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IMDbPro

Elena et les hommes

  • 1956
  • Not Rated
  • 1h 35min
CALIFICACIÓN DE IMDb
6.2/10
2.2 k
TU CALIFICACIÓN
Ingrid Bergman in Elena et les hommes (1956)
Polish countess Elena falls in love to a French radical party's candidate, a general, in pre-World War I Paris, but another officer pines for her.
Reproducir trailer3:17
1 video
66 fotos
Costume DramaPeriod DramaComedyDramaRomance

Agrega una trama en tu idiomaPolish countess Elena falls in love with a French radical party's candidate - a general - in pre-World War I Paris, but another officer pines for her. Starring Ingrid Bergman, with Mel Ferre... Leer todoPolish countess Elena falls in love with a French radical party's candidate - a general - in pre-World War I Paris, but another officer pines for her. Starring Ingrid Bergman, with Mel Ferrer and Jean Marais as the rivals for her affection.Polish countess Elena falls in love with a French radical party's candidate - a general - in pre-World War I Paris, but another officer pines for her. Starring Ingrid Bergman, with Mel Ferrer and Jean Marais as the rivals for her affection.

  • Dirección
    • Jean Renoir
  • Guionistas
    • Jean Renoir
    • Jean Serge
  • Elenco
    • Ingrid Bergman
    • Jean Marais
    • Mel Ferrer
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.2/10
    2.2 k
    TU CALIFICACIÓN
    • Dirección
      • Jean Renoir
    • Guionistas
      • Jean Renoir
      • Jean Serge
    • Elenco
      • Ingrid Bergman
      • Jean Marais
      • Mel Ferrer
    • 26Opiniones de los usuarios
    • 30Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 nominación en total

    Videos1

    Trailer
    Trailer 3:17
    Trailer

    Fotos66

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    Elenco principal53

    Editar
    Ingrid Bergman
    Ingrid Bergman
    • Elena Sokorowska
    Jean Marais
    Jean Marais
    • Général François Rollan
    Mel Ferrer
    Mel Ferrer
    • Le comte Henri de Chevincourt
    Jean Richard
    Jean Richard
    • Hector
    Juliette Gréco
    Juliette Gréco
    • Miarka, la gitane
    • (as Juliette Greco)
    Pierre Bertin
    Pierre Bertin
    • Martin-Michaud
    Dora Doll
    Dora Doll
    • Rosa la Rose
    Frédéric Duvallès
    Frédéric Duvallès
    • Gaudin
    Renaud Mary
    • Fleury
    Jacques Morel
    • Duchêne
    Albert Rémy
    Albert Rémy
    • Buchez
    Jean Claudio
    • Lionel Villaret
    Mirko Ellis
    • Marbeau
    Jacques Hilling
    Jacques Hilling
    • Lisbonne
    Jacques Jouanneau
    • Eugène Martin-Michaud
    Elina Labourdette
    Elina Labourdette
    • Paulette Escoffier
    Olga Valéry
    Olga Valéry
    • Olga
    Gérard Buhr
    Gérard Buhr
    • Un soldat
    • Dirección
      • Jean Renoir
    • Guionistas
      • Jean Renoir
      • Jean Serge
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios26

    6.22.2K
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    Opiniones destacadas

    jost-1

    Has its (few) moments

    There is one really great scene in this movie....the ocean of people at the Bastille Day Celebration and the movement of the crowd through its waves. This scene, and the overall color and details of costumes make this movie worthwhile. And of course there's Ingrid Bergman, whose beauty and poise (even when a little tipsy) is always watcheable. (She is really unique in her era.....have you ever seen or heard of her persona being vamped by any contemporary drag queens....can't be done, I'll wager). The rest of the movie tries to be madcap and michievous, but it just doesn't work. I'm amazed at reading the plot description here....so THAT'S what it was supposed to be about! Sure lost me.
    7alvinkuo

    Charm of a Daisy and Ingrid Bergman

    Being both a fan of Renoir and Ingrid, imagine my surprise that they happened to collaborate on "Elena and Her Men!" Having yet to be disappointed by Renoir (Rules of the Game being one of the top five 20th century French films), I knew from the description that it wouldn't quite reach those heights but it should still be fun.

    Having watched it through, I have to say that the comparisons made to Rules of the Game happen quite enough in Elena that would make the latter seem trite. Even so, and despite the annoying presence of Mel Ferrer (was he dubbed?) and the sub-plots with Eugene-Denise-Lisotte, I have to say that Ingrid Bergman more than makes up for it, with Renoir showing her in all her luminosity in the beautiful dresses (and she certainly out-acts everyone else). The film itself is a little muddled, the previously mentioned sub-plots and other elements like the gypsy woman not quite fitting together (and the ending seems quite cheesy for Renoir, at least for me). All in all watch it if you are a Bergman fan.
    6brogmiller

    La Comedie est terminée

    Jean Renoir will always be judged by his timeless pre-war French classics which means that his subsequent films invariably fall short. This is the third of his 'trilogy' from the 1950's. It is not quite as bad as 'La Carosse d'Or' but not nearly as good as 'French Cancan'.

    Ravishingly shot by Claude Renoir, it begins promisingly with the blossoming romance between luminous Ingrid Bergman and elegant Mel Ferrer but the director has alas plumped for a strange concoction of romantic melodrama and slapstick farce and ultimately the film works as neither. Love conquers all at the end which is a relief because it means the film is finally over.

    Apparently Rossellini advised his wife to work with Renoir and Bergman. Having made this dud with the former she had to wait twenty years to work with the latter which produced the masterpiece 'Autumn Sonata'.
    7ackstasis

    "When it comes to living, you can count on the French"

    After watching two of his silent shorts, 'Elena and her Men (1956)' is my first feature-length film from French director Jean Renoir, and I quite enjoyed it. However, I didn't watch the film for Renoir, but for star Ingrid Bergman, who – at age 41 – still radiated unsurpassed beauty, elegance and charm. Throughout the early 1950s, following her scandalous marriage to Italian Roberto Rossellini, Bergman temporarily fell out of public favour. Her next five films, directed by her husband, were unsuccessful in the United States, and I suspect that Renoir's latest release did little to enhance Bergman's popularity with English-speaking audiences {however, she did regain her former success with an Oscar in the same year's 'Anastasia (1956)'}. She stars as Elena Sokorowska, a Polish princess who sees herself as a guardian angel of sorts, bringing success and recognition to promising men everywhere, before promptly abandoning them. While working her lucky charms to aid the political aspirations of the distinguished General Francois Rollan (Jean Marais), she finds herself falling into a love that she won't be able to walk away from. This vaguely-political film works well as either a satire or a romantic comedy, as long as you don't take it too seriously; it's purely lighthearted romantic fluff.

    Filmed in vibrant Technicolor, 'Elena and her Men' looks terrific as well, a flurry of bright colours, characters and costumes. Bergman's Polish princess is dreamy and somewhat self-absorbed, not in an unlikable way, but hardly a woman of high principles and convictions. She is persuaded by a team of bumbling government conspirators to convince General Rollan to stage a coup d'état, knowingly exploiting his love for her in order to satisfy her own delusions as a "guardian angel." Perhaps the film's only legitimately virtuous character is Henri de Chevincourt (Mel Ferrer, then Audrey Hepburn's husband), who ignores everybody else's selfish secondary motives and pursues Elena for love, and love alone. This, Renoir proudly suggests, is what the true French do best. 'Elena and her Men' also attempts, with moderate success, to expose the superficiality of upper-class French liaisons, through the clumsy philandering of Eugène (Jacques Jouanneau), who can't make love to his servant mistress without his fiancè walking in on them. For these sequences, Renoir was obviously trying for the madcap sort of humour that you might find in a Marx Brothers film, but the film itself is so relaxed and laid-back that the energy just isn't there.
    5lasttimeisaw

    colorfully presented but utterly uninvolving

    A Jean Renoir vaudeville stars Ingrid Bergman as a Polish princess-cum-widow Elena Sokorowska in pre WWI Paris, merrily philandering with her suitors, until they are pinned down between two, the radical party general François Rollan (Marais) who is a candidate for the prime minister of the country and a romantic count Henri de Chevincourt (Ferrer).

    My second Renoir's film after THE RULES OF THE GAME (1939, 8/10), ELENA AND HER MEN is on a splendid parade of polychromatism with exquisite costumes and interior decoration, whereas the movie is indulged in its own flamboyance and fecklessness, not even Juliette Gréco's superb rendition could ease the despondent frown.

    Maybe it was Renoir's intention to make a film pandering for French audience and foreign Gallo- savants at its time, but the story is utterly uninvolving, all the rapid talking side characters pop up and romp around inordinately, which causes great trouble to comprehend what is going on on the screen, soon or later, all of them will inexplicably lapses into ridiculous buffoons, and more unsatisfying is that there is never enough room for viewers to savor the farce.

    Bergman has a gregarious presence in this light-hearted rom-com, a skip-deep socialite can equally excel in conquering any man she wants and appeasing any man she deserts, with her charm daisy. Two besotted gentlemen, either the aristocratic and uptight Marias or the more characterless Ferrer, fail to make strong impact other than a convenient pawn to be blindly swept off his feet by Elena ever since the first glance.

    Supporting roles galore, Jean Richard is Rollan's guard Hector, fights for the love of Lolotte (Noël), Elena's young maid, with Eugéne (Jouanneau), Elena's soon-to-be son-in-law, and truly, Elena is going to remarry with shoe businessman Mr. Martin-Michaud (Bertin), and their will be a double wedding with Eugéne marries his fiancée Denise (Nadal), things are all mismanaged under a political turbulence which one might find it difficult to decipher with its fast pace. Not to mention Rollan's quartet political corp, things could not be more messier.

    Renoir certainly is still good at his trick with various characters bungle together within a carefully measured frame, but it doesn't change much for the haphazard love-triangle, in the end, one can only wish it could end as soon as possible, since our rationality determines that it doesn't worth all the effort.

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    Argumento

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    • Trivia
      Audrey Hepburn did not want to be separated from her husband Mel Ferrer while she was making La cenicienta de París (1957), and the shooting of the Paris scenes in that film were timed to coincide with Ferrer's filming for this film.
    • Citas

      Lolotte: Your music is great. The proof is I can never remember a note of it!

    • Créditos curiosos
      The end credits are a newspaper wedding announcement for the film's characters which includes the actors' names in parenthesis.
    • Versiones alternativas
      English and French-language versions of this film were shot simultaneously.
    • Conexiones
      Edited into Histoire(s) du cinéma: Une histoire seule (1989)
    • Bandas sonoras
      Méfiez-vous de Paris
      Music by Joseph Kosma

      Lyrics by Jean Renoir

      Performed by Léo Marjane

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    Preguntas Frecuentes

    • How long is Elena and Her Men?
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    Detalles

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    • Fecha de lanzamiento
      • 12 de septiembre de 1956 (Francia)
    • Países de origen
      • Francia
      • Italia
    • Idioma
      • Francés
    • También se conoce como
      • Elena and Her Men
    • Locaciones de filmación
      • París, Francia
    • Productoras
      • Franco London Films
      • Les Films Gibé
      • Electra Compagnia Cinematografica
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Total a nivel mundial
      • USD 5,568
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      1 hora 35 minutos
    • Relación de aspecto
      • 1.37 : 1

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