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Le chevalier sans armure

Titre original : Knight Without Armour
  • 1937
  • Tous publics
  • 1h 47min
NOTE IMDb
6,8/10
1,6 k
MA NOTE
Marlene Dietrich and Robert Donat in Le chevalier sans armure (1937)
Drames historiquesAventureDrameL'histoireRomanceThriller

Un jeune journaliste anglais, espion pour le compte du gouvernement britannique, opposé au tsar et impliqué dans un complot, est envoyé en Sibérie. Délivre par l'armée rouge, il est chargé d... Tout lireUn jeune journaliste anglais, espion pour le compte du gouvernement britannique, opposé au tsar et impliqué dans un complot, est envoyé en Sibérie. Délivre par l'armée rouge, il est chargé d'escorter une prisonnière dont il tombe amoureux.Un jeune journaliste anglais, espion pour le compte du gouvernement britannique, opposé au tsar et impliqué dans un complot, est envoyé en Sibérie. Délivre par l'armée rouge, il est chargé d'escorter une prisonnière dont il tombe amoureux.

  • Réalisation
    • Jacques Feyder
  • Scénario
    • James Hilton
    • Frances Marion
    • Lajos Biró
  • Casting principal
    • Marlene Dietrich
    • Robert Donat
    • Irene Vanbrugh
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,8/10
    1,6 k
    MA NOTE
    • Réalisation
      • Jacques Feyder
    • Scénario
      • James Hilton
      • Frances Marion
      • Lajos Biró
    • Casting principal
      • Marlene Dietrich
      • Robert Donat
      • Irene Vanbrugh
    • 34avis d'utilisateurs
    • 6avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 3 victoires au total

    Photos71

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    Rôles principaux39

    Modifier
    Marlene Dietrich
    Marlene Dietrich
    • Alexandra
    Robert Donat
    Robert Donat
    • A.J. Fothergill
    Irene Vanbrugh
    Irene Vanbrugh
    • Duchess
    Herbert Lomas
    Herbert Lomas
    • Vladinoff
    Austin Trevor
    Austin Trevor
    • Colonel Adraxine
    Basil Gill
    Basil Gill
    • Axelstein
    David Tree
    David Tree
    • Maronin
    John Clements
    John Clements
    • Poushkoff
    Frederick Culley
    • Stanfield
    Lawrence Hanray
    Lawrence Hanray
    • Forrester
    Dorice Fordred
    • The Maid
    Franklyn Kelsey
    • Tomsky
    • (as Franklin Kelsey)
    Laurence Baskcomb
    • Commissar
    • (as Lawrence Baskcomb)
    Hay Petrie
    Hay Petrie
    • Station Master
    Miles Malleson
    Miles Malleson
    • Drunken Red Commissar
    • (as Miles Malieson)
    Allan Jeayes
    Allan Jeayes
    • White General
    Lyn Harding
    Lyn Harding
    • Bargee
    Raymond Huntley
    Raymond Huntley
    • White Officer
    • Réalisation
      • Jacques Feyder
    • Scénario
      • James Hilton
      • Frances Marion
      • Lajos Biró
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs34

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    Avis à la une

    7mukava991

    Dietrich survives Russian Revolution with eye makeup intact!

    This was one of the most extreme examples of the durability of eye makeup in 30s cinema. Whether waking up from deep sleep, held prisoner without toilette facilities, covered with dead leaves on a forest floor, traveling across the muddy steppe, the leading lady's penciled brows, shadowed lids and false eyelashes neither budge nor smudge. Even the lipstick stays perfect until near the end when a bout of illness suddenly erases it.

    But seriously, this is a thoughtful and multifaceted look at the Russian Revolution from a James Hilton novel. But too often the plot wanders off periodically into atmospheric details until one forgets it entirely until it picks up again, reminding us that, oh yes, there is a plot.

    Marlene Dietrich plays a beautiful countess who emerges from her silken sheets one morning to face a silent mob of armed revolutionary peasants marching directly towards her. She is taken prisoner but rescued by Robert Donat, a British agent posing as a Russian revolutionary. Together they flee their Red pursuers through the wreckage and chaos of post-Revolutionary Russia.

    As in Doctor Zhivago many years later, we enter the Russian civil war from the perspective of the Reds and then the Whites. This film lacks Zhivago's sweep and scope but presents a convincing and compelling, if somewhat sketchy, picture of its time and place with masterful camera work, authentic looking costumes and surroundings (including actual condensed breath when called for), stirring Russian music, a sigh-inducingly romantic portrayal by Dietrich, the last of her wide-eyed, breathy ingénues, and one of imperturbable gallantry and nobility by Donat.
    9chrisart7

    Fantastic film; watch, pay attention, enjoy!

    One truly cares about the characters in "Knight Without Armour" (1937) (which at present is only available on Region 4 DVD---officially, that is). John Clements almost steals the film with a role that is little more than a cameo, but superbly acted. One can see how this part led to his being cast as the lead in "The Four Feathers" (1939), the very best motion picture produced by Alexander Korda and released by London Films, and one of the best movies of all time. Other character actors such as Miles Malleson also do memorable bits.

    This atypical role for Marlene Dietrich---a truly vulnerable, feminine character, though noble and glamorous---is superbly realised by the German actress, here playing a Russian countess. Robert Donat, excellent as always, is the lead, an Englishman travelling incognito in Russia before, during, and after the Revolution.

    There is one scene early in the film which is an interesting reversal of a portion of "Battleship Potemkin"'s Odessa Steps sequence: in "Potemkin" the "White" Cossacks, a faceless, cruelly efficient horde simultaneously gun down a "Red" woman who tries to appeal to them for mercy for her dying child. In "Knight Without Armour" a horde of Reds trudge en masse across the palatial estate of "White" Countess Alexandra, played by Marlene Dietrich. The scene in which she encounters the unsympathetic, destructive mob on her great lawn, and the momentary lull before they act, is unmistakably a comment upon "Potemkin" and its pro-Red propaganda.

    American audiences may find the various, regional British accents of the Russian characters a bit jarring. Filmed during the height of the Depression, this is a great lovers-on-the-run film with a world-falling-apart backdrop, irresistible entertainment in any era. Find this one! Used VHS copies are easily had. Miklos Rozsa's score, one of his first for film, has the same warmth and pathos that embodies most of his splendid catalog of work.
    10ormolu

    Superb Dietrich Vehicle

    Hardly ever seen on TV or cable, this sweeping spectacle is a rare but welcome opportunity to see Marlene at the height of her powers as a star. Sadly, good prints seem to be rare. We saw it on a slightly scratchy VHS cassette we bought used on the internet but it brought back wonderful memories and its attention to period Russian detail is truly great. After a while the film overcame its physical limitations (in the print). The Russian atmosphere is superior to that in Dr. Zhivago, which seems flat and two dimensional in many ways.

    The first appearance of Alexandra at the races in England, her departure by train for Russia, her presentation at court in a procession of girls in white presentation gowns and Russian headdresses--all perfectly detailed--to Nicholas and Alexandra, ("Lucky devil", a court lady says of her fiancé, "he is the most stupid officer at court and she is the smartest girl"), the attempted assassination of her father in her wedding procession across a bridge in St. Petersburg, her taking tea alone at the gardens of the neoclassical Adraxin country estate, served by a procession of servants and then waking up and finding the servants have deserted, the Revolution having begun, are all extremely beautifully done. True to 1930's convention, her makeup is never out of place, except in one scene when peasants capture her in her gauzy nightgown and negligee.

    Robert Donat is a perfect foil to her elegance, dashing and always the epitome of 1930s savoir faire. His scenes as a prisoner in Siberia are also very well done.

    All in all a great 1930's adventure of the highest style. They will never make another one like this! Jacques Feyder was a great director and his use of Marlene is equal to von Sternberg's. Bravo Countess Adraxin! Another great and sadly overlooked star vehicle for La Dietrich!
    dbdumonteil

    Somewhere my love...

    That was Jacques Feyder's only English movie.He had just done his major works " Le Grand Jeu" "Pension mimosas" and "La Kermesse Heroique" and "Knight without armour" in spite of obvious qualities cannot compare with them.

    This is a tormented love story between a commissar (Donat) and a Russian countess of the old Russian aristocracy (Dietrich)who try to get to the border .The plot sometimes recalls a "Doctor Zhivago" in miniature.

    Best scenes ,in my opinion,are to be found in the first part: Dietrich,walking across her desirable mansion,all dressed in white ,finding that her staff has left home and joined the revolution;the same,facing a sinister-looking pack of Reds in her park.

    The mad station master,ceaselessly repeating that a train is coming into the station (madness was also present in Feyder's former works :"Le Grand jeu "was a good example of folie à deux )
    7bkoganbing

    The Shared Experience Of Escape

    Knight Without Armour finds Robert Donat as a British agent, fluent in Russian, sent to spy on the revolutionary movement even before World War I started. Such things were done I'm sure as farsighted folks in the Foreign Office probably saw Europe headed for general war and Russia would have been the United Kingdom's ally in that case.

    Donat plays his part all too well, he's captured as a revolutionary and sent to Siberia and spends most of World War I there. Whatever else it does it certainly helps his cover. The original revolution that brought Kerensky to power frees the political prisoners and Donat now has to try and make his way home.

    In a parallel story aristocrat Marlene Dietrich gets the shock of her life when one day she wakes up and her servants have fled because the Russian Revolution has come to town. From hero{ine} to zero overnight, she's got to get out of a country that's now shooting her kind on general principles.

    They become allies of convenience and of course the shared experience of escape forges a romance as well. Both turn out to be pretty clever at taking advantages of breaks as they are captured a couple of times during the film.

    Robert Donat was one of the few of her leading men to not fall under Dietrich's amorous sway. But they became good friends and according to a recent biography of Marlene, Dietrich helped Donat with a special breathing technique she learned about to help control his asthma. Donat suffered from asthma all his life and it eventually killed him.

    The film is based on a lesser known work of British novelist James Hilton who also wrote Random Harvest and Lost Horrizon and of course Goodbye Mr. Chips for which Donat won his Academy Award for. It seems as though Hilton wrote his books with either Robert Donat or Ronald Colman in mind for the screen, they played his heroes so well.

    On screen Knight Without Armour suits the images and talents of Robert Donat and Marlene Dietrich well and fans of both will appreciate it.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      During the shooting, Robert Donat had a severe attack of asthma and the film was delayed for almost a month. The producers wanted to replace him, but Marlene Dietrich refused. According to Robert Osborne, host of Turner Classic Movies, Dietrich waived her salary during Donat's illness and nursed him until he was well enough to return to filming.
    • Gaffes
      When Peter Ouronov buries Alexandra in the fallen leaves, Alexandra is facing up. When he returns, she comes out from the leaves facing down.
    • Citations

      Ainsley J. Fothergill aka Peter Ouronov: [the darkness of the gulag is making him lose his mind. Shouting] Night... night... night! Night all the time! Ceaseless night! Nothing but night all over the earth! The sun must be dead! Everything must be dead! We're the last things alive!

    • Crédits fous
      Opening credits prologue: ASCOT 1913
    • Versions alternatives
      There is an Italian edition of this film on DVD, distributed by DNA srl, "LA CONTESSA ALESSANDRA (L'ultimo treno da Mosca, 1937) + ENIGMA (1929)" (2 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
    • Connexions
      Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1999)
    • Bandes originales
      Alexandra's Song
      (uncredited)

      Music by Miklós Rózsa

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    FAQ17

    • How long is Knight Without Armor?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 2 septembre 1937 (France)
    • Pays d’origine
      • Royaume-Uni
    • Langues
      • Anglais
      • Russe
    • Aussi connu sous le nom de
      • La condesa Alexandra
    • Lieux de tournage
      • London Film Studios, Denham Studios, Denham, Buckinghamshire, Angleterre, Royaume-Uni(studio: made at The London Film Studios Denham, England.)
    • Société de production
      • London Film Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 300 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

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    • Durée
      • 1h 47min(107 min)
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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