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La rue rouge

Titre original : Scarlet Street
  • 1945
  • 16
  • 1h 42min
NOTE IMDb
7,7/10
20 k
MA NOTE
Joan Bennett in La rue rouge (1945)
Scarlet Street: Are You An Artist?
Lire clip0:48
Regarder Scarlet Street: Are You An Artist?
1 Video
99+ photos
Film NoirTragedyCrimeDramaThriller

Lorsqu'un homme en crise de la quarantaine se lie d'amitié avec une jeune femme, son fiancé la persuade de l'arnaquer et de lui voler la fortune qu'il n'a pas en réalité.Lorsqu'un homme en crise de la quarantaine se lie d'amitié avec une jeune femme, son fiancé la persuade de l'arnaquer et de lui voler la fortune qu'il n'a pas en réalité.Lorsqu'un homme en crise de la quarantaine se lie d'amitié avec une jeune femme, son fiancé la persuade de l'arnaquer et de lui voler la fortune qu'il n'a pas en réalité.

  • Réalisation
    • Fritz Lang
  • Scénario
    • Georges de La Fouchardière
    • André Mouëzy-Éon
    • Dudley Nichols
  • Casting principal
    • Edward G. Robinson
    • Joan Bennett
    • Dan Duryea
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,7/10
    20 k
    MA NOTE
    • Réalisation
      • Fritz Lang
    • Scénario
      • Georges de La Fouchardière
      • André Mouëzy-Éon
      • Dudley Nichols
    • Casting principal
      • Edward G. Robinson
      • Joan Bennett
      • Dan Duryea
    • 195avis d'utilisateurs
    • 118avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 3 nominations au total

    Vidéos1

    Scarlet Street: Are You An Artist?
    Clip 0:48
    Scarlet Street: Are You An Artist?

    Photos129

    Voir l'affiche
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    + 122
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    Rôles principaux66

    Modifier
    Edward G. Robinson
    Edward G. Robinson
    • Christopher Cross
    Joan Bennett
    Joan Bennett
    • Katharine 'Kitty' March
    Dan Duryea
    Dan Duryea
    • Johnny Prince
    Margaret Lindsay
    Margaret Lindsay
    • Millie Ray
    Rosalind Ivan
    Rosalind Ivan
    • Adele Cross
    Jess Barker
    Jess Barker
    • Damon Janeway
    Charles Kemper
    Charles Kemper
    • Homer Higgins
    Anita Sharp-Bolster
    Anita Sharp-Bolster
    • Mrs. Michaels
    • (as Anita Bolster)
    Samuel S. Hinds
    Samuel S. Hinds
    • Charles Pringle
    Vladimir Sokoloff
    Vladimir Sokoloff
    • Pop LeJon
    Arthur Loft
    Arthur Loft
    • Dellarowe
    Russell Hicks
    Russell Hicks
    • J.J. Hogarth
    Richard Abbott
    • Critic at Gallery
    • (non crédité)
    John Barton
    • Hurdy-Gurdy Man
    • (non crédité)
    Rodney Bell
    • Barney
    • (non crédité)
    Ted Billings
    • Vendor
    • (non crédité)
    Richard Cramer
    Richard Cramer
    • Principal Keeper
    • (non crédité)
    Dick Curtis
    Dick Curtis
    • Detective
    • (non crédité)
    • Réalisation
      • Fritz Lang
    • Scénario
      • Georges de La Fouchardière
      • André Mouëzy-Éon
      • Dudley Nichols
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs195

    7,720.4K
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    10

    Avis à la une

    stephen-357

    A defining film of classic Noir

    Chris Cross is a bank cashier who has just been given a gold watch by his boss for years of faithful service. Chris has three gifts, which are highly sought and cannot be bought: honesty, integrity and talent. The first two earned him the gold watch but the third is something he keeps to himself. He's a "Sunday" painter who paints from the inside out as a means of escaping his colorless life and loveless marriage. Chris is a man who loves beauty but has none himself, and so he fantasizes about some pretty girl that might see beyond his exterior to the man inside. And so one late rainy night chance places a beautiful damsel in distress in this path, and after saving the girl from the villain, he falls desperately in love and to his amazement, the girl loves him back. But things are not what they seem, and in a short while, Chris will trade in the three gifts he does possess for something he can never have. One of the defining films of Classic Film Noir.
    9The_Void

    Another compelling masterpiece from Fritz Lang!

    It is often said of Fritz Lang that his American films aren't as good as the ones he made in Germany, and judging by the films of his that I've seen so far; this analysis is proving itself to be true...but damn, this one isn't far off. Scarlet Street is simultaneously compelling and unpredictable for it's duration; Lang truly knows how to plot a film, and that is evident throughout. The story follows a banker and aspiring painter, played to perfection by Edward G. Robinson, who saves a young woman from a purse snatcher one night while on his way home from a party. The two begin talking to each other, and the banker 'accidentally' tells the girl that he's paints pictures and gets a lot of money for doing so (Lang shows us the pitfalls of trying to impress young women by way of lies). However, all was not what it seemed with the purse-snatcher, and he's actually the young lady's fiancé; and when he learns that his girlfriend has a man with money after her.... he's out for all he can get!

    A lot of Lang's American oeuvre is concentrated on the American justice system and various other crime related things, and this one is no different. Scarlet Street professes that nobody can ever 'get away with murder', and the fantastic climax to the movie shows this masterfully; much more so than many other films that have tried to convey the same message have. Scarlet Street is drenched with irony throughout (ironically, it took a non-American to make an ironic American film). This irony ensures that the film stays interesting, as the audience is never able to guess what's around the corner. There's nothing worse than a predictable film, and Scarlet Street is certainly anything but. The movie is packed with stand out moments, but non stand out more so than the ending. I'm a big fan of horror films and have seen many; but many of those fail to be as chilling as the ending of Scarlet Street. The atmosphere that Lang creates is incredible, and it ranks one of the most powerful psychological mind games that I've ever witnessed on screen. If Fritz Lang set out to put people off murder with this film; I dare say he succeeded. I know I won't be murdering anyone after watching this!

    Overall; Scarlet Street is another Fritz Lang masterpiece. While not as mind blowing as Metropolis or as powerful as M; Scarlet Street fills a niche all of it's own. I rate this film as a 'must see', and I can almost guarantee that you will not be disappointed after seeing it.
    9hitchcockthelegend

    If he were mean or vicious or if he'd bawl me out or something, I'd like him better.

    Christopher Cross, in middle aged, and in a life going nowhere and devoid of love and inspiration. Till one evening he rescues Kitty March from a mugger, it's the start of a relationship that has far reaching consequences for them, and those closest to them.

    The previous year director Fritz Lang had made The Woman In The Window, a film that was hugely popular with critics and fans alike. Here he reunites from that excellent film with Edward G. Robinson, Joan Bennett and Dan Duryea, the result being what can arguably be described as one of the best exponents of Film Noir's dark sensibilities. Adapting from works by André Mouézy-Éon and Georges de La Fouchardière (novel and play), this story of desperate love and greedy deceit had already had a big screen adaptation from Jean Renoir in 1931 as La chienne, which appropriately enough translates as The Bitch! Now there's a Noir title if ever there was one! What Lang does with this adaptation is drip his own expressionism all over it, whilst crucially he doesn't ease off from the harsher aspects of the story. This is nasty, cruel stuff, and with Lang at the time feeling a bit abused and used by the studio system he was slave to, who better to darkly cloak a sordid story with a biting edge? Is it purely coincidence that Lang took on this film about a struggling artist who's vision is stifled by another? Possibly not one is inclined to feel.

    Edward G. Robinson is fabulous as the pathetic Chris Cross. Married to a wife who constantly heckles and belittles him (Rosalind Ivan), Robinson's take on Cross garners empathy by the shed load, so much so that once Kitty (Bennett) and her beau, Johnny Prince (Duryea), start to scheme a scam on Chris, the audience are feeling as desperate as Cross was himself at the start of the movie. Few noir guys have so meekly fell under a femme fatale's spell as the way Cross does for Kitty here. But such is Lang's atmospherics, you not only sense that it's going to go bad, you expect it to, and naturally Robinson is just the man to punch us in the guts with added impetus. Bennett and Duryea are very convincing, almost spitefully enjoying taking the hapless Robinson character for everything they can, and the visuals, especially during the bleak, shadowy last couple of reels, cap the mood perfectly.

    This film is in truth probably saying more about its director than anything else that he made. And in fact it was said to be one of his all time favourites. That's nice to find out because it finds him on particularly good, and yes, devilish form. Grim, brilliant and essential film noir. 9/10
    eleven-2

    Most depressing film of all time

    Edward G. Robinson gives the most subtle - and possibly the greatest - performance of his career in this, the most depressing film ever made. Such a devastating ending is hardly possible these days, and indeed wasn't supposed to have been in 1945. "Immoral, corrupt and tending to incite crime," they called it, "A Hollywood movie we can do without." Perhaps the subversive ending was Lang's answer to those who had criticised his 'cop-out' ending for 'The Woman In the Window' a year earlier. The other two leads - Duryea and Bennett - are brilliant as well, and all the actors make us feel in the end that no one has got what they deserved. 'Scarlet Street' has so many beautifully subtle touches in it that it really has to be seen several times in order to be fully appreciated: the parallel between Kitty and Chris' flower (his 'problems with perspective'); the expression that flashes over Kitty's face when Chris 'confesses' that he's a married man; the brief reference at the beginning to Chris's superstition, which will eventually bring about his psychological downfall. Like many Lang films, it deals with the concept of criminal justice, and is a clever, cruel and fascinating film - a little dated technically, but far ahead of its time, and one of the greatest and blackest film noirs from the forties. The climax is still one of the most chilling in film history - more frightening than most of the great horror films.
    8Hitchcoc

    No Fool Like an Old Fool

    It's hard to see that your youth has escaped you. It happens to us all. The sad personage of Christopher Cross is very touching. He has seen his life pass with a nice gold watch all he has to show for it. His wife is ugly and mean spirited, his work is dull. He is quite a good painter but hasn't time to do anything about it. Them "she" comes into the picture. All those charms, sexy, vulnerable, and evil, with a connection to Dan Duryea (what a cad) to boot. When the Robinson Character comes to her rescue, it's Johnny (Duryea) who is slapping her around. She is perceptive enough to believe that the well dressed older man must have money, and, if she plays her cards right, she can squeeze him for money. He falls, hook, line, and sinker, and really believes she cares about him. Not only is she an opportunist, she even uses his art as her own to get more money. Because he is moonstruck, he lets her go on and on. There is a subplot concerning his wife's first husband and some other things, but he slowly descends the path to destruction. Everyone watching the movie knows that the poor sap is going to get his at some point. The way it happens is a bit of a stretch. Chris should really feel very little guilt; he is victimized all long the way. But in film noir, the dark elements demand their pound of flesh. He is paid for his foolishness and trust.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      According to Ben Mankiewicz on TCM, when first released, local censor boards in New York, Milwaukee and Atlanta banned this film entirely for being "licentious, profane, obscure, and contrary to the good order of the community".
    • Gaffes
      The story takes place in 1934, but all of Margaret Lindsay's and Joan Bennett's clothes, shoes, and hairstyles are strictly in the 1945 mode; fashions had changed considerably during the intervening eleven years. The featured taxicab is a late-1930s vintage, about three years too new.
    • Citations

      Adele Cross: Next thing you'll be painting women without clothes.

      Christopher Cross: I never saw a woman without any clothes.

      Adele Cross: I should hope not!

    • Versions alternatives
      Also available in a computer colorized version.
    • Connexions
      Edited into Michael Jackson's This Is It (2009)
    • Bandes originales
      Melancholy Baby
      (uncredited)

      by Ernie Burnett and George A. Norton

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    FAQ

    • How long is Scarlet Street?
      Alimenté par Alexa
    • Why are the picture and sound so bad?
    • How is this film connected to "The Woman in the Window"? (1944)

    Détails

    Modifier
    • Date de sortie
      • 29 janvier 1947 (France)
    • Pays d’origine
      • États-Unis
    • Sites officiels
      • Streaming on " Top Classic Movies" YouTube Channel (colorized)
      • Streaming on "Artflix - Movie Classics" YouTube Channel
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Scarlet Street
    • Lieux de tournage
      • Universal Studios - 100 Universal City Plaza, Universal City, Californie, États-Unis(Studio)
    • Sociétés de production
      • Fritz Lang Productions
      • Walter Wanger Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 1 202 007 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 42 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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