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L'Atalante

  • 1934
  • Tous publics
  • 1h 29min
NOTE IMDb
7,7/10
18 k
MA NOTE
L'Atalante (1934)
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Lire trailer1:27
1 Video
99+ photos
Dark RomanceFeel-Good RomanceRomantic ComedySatireComedyDramaRomance

Les jeunes mariés Juliette et le capitaine Jean voyagent sur L'Atalante avec le second du capitaine, Le père Jules, et un mousse.Les jeunes mariés Juliette et le capitaine Jean voyagent sur L'Atalante avec le second du capitaine, Le père Jules, et un mousse.Les jeunes mariés Juliette et le capitaine Jean voyagent sur L'Atalante avec le second du capitaine, Le père Jules, et un mousse.

  • Réalisation
    • Jean Vigo
  • Scénario
    • Jean Guinée
    • Albert Riéra
    • Jean Vigo
  • Casting principal
    • Dita Parlo
    • Jean Dasté
    • Gilles Margaritis
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,7/10
    18 k
    MA NOTE
    • Réalisation
      • Jean Vigo
    • Scénario
      • Jean Guinée
      • Albert Riéra
      • Jean Vigo
    • Casting principal
      • Dita Parlo
      • Jean Dasté
      • Gilles Margaritis
    • 92avis d'utilisateurs
    • 102avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 nomination au total

    Vidéos1

    Trailer
    Trailer 1:27
    Trailer

    Photos124

    Voir l'affiche
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    + 117
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    Rôles principaux21

    Modifier
    Dita Parlo
    Dita Parlo
    • Juliette
    Jean Dasté
    Jean Dasté
    • Jean
    Gilles Margaritis
    • Le camelot (peddler)
    Louis Lefebvre
    • Le gosse (cabin boy)
    Maurice Gilles
    • Le chef de bureau (office manager)
    Raphaël Diligent
    • Le trimardeur (tramp
    • (as Rafa Diligent)
    • …
    Michel Simon
    Michel Simon
    • Le père Jules (old Jules)
    Claude Aveline
      René Blech
      • Best Man at Wedding
      • (non crédité)
      Lou Bonin
      • Passenger at Railway Station
      • (non crédité)
      Jacques B. Brunius
      Jacques B. Brunius
      • Policeman with a Bicycle
      • (non crédité)
      Fanny Clair
      • Juliette's Mother
      • (non crédité)
      Fanny Clar
      • La mère de Juliette
      • (non crédité)
      Charles Dorat
      • Thief
      • (non crédité)
      Paul Grimault
      • Passenger at Railway Station
      • (non crédité)
      Kani Kipçak
      Kani Kipçak
      • Jackie Jackmark
      • (non crédité)
      Genya Lozinska
      • Fortune Teller
      • (non crédité)
      Gen Paul
      • Master of Ceremonies at Wedding
      • (non crédité)
      • Réalisation
        • Jean Vigo
      • Scénario
        • Jean Guinée
        • Albert Riéra
        • Jean Vigo
      • Toute la distribution et toute l’équipe technique
      • Production, box office et plus encore chez IMDbPro

      Avis des utilisateurs92

      7,718.2K
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      10

      Avis à la une

      Snow Leopard

      A Gentle, Contemplative Classic

      There aren't many classics that are as deceptively simple as "L'Atalante". Its gentle, contemplative tone - punctuated by occasional stretches of Michel Simon's antics - conceals a carefully made film with some worthwhile themes that go beyond the story itself. The lavish praises that it sometimes receives have perhaps created unrealistic expectations, which is unfortunate, because it is a fine, though understated, classic.

      Jean and Juliette, the two main characters, both have strengths and weaknesses that make them believable. Jean is responsible and disciplined, while Juliette is easygoing and gregarious (which makes her the easiest of the two to appreciate and to sympathize with). But Jean's rigidity and his occasional impatience, in combination with Juliette's naiveté and her occasional impulsiveness, make for difficulties in their relationship.

      If they seem boring when compared to the couples in many other movie romances, it is precisely this that makes the film worthwhile. It focuses closely on two ordinary people, without distracting frills or forced social commentary. Most of us are not all that interesting to others, and our lives and problems are usually important only to us. It is part of Jean Vigo's achievement that he takes two such commonplace characters and makes them worth caring about, and by implication he tells us that we are all worth caring about, even if we and our lives may not matter much to others.

      By keeping most of the action on board the boat, Vigo not only creates an atmosphere, but also forces the attention onto the characters. Simon's rather exaggerated character is used both to vary the pacing when appropriate, and to respond to the traits and actions of Jean and Juliette. The photography and the score are also used to round out the picture.

      It may be true that the film is sometimes over-praised, but in large part that is simply an over-reaction to the unfortunate lack of attention that this kind of classic must so often endure. In an era when so many very weak recent movies have received regular television airings, special edition DVD's with all kinds of pointless "extras", and undeserved critical acclaim, it's all too obvious that movies requiring more effort to appreciate are too often ignored entirely.

      Many recent romance movies have tried to use lavish production values, disaster or crisis settings, trendy techniques such as "non-linear" story-telling, and other such devices to cover up a lack of substance. Movies as different as "Titanic" and "The English Patient" (just to name two of many possible examples) use such methods in an attempt to pass off a romantic couple as heroic or admirable, when the characters in actuality are usually self-absorbed, vapid, and truly less worth caring about than Vigo's Jean and Juliette are.

      Jean and Juliette, like most of us, know that they are not important in the grand scheme of things, and they are probably rather well aware of their own weaknesses. They are neither saints nor sinners, neither victims nor heroes, they are just human, and therefore worth caring about. "L'Atalante" itself is not "the greatest movie ever made", especially since there is no such thing anyway, but it is a thoughtful and carefully crafted classic that stays with you well after you have seen it.
      9Spondonman

      Tales of the riverbank

      My big problem with "L'Atalante" is how much of what we see and hear was really Jean Vigo's intention (as he didn't finish it) when he was making it? The restored version is the only version and was reconstructed from many disparate bits about 15 years ago, meaning it has had running order interpretations foisted upon it. I think most of the film we see came from the BFI in London, remixed with other clips into some kind of logical sequence by Gaumont in Paris and sold as a Forgotten Masterpiece.

      Well, if you can call such luck ending up as a masterpiece it was purely unintentional by Vigo - he didn't see what we do now.

      What we have though is definitely a series of relentlessly beautiful, thought-provoking, impressionistic black and white images hung together for 87 minutes with a very flimsy story of 3 people on a barge. The kid was background fluff and doesn't really count. Simon was his usual farcical self, I wish he'd been background as well. Daste and Parla were both later in "La Grande Illusion", can you really forget her as the German widow Elsa in favour of this? The framings and compositions are wonderful to see - how important was it to include distant shots of power stations, cranes etc? Why did Daste stare right into the underwater camera? How come every available surface seems uncomfortable or strewn with bizarre objects or people? Why just the one short aerial shot? And so many other questions which are either pointless or beyond my intelligence; somebody somewhere must know!

      I find every time I watch "L'Atalante" it grows on me - I thought it was pants in '91, now I think it's brill! We all move at different speeds - some people will never be able to see this as anything but boring while some people thought it was a classic before they saw it! Whereas I'm still on the voyage of discovery with this one and will definitely watch it again, but not as an indispensable film, more as akin to a trip to the Art Gallery.
      9Galina_movie_fan

      To See Paris and ...

      "People are strange when you are stranger

      Faces look ugly when you're alone

      Women seem wicked when you are unwanted

      Streets are uneven when you are down…" by Jim Morrsion (1963-1971)

      …And city of light and love is dark and depressing when you are there without your beloved.

      Director Jean Vigo died young (at 29, of septicemia) just after he finished his third and last film, "L'Atalante" which is one of the screen's great romances, about a young barge captain Jean (Jean Daste), who takes his bride Juliette (Dita Parlo) to live aboard his boat. They are in love, they fight, she disappears to see Paris, he goes searching for her, can not find her, they are both desperate and miserable until the first mate (Michel Simon in a superb comical performance) decides to find her and bring her back…

      The film has many magical moments, such as the young man searching for his sweetheart under water or the movie's most erotic scene that display both Jean and Juliette tossing in their lonely beds during one aching night of separation searching for each other, longing for each other, realizing how painful and meaningless life is without the one they love.

      Vigo knew that he was dying – "I am killing myself with L'Atalante", he said. His death at 29 is one of the cinema's great losses. We can only imagine what masterpieces he could've created. L'Atalante with its simple compelling story, humanity, intense, lyrical romanticism and candid eroticism shows that Vigo was a visionary and experimentalist of outstanding quality.

      Filmmakers as diverse as Francois Truffaut and Lindsay Anderson have acknowledged Vigos's influence on their work.

      Highly recommended: 9/10
      trevor_markwart

      Beguilling -- like a child lost in a faery tale...

      The viewer is emerged in a simple film that transcends all sense of current time and space. Truffaut once said that he would prefer to make films with "dirty feet" than clean ones, and this film delivers such a world. The first mate on the barge has dirty feet -- and a magnificent collection of amusements and "magic". Watch for the puppet show! Charming to say the least as we delve into a mysterious lost world. It reminded me of the best of Cocteau with its magical feel, though it relied not at all on the mysticism and a magical world. It's at once a realist drama and a romantic fantasy.

      I read once about someone saying that this film has been "surpassed" and is now overrated. What a fool. He's missing the whole point.

      Show this one to your young children! They'll never forget it and love it forever!
      7wandereramor

      Come and let me take you on a sea cruise

      L'Atalante is one of those films that doesn't really survive it's critical reputation. It's not so much that it's overrated as that its status as a Cinematic Masterpiece by a French Auteur casts a heavy burden on it which the light, airy film can't escape.

      But enough meta-criticism. Taken on its own, L'Atalante is a charming film about a honeymoon whose light nature and relaxed pace manages to immerse the audience in a realm of simple pleasure. There's little dialogue, and Vigo draws on the attractions of silent film, with a lot of light humour and simple representational images. It's a world you would want to step into, and one that you almost think you can.

      Alas, things cannot stay so serene forever, and so trouble eventually arrives in our honeymooners' relationship. The plot is believable and well-observed, if not exactly captivating, but I have to say I missed the more leisurely early parts.

      I can't help but compare L'Atalante with a film with a similar storyline and inverted structure, F. W. Murnau's Sunrise. L'Atalante undeniably comes off worse in the comparison: it simply doesn't achieve the epic grandeur that Sunrise does. That doesn't mean it's bad, but it seems unavoidably like a prototype for a film released in the previous decade, and that makes it hard to live up to the hype. Still, it's a nice experience, and that's more than you can say about most films.

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      Histoire

      Modifier

      Le saviez-vous

      Modifier
      • Anecdotes
        The last film completed by Jean Vigo before his death from tuberculosis at 29.
      • Gaffes
        After jumping overboard and swimming, as Jean is climbing the rope up the side of the barge, he is (expectedly) dripping wet. The scene cuts and he is on board approaching Le père Jules and Le gosse from behind, and he has wet clothes, but no water dripping from them or his hair.
      • Citations

        Le camelot (peddler): My dear friends, so kind of you to come. We were waiting for you before we served the biscuits dry as the duchess's pussy.

      • Versions alternatives
        1934-04-25 --- Jean Vigo's authorized cut before his death, at 89 min running time, shown to exhibitors and distributors mostly, at Palais Rochechouart, Paris, France. This version is lost.
      • Connexions
        Edited into Cinéastes de notre temps: Jean Vigo (1964)
      • Bandes originales
        La Chanson des Mariniers
        Music by Maurice Jaubert

        Lyrics by Charles Goldblatt

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      FAQ17

      • How long is L'Atalante?Alimenté par Alexa

      Détails

      Modifier
      • Date de sortie
        • 14 septembre 1934 (Pays-Bas)
      • Pays d’origine
        • France
      • Langues
        • Français
        • Russe
      • Aussi connu sous le nom de
        • Le chaland qui passe
      • Lieux de tournage
        • Bassin de la Villette, Paris 19, Paris, France(Lake crossed by the barge.)
      • Sociétés de production
        • Argui-Film
        • Gaumont-Franco Film-Aubert (G.F.F.A)
      • Voir plus de crédits d'entreprise sur IMDbPro

      Box-office

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      • Montant brut mondial
        • 9 505 $US
      Voir les infos détaillées du box-office sur IMDbPro

      Spécifications techniques

      Modifier
      • Durée
        1 heure 29 minutes
      • Couleur
        • Black and White
      • Rapport de forme
        • 1.37 : 1

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