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La jetée

  • 1962
  • A
  • 28min
CALIFICACIÓN DE IMDb
8.2/10
39 k
TU CALIFICACIÓN
La jetée (1962)
Psychological DramaDramaRomanceSci-FiShort

En medio de la devastación por la Tercera Guerra Mundial, un hombre es obligado a explorar sus recuerdos.En medio de la devastación por la Tercera Guerra Mundial, un hombre es obligado a explorar sus recuerdos.En medio de la devastación por la Tercera Guerra Mundial, un hombre es obligado a explorar sus recuerdos.

  • Dirección
    • Chris Marker
  • Guionista
    • Chris Marker
  • Elenco
    • Étienne Becker
    • Jean Négroni
    • Hélène Chatelain
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    8.2/10
    39 k
    TU CALIFICACIÓN
    • Dirección
      • Chris Marker
    • Guionista
      • Chris Marker
    • Elenco
      • Étienne Becker
      • Jean Négroni
      • Hélène Chatelain
    • 144Opiniones de los usuarios
    • 96Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 2 premios ganados en total

    Fotos56

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    Elenco principal14

    Editar
    Étienne Becker
      Jean Négroni
      • Narrator
      • (voz)
      • (as Jean Negroni)
      Hélène Chatelain
      • The Woman
      Davos Hanich
      • The Man
      Jacques Ledoux
      • The Experimenter
      André Heinrich
      Jacques Branchu
      Pierre Joffroy
      Philbert von Lifchitz
      Ligia Branice
      Ligia Branice
      • A woman from the future
      • (as Ligia Borowcyk)
      Janine Klein
      • A woman from the future
      William Klein
      • A man from the future
      • (as Bill Klein)
      Germano Facetti
        James Kirk
        • Narrator
        • (English version)
        • (voz)
        • Dirección
          • Chris Marker
        • Guionista
          • Chris Marker
        • Todo el elenco y el equipo
        • Producción, taquilla y más en IMDbPro

        Opiniones de usuarios144

        8.238.8K
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        Opiniones destacadas

        ThreeSadTigers

        Brief moments, frozen in time

        La Jettée (1962) is not only the most important work of science-fiction cinema since Fritz Lang's masterwork Metropolis (1927), but is also one of the most staggering achievements in the entire history of film. Here, filmmaker Chris Marker presents the audience with the ultimate cinematic dystopia; a futuristic, industrialised landscape of underground tunnels, colourless streets and jarring 60's architecture. The results are beautiful yet somewhat anachronistic, as the filmmaker employs a similar approach to that of Godard in Alphaville (1965) - or more recently, Winterbottom's Code 46 (2003) - albeit, with a less straightforward attitude to plot and ideology.

        The basic narrative outline of the film is built around various reflective layers - similar to what Tarkovsky would use in his later film, Mirror (1975) - which allow Marker to create a certain feeling of mirroring between the notions of fact and fiction, life and death, reality and fantasy and so on. This, in turn, further develops the characters and the world of which they inhabit. The reason the film works without becoming a cold, lifeless lecture is because it anchors the images of nuclear holocaust and scientific exploration within humanistic characters and a sense of unashamed romanticism. But this is only one part of an elaborate puzzle; lest we forget that we are dealing with certain narrative paradoxes, not to mention an assortment of linear and non-linear story elements each unfolding simultaneously. Just when we think we've got the whole film worked out, our perspectives immediately change, and our ideas are lost in the blink of an eye.

        However, aside from thematic visual palindromes, what is most remarkable about La Jettée - and the reason it has retained its reputation as a work of genius - is the way in which Marker manages to relate his story of travel and movement through the use of still images. By presenting these pictures to us in a sort of photo-montage - complete with brooding voice-over and various sound effects - the director somehow manages to bring the stillness of his film miraculously to life. It is, without question, a work of pure, unadulterated imagination, and a staggering testament to Marker's genius ability to convey a multitude of feelings, ideas and emotions, through a series of simple, static, though nonetheless, deeply evocative images.
        10myphx

        Extremely Effective in its Subtlety.

        The first time I saw this movie it was on a local educational TV channel (PBS was barely starting) in 1969. I was a youngster and it made such an indelible impression that I remembered it all these years. Luckily, to my surprise I discovered a copy recently at a video rental store.

        The movie is only approximately 30 minutes in length and is composed of black and white still photography (except for one scene, where they show a mans eye blinking). It is a powerful depiction of the end of the world, human love and memory. The French narration adds to the poetic subtlety and drama. To my dismay, I heard there was a new DVD version available, but with English narration. Hopefully, the original French version will be made available, as it seems to add so much more to the dramatic effect of the movie.

        To the average movie viewer, this film would be best described as avant-garde in nature. It is a prime example of how science fiction and drama can be produced with nuance and subtleties, rather than overuse of technological effects and gratuitous titillation and violence.
        thefensk

        Chicken or the Egg?

        I note that most of the comments I've seen have been written by people who saw 12 Monkeys first and then chose somehow to see La Jetee.

        Comparisons are useless beyond the basic feel of the story.

        When I first saw 12 Monkeys I didn't know its relationship to La Jetee, a film I had not seen in 25 years. Yet, I recognized this relationship almost immediately, even though I could not remember the name of the movie. This I realized through the feel of the story ... down to the very end.

        In many ways the short film was much more stimulating ... even though I had forgotten the name of the film I had never forgotten the images or the impressions it made upon me. I guess that's strange, but as I recall I saw it at Rice University as a part of a film festival back in the 60s.

        Granted, films must sustain themselves somewhat through the years to maintain their value as true art, but one must always remember the context of the film's original audience.

        I wonder now if the dependence on stills to portray the story had any influence on Ken Burns? Heh ... he's made a reputation on the same technique.

        My point ... accept both movies on their own merits.
        9peapulation

        Still Life

        I had never seen such an original film that works so well. The artist with no budget decides to make a film that could have appealed to the commercial masses. That is what is scary about it. It's the kind of story that we would consider "blockbuster gold". A journey through time, sci-fi, and romance. And yet, it requires no special effects, it requires no big budget. Marker laughs right at the face of conventional cinema and uses stills to let out imagination read between the lines.

        Is this fiction? Yes, to some extent. The post-apocalyptic story that it recounts would make Waterworld blush with embarrassment, true. But once again, the arty film looks at us to find a meaning for the story. At the end of the day, are we more taken aback by the technical aspect in which Marker engages, or by the shocking finale. Would the finale have been so shocking had Marker used a Bolex camera? I fear not. The bit where he's running towards the girl in the end feels like an average nightmare, where you're running, but you can't get to wherever you want to get to. It's a feeling we have all felt, and the lack of movement within the frame conveys a certain feeling of helplessness and entrapment that could only have been achieved this well with stills.

        And we must say, these stills are amazing. It's not only the elaborate mise-en-scene, or the design of the sets and the props (the french sci-fi glasses are extraordinary). It's also the placement of the camera, that has a ghostly versatility that often adds to the lack of comfort of the restless characters.

        I must also give a shout for the score that is amazing, which is strange if we count that your average experimental film hardly ever employs such "cinematic" scores, always going for the more minimalist (and generally less expansive) ones.
        9Superunknovvn

        Timeless work of art

        "La jetée" is a million years ahead of its time. To make a movie in 1962 about World War III, time traveling and a distant future that is still genuinely disturbing and not in the least outdated comes close to a miracle.

        Here's a short synopsis of the story: After World War III Paris is lying in tatters. The earth has been contaminated and survivors of the war have to live underground imprisoned by the victorious nation (it's never said explicitly which nation that is, but they are talking German). Scientists are looking for a way to secure the survival of mankind by exploring the possibilities of time traveling. In the process one of the prisoners, who has a strong connection to the past because of a recurring dream of his childhood, serves as their guinea pig. As the experiments go on the time traveler falls in love with a woman from the past and comes face to face with the childhood memory he's been obsessed with all his life.

        The story might have a familiar ring to you. It's basically the same story Terry Gilliam used in "12 Monkeys". But while "12 Monkeys" is a great movie, ultimately it will be "La jetée" that will stand the test of time (no pun intended). Director/screenwriter Chris Marker's approach is amazingly clever and effective. His movie is a sequence of beautiful black and white photographs with somebody narrating the story. The pictures and the perfect music make the whole thing seem like a documentary on World War II and give the movie a disturbingly realistic feel. Marker never makes the mistake to show too much. The destruction of Paris, the experiments and the future are all hinted at rather vaguely in the pictures and in the narration. A lot is left to our imagination and when The Man, as the main character is simply called, drifts through time it almost seems like a feverish dream to the viewer, too. What's more concrete is the relationship of The Man and The Woman and the contrast between the short untroubled moments The Man spends in the past and his enslavement in the present. Marker concentrates on those aspects and almost shrugs the time traveling off as a negligibility and the result is nothing short of amazing.

        With its 26 minutes running time "La jetée" accomplishes more than some epic trilogies do. It remains a classy work of art that looks fresher than any other movie from the 60's that I've ever seen and in 50 years from now it will not have lost any of its appeal, either.

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        Argumento

        Editar

        ¿Sabías que…?

        Editar
        • Trivia
          This short film was the inspiration for the Terry Gilliam film 12 Monos (1995).
        • Citas

          Narrator: Nothing distinguishes memories from ordinary moments. Only later do they become memorable by the scars they leave.

        • Créditos curiosos
          The opening credits do not describe it as a film, but as "un photo-roman".
        • Conexiones
          Edited into The Hamster Factor and Other Tales of Twelve Monkeys (1996)
        • Bandas sonoras
          The Girl (Prologue)
          (uncredited)

          Music by Trevor Duncan

          Plays during the park scene

          Boosey & Hawkes Ltd

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        Preguntas Frecuentes3

        • What does the title mean?
        • What was the make of camera that has been used to create this film?
        • The motion-picture segment, what was used to film this?

        Detalles

        Editar
        • Fecha de lanzamiento
          • 16 de febrero de 1962 (Francia)
        • País de origen
          • Francia
        • Idiomas
          • Francés
          • Alemán
        • También se conoce como
          • La Jetée
        • Locaciones de filmación
          • Galerie De Paléontologie Et D'Anatomie Comparée Du Muséum National D'Histoire Naturelle - 2 Rue Buffon, Paris 5, París, Francia(museum)
        • Productoras
          • Argos Films
          • Radiodiffusion-Télévision Française (RTF)
        • Ver más créditos de la compañía en IMDbPro

        Especificaciones técnicas

        Editar
        • Tiempo de ejecución
          28 minutos
        • Color
          • Black and White
        • Mezcla de sonido
          • Mono
        • Relación de aspecto
          • 1.66 : 1

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