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Le médaillon

Titre original : The Locket
  • 1946
  • Tous publics
  • 1h 25min
NOTE IMDb
7,1/10
3,4 k
MA NOTE
Robert Mitchum and Laraine Day in Le médaillon (1946)
Film NoirPsychological DramaCrimeDramaRomance

Ajouter une intrigue dans votre langueJust before his wedding, the bridegroom hears a complex tale painting his lovely bride as devilish and unbalanced.Just before his wedding, the bridegroom hears a complex tale painting his lovely bride as devilish and unbalanced.Just before his wedding, the bridegroom hears a complex tale painting his lovely bride as devilish and unbalanced.

  • Réalisation
    • John Brahm
  • Scénario
    • Sheridan Gibney
    • Norma Barzman
  • Casting principal
    • Laraine Day
    • Robert Mitchum
    • Brian Aherne
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,1/10
    3,4 k
    MA NOTE
    • Réalisation
      • John Brahm
    • Scénario
      • Sheridan Gibney
      • Norma Barzman
    • Casting principal
      • Laraine Day
      • Robert Mitchum
      • Brian Aherne
    • 78avis d'utilisateurs
    • 35avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 4 victoires au total

    Photos25

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    + 18
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    Rôles principaux68

    Modifier
    Laraine Day
    Laraine Day
    • Nancy
    Robert Mitchum
    Robert Mitchum
    • Norman Clyde
    Brian Aherne
    Brian Aherne
    • Dr. Harry Blair
    Gene Raymond
    Gene Raymond
    • John Willis
    Sharyn Moffett
    Sharyn Moffett
    • Nancy - Age 10
    Ricardo Cortez
    Ricardo Cortez
    • Drew Bonner
    Henry Stephenson
    Henry Stephenson
    • Lord Wyndham
    Katherine Emery
    Katherine Emery
    • Mrs. Willis
    Reginald Denny
    Reginald Denny
    • Mr. Wendell
    Fay Helm
    Fay Helm
    • Mrs. Bonner
    Helene Thimig
    Helene Thimig
    • Mrs. Monks
    • (as Helen Thimig)
    Nella Walker
    Nella Walker
    • Mrs. Wendell
    Queenie Leonard
    Queenie Leonard
    • Woman Singer
    Lilian Fontaine
    • Lady Wyndham
    Myrna Dell
    Myrna Dell
    • Thelma
    Johnny Clark
    Johnny Clark
    • Donald
    Mari Aldon
    Mari Aldon
    • Mary
    • (non crédité)
    Polly Bailey
    • The Cook
    • (non crédité)
    • Réalisation
      • John Brahm
    • Scénario
      • Sheridan Gibney
      • Norma Barzman
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs78

    7,13.4K
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    Avis à la une

    6didi-5

    Interesting structure

    This film by underrated director John Brahm is one of the more interesting works of the 1940s (not one of the best, but different).

    Laraine Day plays Nancy, about to marry and hiding some dark secrets in her past. She was excellent at this kind of thing. Gene Raymond (not the most charismatic of actors but surprisingly good here) plays her intended, with Brian Aherne as the psychiatrist who knows about her previous life.

    In flashback we see Nancy and her husband (a young Robert Mitchum) and then into another flashback (daring to attempt this at the time when many films were still pursuing conventional structure).

    'The Locket' of the title obviously holds the key to the mystery, and we have an absorbing time pulling all the loose ends together. Reginald Denny, Ricardo Cortez, and Ellen Corby decorate an accomplished cast.
    FilmFlaneur

    Interesting Noir

    Brahm's intricately constructed film is based on the obvious conceit of a locket: in psychoanalytical terms, it symbolises repressed memory and of the 'opening up' of hidden psychosis. In a filmic sense of course, The Locket itself is a cinematic 'locket', the flashbacks within flashback structure reflecting the secret enclosure typical of such a piece of jewellery.

    In fact I can't think of another film that takes this much commented narrative technique to such extremes. Mitchum of course was well used to playing heros faced with abnormal feminine psychology. He faces similar femme fatales in Preminger's 'Angel Face' for instance and in Farrow's 'Where Danger Lives' - all made at around the same time (end 40's, start of 50's). This may reflect something of the obsession that Hollywood had with cod Freudianism just as much as noir convention, but there is no doubting that Mitchum's peculiar manner as an actor, his doe-eyed sleep-walking acting style, made his starring excursions into the dangers of the subconscious peculiarly effective.

    Brahm, one of Hollywoods most neglected directors at least for the work that he did at this time in his career, makes the somewhat over- stretched structure of the film work, pun intended, like a dream. Nancy's final walk to the altar, immediately before her mental and psychic collapse, although necessarily melodramatic, is very effective version of a personal calvary and she seems stunned and trance like. In retrospect, of course, it is easy to see how the whole of the preceding film has been leading up to this sequence, (just as how the flashback structure of the film reminds one in passing of 'Citizen Kane') but the sound and vision montage is still powerful.

    By setting the bulk of the film in flashback, Brahm places it in the past - or, more precisely, in the imaginatively reconstructed past, and it is this dream-sense that retains a powerful grip on the viewer as events unfold. This almost hallucinatory sense, together with a feeling of 'drifting with fate', marks out some of the greatest noirs and B-mysteries made at this time and is what makes this film still very watchable today.

    A 'Locket' well worth looking into.
    8David-240

    Flashback within a flashback within a flashback!

    Yes! This is the movie that does just that - but it's worth watching for more than that. It is an inspired piece of film-making with excellent direction and fine photography. It also features some strong performances especially from the (is she or isn't she evil) Laraine Day, and the wonderful Brian Aherne. And Robert Mitchum's pretty good too. The best bits are almost expressionist - especially the music box shots - and it's full of the pseudo psychological nonsense that Hollywood loved so much in this era. Highly enjoyable.
    7Lejink

    Locket away

    Having recently watched John Brahms' two preceding movies, both centring on psychologically disturbed men (killers in fact) in period features, here the director presents us with an emotionally unstable woman in a contemporary setting. I enjoyed the two earlier films "The Lodger" and "Hangover Square" and I enjoyed this one too.

    The lead character is played by Laraine Day, whose beauty attracts men like honey to a bee, although little do they know that she is a closet kleptomaniac with slippery fingers around rich folk's jewellery, her condition traceable to a childhood incident when she covets an expensive locket given to her by the rich little girl whose house her mother serves, but taken back away from her by the girl's mother as too good for her. When the locket later goes missing she is menacingly if mistakenly accused by the mother and given to believe that her shame at this has coloured her future conduct as an adult. Not only do her good looks attract the interest of deep men like Robert Mitchum's artist and Brian Aherne's doctor, it all climaxes in a super-charged betrothal scene to her third beau, the very rich Gene Raymond whose mother's nuptial gift to her of a locket finally unlocks years of denial and guilt on her part.

    I'd have to say that the plot certainly overdoes the Freudian associations of Day's Cassandra-like obsession with jewellery. I also couldn't quite imagine Mitchum firstly as a tortured artist and secondly taking the extreme action he does as he gives up Day to Aherne, while the final coincidence of the other locket was just a bit too much to swallow.

    Nevertheless, it was again stylishly directed by Brahm with strong performances by Day as the beguiling magpie Nancy, as adept at stealing men's hearts as old folk's jewellery, Aherne as the duped doctor and even Mitchum, miscast as he was. The layered flashbacks I found intriguing while the use of dramatic lighting, staging and music added greatly to the suspense.

    1940's Hollywood movies were awash with psychologically disturbed individuals in films from Citizen Kane on down and while this particular feature overdoes the angst more than a bit, it was none the less entertaining for all that.
    limsgirl

    intricate noir worth trying to find

    I give full credit to this little treat for introducing me to the world of noir cinema when I happened to stumble onto it on AMC. (Oh, that AMC showed films of this caliber lately!) Laraine Day gives a beautifully understated performance, handling what would now perhaps be called a tragic case of posttraumatic stress disorder resulting in a life of twists and turns with truth, no scenery chewing. Brian Aherne strikes just the right clinical note as the sadder-but-wiser exhusband, and Robert Mitchum gives a memorable performance as the first (at least the first chronicled in this tale) man to fall victim to Nancy's fatal charms. As Norman, he certainly delivers a farewell present to Nancy's physician spouse, and by extension, to Nancy, that they won't soon forget. The denouement at the mansion while wedding guests await fair Nancy is gripping cinema. Watch for a great performance by the mother of Joan Fontaine and Olivia Dehaviland as the cruel woman responsible for Nancy's childhood trauma. Worth the while!

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Norma Barzman's lengthy treatment for this film, which Sheridan Gibney revised into a screenplay, was inspired by a true event which was recounted to her by financier George Peabody Gardner and his sister Belle. When younger, the Gardners eschewed their aristocratic upbringing partly in reaction to an incident in their youth: As children they became friendly with the daughter of the family's housekeeper. It transpired that the daughter was wrongly accused of stealing a locket, leading to the firing and departure of the housekeeper and her daughter. Years later, they learned that the daughter suffered from depression and was implicated in a theft, a consequence for which the Gardners felt their family was partly responsible.
    • Gaffes
      American ambulances, shown driven with left-hand drive, were not used in wartime London.
    • Citations

      Norman Clyde: I don't take money for nothing. I'm not conducting a class so the parasitic rich can escape boredom. I'm not that hard up.

      Nancy Patton: Well, I hope you never will be, Mr. Clyde. I admire your principles. I wish I could say the same for your disposition.

    • Connexions
      Edited into Histoire(s) du cinéma: Fatale beauté (1994)
    • Bandes originales
      Hands, Knees and Boomps-a-Daisy
      (uncredited)

      Written by Annette Mills

      Performed by Queenie Leonard

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    FAQ18

    • How long is The Locket?Alimenté par Alexa
    • What makes this film a one of the great "Film Noir" of its day ?

    Détails

    Modifier
    • Date de sortie
      • 25 juin 1948 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • The Locket
    • Lieux de tournage
      • RKO Studios - 780 N. Gower Street, Hollywood, Los Angeles, Californie, États-Unis(Studio)
    • Société de production
      • RKO Radio Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 25 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.33 : 1

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    Robert Mitchum and Laraine Day in Le médaillon (1946)
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    By what name was Le médaillon (1946) officially released in India in English?
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