NOTE IMDb
7,5/10
1,7 k
MA NOTE
Un soldat français se rend en Allemagne pour retrouver la famille d'un homme qu'il a tué pendant la Première Guerre mondiale.Un soldat français se rend en Allemagne pour retrouver la famille d'un homme qu'il a tué pendant la Première Guerre mondiale.Un soldat français se rend en Allemagne pour retrouver la famille d'un homme qu'il a tué pendant la Première Guerre mondiale.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 2 victoires et 1 nomination au total
Rod McLennan
- War Veteran
- (as Rodney McLennon)
George Davis
- Concierge
- (non crédité)
Robert Dudley
- Townsman
- (non crédité)
Lillian Elliott
- Frau Bresslauer
- (non crédité)
Henry Fifer
- Townsman
- (non crédité)
Julia Swayne Gordon
- Townswoman
- (non crédité)
Avis à la une
'The Man I Killed', or 'Broken Lullaby' to others, appealed to me right away. There are many great war films out there (though admittedly do prefer slightly other types of films) and its message is an admirable one. It is notable for being an atypical effort for the great Ernst Lubitsch, instead of comedy, romantic comedy and musicals, 'The Man I Killed' is perhaps his most serious film. Seeing Lionel Barrymore in one of his more dramatic roles was interesting too.
While there was no doubt in my mind that it would be good at least, 'The Man I Killed' was more than good. It was very, very good and so close to being great. It was great to see a change of pace from Lubitsch, and just as much to see excel so well at it. Not everybody succeeds when they do something different to usual, some have even failed, but Lubitsch does succeed wonderfully. He never directed a more moving or more emotionally powerful film and in its own right there is so much to recommend.
Am going to get the very few not so good things out of the way. It is a little over-sentimental in places, though there is a big emphasis on in places and on a little.
Despite some excellent moments that do bring a lump to the throat, Phillips Holmes at times overacts and it is at odds with the more subtle acting of everybody else.
Lubitsch however directs impeccably, he directs with a darker touch but it didn't to me get too dark or too heavy generally. Of the performances, which are near uniformly good, Barrymore is particularly magnificent. One of his most subtle performances and one of his most poignant and intense too, especially in one of the most powerful speeches of any film seen recently. ZaSu Pitts is also excellent. The production values have both grit and elegance, with some beautifully crafted and clever shots at the start especially.
Some very effective use of sound too, like with agreed the marching feet which was quite unsettling. The script is literate without being talky and the message is delivered with force and sincerity without being laid on too thick. The story is harrowing and poignant, as well as sensitively handled. If the sentiment was a little less, the storytelling would have been perfect.
In conclusion, very, very good and nearly great with almost everything being outstanding. 8/10
While there was no doubt in my mind that it would be good at least, 'The Man I Killed' was more than good. It was very, very good and so close to being great. It was great to see a change of pace from Lubitsch, and just as much to see excel so well at it. Not everybody succeeds when they do something different to usual, some have even failed, but Lubitsch does succeed wonderfully. He never directed a more moving or more emotionally powerful film and in its own right there is so much to recommend.
Am going to get the very few not so good things out of the way. It is a little over-sentimental in places, though there is a big emphasis on in places and on a little.
Despite some excellent moments that do bring a lump to the throat, Phillips Holmes at times overacts and it is at odds with the more subtle acting of everybody else.
Lubitsch however directs impeccably, he directs with a darker touch but it didn't to me get too dark or too heavy generally. Of the performances, which are near uniformly good, Barrymore is particularly magnificent. One of his most subtle performances and one of his most poignant and intense too, especially in one of the most powerful speeches of any film seen recently. ZaSu Pitts is also excellent. The production values have both grit and elegance, with some beautifully crafted and clever shots at the start especially.
Some very effective use of sound too, like with agreed the marching feet which was quite unsettling. The script is literate without being talky and the message is delivered with force and sincerity without being laid on too thick. The story is harrowing and poignant, as well as sensitively handled. If the sentiment was a little less, the storytelling would have been perfect.
In conclusion, very, very good and nearly great with almost everything being outstanding. 8/10
What a pleasant surprise! This touching story of the misery visited upon one man by the First World War leads to memorable statement about who is responsible for war. I will definitely share this video with my friends.
8wilt
This early-sound film appeared fourteen years after the end of the "Great War." Lionel Barrymore, as Dr. Holderlin, the father of Walter, a German soldier killed in that war, provides a stirring metaphorical introspection into the militaristic bravado that inspired so many young Germans to march, and caused so many to die. Dr. Holderlin's comments at his "Stammtisch" (a cafe table reserved for town notables) are, for the time, surprisingly deep and revealing. He confesses he was caught up in the romance and pageantry of flags, trumpets and columns of uniformed young men marching off to meet the enemy. He believes he, together with others who shared those views, was as much responsible for his son's death as the enemy.
But it turns out the enemy, in the form of Paul, the French soldier who killed Barrymore's son, is as remorseful as the good doctor. Paul and Walter knew each other before the War. Paul's guilt that he was the cause of Walter's death drove Paul to Germany in an attempt at closure. There he met Walter's family and Elsa, Walter's sweetheart. Everyone's guilt and grief create in Paul a kind of eerie substitute for Walter. The film ends with Paul playing on the violin a lullaby similar to those Walter had played before the War.
*Broken Lullaby* is an excellent anti-war film, much in the *All Quiet on the Western Front* genre. It is unfortunate that it has not over the years received the critical attention it deserves.
But it turns out the enemy, in the form of Paul, the French soldier who killed Barrymore's son, is as remorseful as the good doctor. Paul and Walter knew each other before the War. Paul's guilt that he was the cause of Walter's death drove Paul to Germany in an attempt at closure. There he met Walter's family and Elsa, Walter's sweetheart. Everyone's guilt and grief create in Paul a kind of eerie substitute for Walter. The film ends with Paul playing on the violin a lullaby similar to those Walter had played before the War.
*Broken Lullaby* is an excellent anti-war film, much in the *All Quiet on the Western Front* genre. It is unfortunate that it has not over the years received the critical attention it deserves.
it is easy to define it as pathetic. but it has the virtue to be one of the most convincing anti-war film. not only for the touching speech of the character of Lionel Barrymore front to his friends, for the need of Paul Renard to correct a terrible sin or for the final lullaby, but for the status of message between the two World Wars. this is the detail who gives more value to an exercise to define the need of peace than many others films about the same theme. because the ordinary recipes has fascinating nuances in this case. nuances who gives to it a special beauty. and a profound expression of compassion. the delicacy of feelings , the strong emotions, the preconceptions and the image of the other in dark nuances are covered in a real inspired eulogy of humanity.
Broken Lullaby is a story in the vein of All Quiet on the Western Front. Paul Renaud (Phillips Holmes) is a soldier for France during WWI. He does his duty and kills an enemy, but the ordeal scars him painfully. He becomes obsessed with his victim, discovers his name is Walter Holderlin, and even goes to Walter's hometown to visit with his family. He intends to tell them of his crime, to apologize and explain himself. However, when he goes to their home and meets with his father (Lionel Barrymore), he finds he cannot go through with it. He decieves them into thinking he was friends with Walter, and that he came to offer himself as a replacement for their son. In a way, he does take over Walters life, and even falls in love with his fiancée (Nancy Carroll).
A highly sophisticated but atypical Lubitsch film, Broken Lullaby has many memorable scenes and great photographic elements. The camera is hardly static, even for such an early talking picture. The major flaw with it is Holmes' acting style. While the others are more subdued and natural, his stagy performance is a bit offputting.
A highly sophisticated but atypical Lubitsch film, Broken Lullaby has many memorable scenes and great photographic elements. The camera is hardly static, even for such an early talking picture. The major flaw with it is Holmes' acting style. While the others are more subdued and natural, his stagy performance is a bit offputting.
Le saviez-vous
- AnecdotesThe family name of the German family whose son was killed is Holderlin, the name of the greatest Romantic idealist poet of Germany.
- ConnexionsRemade as Frantz (2016)
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- How long is Broken Lullaby?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langues
- Aussi connu sous le nom de
- Broken Lullaby
- Lieux de tournage
- Société de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 889 154 $US (estimé)
- Durée1 heure 16 minutes
- Couleur
- Rapport de forme
- 1.20 : 1
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