    Hol dir die IMDb-App
    Für Android und iOS
    Hol dir die IMDb-App
    • Hilfe
    • Inhaltsverzeichnis
    • IMDbPro
    • Box Office Mojo
    • IMDb-Daten lizenzieren
    • Pressezimmer
    • Werbung
    • Jobs
    • Allgemeine Geschäftsbedingungen
    • Datenschutzrichtlinie
    • Your Ads Privacy Choices
    IMDb, ein Amazon-Unternehmen

    © 1990-2025 by IMDb.com, Inc.