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La lumière bleue

Titre original : Das blaue Licht - Eine Berglegende aus den Dolomiten
  • 1932
  • 1h 25min
NOTE IMDb
6,8/10
1,5 k
MA NOTE
Leni Riefenstahl in La lumière bleue (1932)
DrameFantaisieMystère

Lorsque la lune est pleine, de jeunes hommes meurent en tentant d'atteindre la mystérieuse lumière bleue dans les montagnes.Lorsque la lune est pleine, de jeunes hommes meurent en tentant d'atteindre la mystérieuse lumière bleue dans les montagnes.Lorsque la lune est pleine, de jeunes hommes meurent en tentant d'atteindre la mystérieuse lumière bleue dans les montagnes.

  • Réalisation
    • Leni Riefenstahl
    • Béla Balázs
  • Scénario
    • Béla Balázs
    • Carl Mayer
    • Gustav Renker
  • Casting principal
    • Leni Riefenstahl
    • Mathias Wieman
    • Beni Führer
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,8/10
    1,5 k
    MA NOTE
    • Réalisation
      • Leni Riefenstahl
      • Béla Balázs
    • Scénario
      • Béla Balázs
      • Carl Mayer
      • Gustav Renker
    • Casting principal
      • Leni Riefenstahl
      • Mathias Wieman
      • Beni Führer
    • 24avis d'utilisateurs
    • 10avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire et 1 nomination au total

    Photos42

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    + 35
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    Rôles principaux6

    Modifier
    Leni Riefenstahl
    Leni Riefenstahl
    • Junta
    Mathias Wieman
    Mathias Wieman
    • Vigo
    Beni Führer
    • Tonio
    Max Holzboer
    • Innkeeper
    Martha Mair
    • Lucia
    Franz Maldacea
    Franz Maldacea
    • Guzzi
    • Réalisation
      • Leni Riefenstahl
      • Béla Balázs
    • Scénario
      • Béla Balázs
      • Carl Mayer
      • Gustav Renker
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs24

    6,81.4K
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    Avis à la une

    7Lars-65

    Visually stunning mountain film!!!

    `Das blaue Licht' (The Blue Light) tells the legend of Junta, a strange woman living in the Alpine heights above a Tyrolean village, who has privileged access to a cave of crystals. On full-moon nights a blue light emanates from this secret grotto, luring young men from the valley to seek out the force of the radiant beam. Their quest invariably end in death and causes the towns-people to vilify junta. A painter from Vienna, Vigo, befriends the outcast woman. He becomes her protector and falls in love with her. Following her one blue-lit night, he discovers the way to the cave. He draws a map, thinking that the safe passage to the grotto will serve the best interest of both Junta and the villagers. The towns-people arm themselves with tools and climb to the cave, plundering the valuable crystals and celebrating their new found fortune.

    Riefenstahl's film -(fantasy) sanctifies nature and reflects a fascination with beauty and harmony. The photography of this picture is visually stunning, and Riefenstahl's masculine beauty and physical abilities make her the perfect choice for the role of Junta. `Das blaue Licht' is one of the last great Weimar films and a ‘must see' not only for movie buffs.
    tedg

    Dancer of Light

    Anyone interested in film will find their way here, but I am supposing you need to steel yourself.

    You may come because you know what this woman invented in terms of composition of the interframe. I place her above Eisenstein for both effect and importance.

    You may come because you are interested in how film can actually change instead of merely reflect the world. It can, it does.

    Or you may simply come because you are fascinated by the woman, a dancer, celebrant of the body, an Arian ideal, sexually active for 75 years including with top Nazis. Shunned by the film world, and finding a new challenge in underwater photography.

    But when you come, you will confront a strange form of narrative, the spiritual metaphor, the Goethe model with blunt, plain cosmology. Its that used by Nazis extremely effectively and now appropriated by similar zealots. Extreme differentiation between good and evil: good fundamentally linked to spiritual forces which we do not deserve. Only severe dedication can allow us to deserve to adore it. Its all rather curious how superstitious structures can be sold, and you'll have to slog through it. And with some extraordinarily blunt acting.

    ("Sir Arne's Treasure" of a dozen years earlier did all these things with natural skill, and they work.)

    But what you will get is some astonishing composition, even in this her very first film as director. A striking location that is almost unbelievable, but the most striking thing is her in the local. Every time she is set in the mountain, it is done with such lightness that we cannot avoid feeling visited by the supernatural. You have to see her climbing a vertical wall with bare hands and moccasins, thousands of feet up. You have to see her scrambling like a sprite around the bottom of the waterfall. You even have to see her present a sort of holy pulchritude while sleeping. This alone impresses once it settles that everything you see of her was designed by her. It weaves a fascination for a transcendent earth and womb that's genuine.

    So my visit with this was a matter of awe at what a person can do, but I have that from elsewhere. More, it was accompanied by a parallel awe at the pull of the story, the story that I know ends badly and possibly always will, but we follow it.

    I suppose that a slight, a very slight adjustment in this woman's makeup would have made a profound difference for several billions of people, and I further suppose that had she been trained slightly differently in dance that adjustment, that introspection would have been implanted. So if we had that fabled, magical time machine and wanted to go back in time to prevent the holocaust, perhaps killing Hitler isn't the right touchstone. It may be spending an evening in deep conversation with the man who loves the woman who taught Leni's dance teacher. Yes, that would do it.

    Ted's Evaluation -- 3 of 3: Worth watching.
    tophoca

    Stunning film and a tribute to a great lady.

    Unlike the previous reviewer, I have an excellent print of "The Blue Light" that Leni Riefenstahl sent to me a few years ago. This is truly a magnificent film and along with "Tiefland" should be for what this great lady is remembered for. "Triumph of the Will" and "Olympia" are stunning documentaries but "The Blue Light" and "Tiefland" are outstanding movies and a tribute to the greatest female film director ever.
    8David-240

    Gorgeously shot, leisurely paced.

    Leni Riefenstahl, soon to become notorious as Hitler's favorite director, made her directorial debut with this vivid and beautiful film. It tells the tale of a mysterious blue light on top of a mountain that lures young men to their deaths. The only person who can reach it is a young outcast played by Riefenstahl herself. She is exquisitely beautiful - so much so that I am amazed Hollywood did not beckon.

    It's all a bit Freudian and far too slow at times, but the photography is so sublime that it doesn't matter. Black and White has seldom looked so beautiful and the use of light is magnificent. Riefenstahl certainly knew how to film and light faces (including her own), a talent that would later enhance her propaganda films for the Nazis. This film is more than an historical curiosity - it is quite a work of art.
    9Yxklyx

    Simple and sweet

    First off, I'd like to point out that the silent and "sound" versions are the same movie (same images from start to end), except that the intertitles have been removed from the "sound" version and voices dubbed in (sorta like what they did with Chaplin's The Gold Rush in 1942, except that here the conversion works fine instead of being hellishly awful). The "sound" version has little background sound being mainly voices here and there - and there is little speaking anyway. More importantly though, on the DVD I rented, the picture quality of the silent version was atrocious while that of the "sound" version pristine. All that said this is a very simple and sweet fable, aspects of which reminded me of Picnic at Hanging Rock as well as some of Gus van Sant's latest movies. One of the best films from the early 30s.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      This was a groundbreaking film at the time. It was a sound film shot all on location high in the mountains. Real mountain people were used as supporting players.
    • Gaffes
      At about 20 minutes the moon comes up and moves from right to left. In the northern hemisphere it moves from left to right.
    • Versions alternatives
      Director Leni Riefenstahl recut and re-released a new version of the film in 1952.
    • Connexions
      Edited into Leni Riefenstahl - Le Pouvoir des images (1993)

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    FAQ15

    • How long is The Blue Light?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 24 mars 1932 (Allemagne)
    • Pays d’origine
      • Allemagne
    • Langues
      • Allemand
      • Italien
    • Aussi connu sous le nom de
      • The Blue Light
    • Lieux de tournage
      • Foroglio, Val Maggia, Cantone Ticino, Suisse
    • Société de production
      • Leni Riefenstahl-Produktion
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 25min(85 min)
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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