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Adieu ma belle

Titre original : Murder, My Sweet
  • 1944
  • Tous publics
  • 1h 35min
NOTE IMDb
7,5/10
16 k
MA NOTE
Dick Powell and Claire Trevor in Adieu ma belle (1944)
Trailer for this suspense film
Lire trailer2:12
1 Video
99+ photos
Film NoirHard-boiled DetectiveCrimeDramaMysteryThriller

Après avoir été embauché pour retrouver l'ancienne petite-amie d'un ex-détenu, Philip Marlowe est entraîné dans un réseau profondément complexe de mystère et de tromperie.Après avoir été embauché pour retrouver l'ancienne petite-amie d'un ex-détenu, Philip Marlowe est entraîné dans un réseau profondément complexe de mystère et de tromperie.Après avoir été embauché pour retrouver l'ancienne petite-amie d'un ex-détenu, Philip Marlowe est entraîné dans un réseau profondément complexe de mystère et de tromperie.

  • Réalisation
    • Edward Dmytryk
  • Scénario
    • John Paxton
    • Raymond Chandler
  • Casting principal
    • Dick Powell
    • Claire Trevor
    • Anne Shirley
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,5/10
    16 k
    MA NOTE
    • Réalisation
      • Edward Dmytryk
    • Scénario
      • John Paxton
      • Raymond Chandler
    • Casting principal
      • Dick Powell
      • Claire Trevor
      • Anne Shirley
    • 149avis d'utilisateurs
    • 77avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire au total

    Vidéos1

    Murder, My Sweet
    Trailer 2:12
    Murder, My Sweet

    Photos155

    Voir l'affiche
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    + 148
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    Rôles principaux30

    Modifier
    Dick Powell
    Dick Powell
    • Philip Marlowe
    Claire Trevor
    Claire Trevor
    • Helen Grayle
    Anne Shirley
    Anne Shirley
    • Ann Grayle
    Otto Kruger
    Otto Kruger
    • Jules Amthor
    Mike Mazurki
    Mike Mazurki
    • Joe 'Moose' Malloy
    Miles Mander
    Miles Mander
    • Leuwen Grayle
    Douglas Walton
    Douglas Walton
    • Lindsay Marriott
    Donald Douglas
    Donald Douglas
    • Police Lt. Randall
    • (as Don Douglas)
    Ralf Harolde
    Ralf Harolde
    • Dr. Sonderborg
    Esther Howard
    Esther Howard
    • Jessie Florian
    Ernie Adams
    Ernie Adams
    • Bartender at 'Florian's'
    • (non crédité)
    Bernice Ahi
    Bernice Ahi
    • Dancer at the 'Cocoanut Beach Club'
    • (non crédité)
    George Anderson
    • Detective
    • (non crédité)
    Edward Biby
    Edward Biby
    • Club Patron
    • (non crédité)
    Jack Carr
    • Dr. Sonderborg's Assistant
    • (non crédité)
    Tom Coleman
    • Police Clerk
    • (non crédité)
    Ralph Dunn
    Ralph Dunn
    • Detective
    • (non crédité)
    Sam Finn
    • Headwaiter
    • (non crédité)
    • Réalisation
      • Edward Dmytryk
    • Scénario
      • John Paxton
      • Raymond Chandler
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs149

    7,515.6K
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    10

    Avis à la une

    7ccthemovieman-1

    Love The Wisecracks, But Wish It Was Easier To Understand

    This is considered one of the classic film noirs ever made and some think THE film noir. In recognizing that before I had seen it, perhaps I was disappointed because I expected more.

    What I found was a very confusing film, at least in the last third of the movie as everything started to be explained. It almost got ridiculous in the last 10 minutes when Dick Powell ("Philip Marlowe") explained the whole story. He talked too fast and it was next to impossible to follow. I guess I will have to view this more often to understand it better, or find someone who can explain it for my feeble brain.

    The best part of the film was the cinematography, which really comes to life on the DVD. Someone did a very nice job restoring this film. That, and the general dialog by Powell, were fascinating. You could make a short book with all the wise-guy remarks made by "Marlowe" in this film - a lot of great stuff. I just wish they had made a simpler story and made it easier for the viewer to digest all the facts at the end.
    10Arriflex1

    The Screen's Best Marlowe

    "I caught the blackjack right behind my ear. A black pool opened up at my feet. I dived in; it had no bottom."- Phillip Marlowe in MURDER, MY SWEET.

    There are plenty of bottomless pools in MURDER, MY SWEET, Edward Dmytryk's outstanding noir. Tapping into a direct line to the dark places of the human psyche, the film raises the curtain on one shadowy scene after another. It leads the viewer on a convoluted trip through a very gloomy and treacherous labyrinth where oily con men, pesky cops, scheming ladies, and at least one gargantuan lovesick Romeo put the down-at-heels private investigator through the wringer.

    Moose Malloy's vanished girlfriend (and a tidy retainer) occupies Marlowe at first. Then, when an expensive jade necklace needs retrieving (with another fat fee offered), Marlowe bites again. But suddenly those too deep pools begin to appear.

    John Paxton's screenplay has the cast of characters thinking out loud a lot, which helps occasionally. But just as in Raymond Chandler's other overly schematic crime story, THE BIG SLEEP, strict attention must be paid. Yet even if you become confused, you can still revel in Harry J. Wilde's sterling cinematography. (As mentioned in another review, Wilde, along with a slew of other people, including Orson Welles, shot additional scenes for THE MAGNIFICENT AMBERSONS for which he and the others received no credit. As Welles himself intones rather solemnly at that film's conclusion: "Stanley Cortez was the photographer").

    The really big draw in MURDER is Dick Powell, not just delivering a career-changing performance (and being the first actor to play Marlowe) but also giving the best interpretation of Marlowe on film- and that includes Bogart's fine outing in Hawks' THE BIG SLEEP(1946), Robert Mitchum's two disappointing films, and Elliot Gould's daring 1973 performance in Altman's THE LONG GOODBYE. Powell projects the detective's weary cynicism and dogged determination without any hint of showy mannerism or overplayed toughness. His presence is completely natural and convincing, far from any Hollywood ham acting.

    In addition, MURDER, MY SWEET presents the polished villainy of Otto Kruger, slithering around Powell with his characteristic reptilian menace; Anne Shirley as a spunky good girl who brightens the gloom somewhat; and, on the femme fatale side, the high voltage glare of Claire Trevor, laminated in heavy make-up like a pricey, megawatt doxy. Literally towering over everything is Mike Mazurki's Moose (far more effective than Jack O'Halloran's catatonic trance in Mitchum's FAREWELL, MY LOVELY). Mazurki's silent entrance into Marlowe's office at the beginning sets the uneasy mood where huge, powerful forces stir and then emerge from the darkness.
    David Watkins

    Chandler's opinion of Powell

    Chandler once said that Powell was his favourite - not, naturally, his ideal - screen Marlowe. Though "Bogart is always excellent as Bogart", he wasn't Marlowe.

    Claire Trevor is the classic proof of how personality is more important than looks, even in sexy parts. Short, powerfully built, coarse-featured, she comes across here as overpoweringly glamorous and alluring.
    stryker-5

    "I Don't Know Which Side Anybody's On!"

    Private dick Phil Marlowe is hired by a "paltry, foppish man" to accompany him on a midnight assignation. What follows is a glorious piece of Chandleriana, a ganglion of a plot involving a jade necklace, a jailbird who carries a torch for a showgirl, a "big-league blonde" with a rich old husband and an eye for private eyes, and more narrative twists and turns than a Restoration comedy on acid.

    Will Moose be reunited with Velma? Who's the brunette in the gulch? What is Anthor's precise relationship with Marriott? How many more times can Marlowe get slugged from behind without having his skull disintegrate?

    Golden tenor Dick Powell may not be the obvious choice to play Marlowe, but in fact he turns in THE definitive performance. Chandler once defined the ideal hero in one of his essays as a special man, but at the same time a man of the people. Not amazingly bright, subject to bouts of confusion and wrong-headed wilfulness, but for all that a tough, decent, dry-humoured guy who just happens to be as sexy as hell. Powell delivers.

    Watch out for a remarkable dream sequence after Marlowe is forcibly injected with heroin (yes, heroin). Expressionist cinema was never as evocative as here!

    All in all, the film is an example of a genre captured at its apex - "like lighting a stick of dynamite, and telling it not to go off"!
    bob the moo

    The second version of the story and the best, with atmospheric direction, tough dialogue, convincing characters and great performances

    Phillip Marlowe is tired and resting in his office when Moose Malloy comes to visit him and hire him as a private detective to investigate his former lover, Velma, who has gone missing in the past 8 years that Moose has been in jail. Without a great deal of luck early on, Marlowe takes another case, escorting a Mr Marriott. When Marlowe is knocked out and Marriott murdered, things begin to get more confusing. With the police suspecting him of being involved more than he is letting on, Marlowe investigates further, getting involved in other jobs for clients who want to find Moose Malloy for some reason. Murder follows murder as Marlowe finds himself right in the middle of it with only his link to Moose keeping him alive.

    Having recently seen a strange telling of this story in 'The Falcon Takes Over' I decided to go back and see the most famous version. Of course this actually involves going forward in time (the Falcon did it first by almost two years) but it is certainly a step up in quality as this version is much, much better since in the first version it was used as plot fodder within an existing formula. I have not read the book but for me everything works really well here with the right mix of plot, character and atmosphere. As I have admitted before, I'm not the smartest of men on this earth and, as a result, I do get confused by some of this type of film where the twisty plot is not that well explained (The Big Sleep always has me a bit spun) and here at times I was a bit unsure of who was what, but this comes good by the end and is clear with a satisfying ending to the piece. The atmosphere is tough considering the period and is more effective for being built tough on the characters and not by just writing lots of F words into the script. Dmytryk directs really well with the time honoured shadow and use of music, the camera also moves well even if some of the shots look a bit dated (well – it has been sixty years this year you know).

    The characters are well-written and convincing. Marlowe is a dead beat – cool but not so tough and together that it takes away from his status as being a downbeat. Powell is not someone who leaps to mind when I think about the noir genre but he is very good here and gets the character really spot on. Mazurki makes Malloy his own with a firm performance that shows Moose to be strong but also manipulated by the love he totally believes in. Trevor is very good, as are Shirley and Kruger. The dialogue is sharp and tough and all of them do really well with the lines and the characters they have (making them more than pigeon-holed genre clichés) but the film mostly belongs to Powell.

    Overall this is a very good film and is miles better than the first filmed version of this story. The film is atmospheric and looks great; the story is not afraid to risk losing the audience and is smart but pulls it all together and didn't lose me totally at any point. The dialogue is tough and quotable and is delivered by a collection of actors giving good performances, headed up by Dick Powell, doing his best to make us think of him first when we think of this story and the character of Marlowe.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      For the scene in which Marlowe is drugged, Edward Dmytryk showed Dick Powell falling through a sea of faces. He borrowed a trick from Cinquième colonne (1942) by having the camera pull back from the actor to make it seem like he was falling. He also had the camera accelerate as it pulled back, to intensify the horror.
    • Gaffes
      In the opening montage the men sitting around the interrogation table are not wearing hats. The camera zooms in on a reflection of the lamp on the glass table top, but when it pulls back, all three other than Marlow are wearing hats. Actually, there are only three men's heads shown - Marlowe on the left without a hat and two others who do have hats and a fourth man, but only his hands can be seen. When the camera pulls back, Marlowe is now at the front instead of at the left.
    • Citations

      Philip Marlowe: She was a charming middle-aged lady with a face like a bucket of mud. I gave her a drink. She was a gal who'd take a drink, if she had to knock you down to get the bottle.

    • Versions alternatives
      Exists in color-computerized version.
    • Connexions
      Edited into American Cinema: Film Noir (1995)

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    FAQ26

    • How long is Murder, My Sweet?Alimenté par Alexa
    • Is "Murder, My Sweet" based on a novel?
    • Why did they change the name of the movie?
    • How closely does the movie follow the novel?

    Détails

    Modifier
    • Date de sortie
      • 31 juillet 1946 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Murder, My Sweet
    • Lieux de tournage
      • Sunset Tower Hotel - 8358 Sunset Blvd, West Hollywood, Californie, États-Unis(apartment of Jules Amthor)
    • Société de production
      • RKO Radio Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 400 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 35 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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