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Le mur invisible

Titre original : Gentleman's Agreement
  • 1947
  • Tous publics
  • 1h 58min
NOTE IMDb
7,2/10
19 k
MA NOTE
Gregory Peck and Dorothy McGuire in Le mur invisible (1947)
Regarder Trailer
Lire trailer2:12
1 Video
34 photos
DrameRomance

Un journaliste se fait passer pour un juif afin de couvrir un article sur l'antisémitisme. C'est ainsi qu'il découvre réellement les véritables profondeurs du sectarisme et de la haine.Un journaliste se fait passer pour un juif afin de couvrir un article sur l'antisémitisme. C'est ainsi qu'il découvre réellement les véritables profondeurs du sectarisme et de la haine.Un journaliste se fait passer pour un juif afin de couvrir un article sur l'antisémitisme. C'est ainsi qu'il découvre réellement les véritables profondeurs du sectarisme et de la haine.

  • Réalisation
    • Elia Kazan
  • Scénario
    • Laura Z. Hobson
    • Moss Hart
    • Elia Kazan
  • Casting principal
    • Gregory Peck
    • Dorothy McGuire
    • John Garfield
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,2/10
    19 k
    MA NOTE
    • Réalisation
      • Elia Kazan
    • Scénario
      • Laura Z. Hobson
      • Moss Hart
      • Elia Kazan
    • Casting principal
      • Gregory Peck
      • Dorothy McGuire
      • John Garfield
    • 176avis d'utilisateurs
    • 78avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompensé par 3 Oscars
      • 17 victoires et 9 nominations au total

    Vidéos1

    Trailer
    Trailer 2:12
    Trailer

    Photos34

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
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    + 26
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    Rôles principaux82

    Modifier
    Gregory Peck
    Gregory Peck
    • Philip Schuyler Green
    Dorothy McGuire
    Dorothy McGuire
    • Kathy Lacy
    John Garfield
    John Garfield
    • Dave Goldman
    Celeste Holm
    Celeste Holm
    • Anne Dettrey
    Anne Revere
    Anne Revere
    • Mrs. Green
    June Havoc
    June Havoc
    • Elaine Wales
    Albert Dekker
    Albert Dekker
    • John Minify
    Jane Wyatt
    Jane Wyatt
    • Jane
    Dean Stockwell
    Dean Stockwell
    • Tommy Green
    Nicholas Joy
    Nicholas Joy
    • Dr. Craigie
    Sam Jaffe
    Sam Jaffe
    • Prof. Fred Lieberman
    Harold Vermilyea
    Harold Vermilyea
    • Lou Jordan
    Ransom Sherman
    • Bill Payson
    • (as Ransom M. Sherman)
    Ed Agresti
    • Waiter
    • (non crédité)
    Monya Andre
      Edward Biby
      Edward Biby
      • Nightclub Patron
      • (non crédité)
      Louise Buckley
      • Mother
      • (non crédité)
      Patricia Cameron
        • Réalisation
          • Elia Kazan
        • Scénario
          • Laura Z. Hobson
          • Moss Hart
          • Elia Kazan
        • Toute la distribution et toute l’équipe technique
        • Production, box office et plus encore chez IMDbPro

        Avis des utilisateurs176

        7,218.6K
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        Avis à la une

        lord_shatner

        A 50+ year old contemporary movie

        I've seen a lot people describe this movie as "a period piece" and a great movie but irrelevant in our time.

        However, this movie has lessons that every new generation should learn.

        The lessons taught in this movie can be applied to other forms of prejudices such as sexism, racism, and homophobia among others.

        Our society today is still full of "nice" people who detest bigotry and intolerance, but stand idly by while it happens right in from of them. Watching this movie could change all that.
        Mankin

        Much better than its reputation

        In his commentary for the DVD of `Gentlemen's Agreement,' critic Richard Schickel spends some of it criticizing the flaws in the movie (something I wish more commentaries would do). Mostly I disagreed with him, especially about Dorothy McGuire's fine performance. She has by far the toughest role in the picture as Gregory Peck's conflicted fiancée, whose complacent belief that she doesn't have an anti-semitic bone in her body is severely tested when he decides to pretend to be Jewish for a newspaper article. I often think of prejudice as the act of automatically assuming something is fact about someone we don't know, based on stereotypical preconceived notions. Anti-semitism is the reference point for the movie, but what it really does is examine the subject of prejudice from many different angles, from its most virulent to its most subtle forms. It even explores the role played by Jewish self-hatred in exacerbating the problem. The only time the film begins to resemble an `After School Special' is in Ann Revere's preachy speech towards the end. On balance, however, `Agreement' is much more complex than it's been given credit for. (I may be too late, but in answer to the User Commenter who wanted to know the name of the main title theme: it's an Alfred Newman original that is only heard that one time in the film. He developed it more extensively a couple of years later in Kazan's "Pinky.")
        Bryan Ho

        Important message, poor execution

        Although one certainly cannot say Gentleman's Agreement is not passionate in its aim to uncover the invisible cloak of anti-Semitism in post-war America, the execution of that objective could have used slightly more dramatic tension and immediacy.

        Released the same year and touching on the same subject was Edward Dmytryk's Crossfire, which dealt with anti-Semitism at its extremes: murder with anti-Semitism as the motive. Gentleman's Agreement takes a more humanistic and subtle approach--one that is too subtle at times. Where Crossfire dropped the bomb of anti-Semitism into the laps of the audience, Gentleman's Agreement gives it to you in periodic shots in the arm in the form of a sermon, and each one says the exact same thing: anti-Semitism is bad. (But we knew that.) Yes, the message is an important one, but feeding it to the audience in a manner that is literally shoving it down our throats every few minutes doesn't help the digestion any.

        Also lacking in Gentleman's Agreement is a three-dimensional protagonist. Peck's crusading writer who masquerades as a Jew is simply too zealous and unswerving for his own good. He has no faults, no inner conflicts and no doubts about himself. Whether he's being shunned by bigots or Dorothy McGuire, he's such a straight-shooter you know what he's going to do before he does: the right thing right away.

        There's no real dramatic arc in the story, with the entire weight of the movie resting on the torrid on-again-off-again love affair between Peck and McGuire. She symbolizes the hypocrisy and passiveness of the everyday American on anti-Semitism, and he points it out to her every chance he gets-and that's all. It pretty much rambles on the same dramatic level all throughout the picture, dividing its time between love scenes and sermons, most of which are indistinguishable from one another.

        In the end, the important message and the overall entertainment value of the picture suffers from this redundancy.
        8WilliamFallsJr

        Short and to the Point

        I'll make this review short and to the point. I'm 55 and I've watched this movie for the first time. All I can say is it really opened my eyes. I'm not Jewish, but this quote from the movie really makes a lot of sense and can be used today for any race, religion, or sexual orientation. Professor Fred Lieberman: "Millions of people nowadays are religious only in the vaguest sense. I've often wondered why the Jews among them still go on calling themselves Jews...Because the world still makes it an advantage not to be one. Thus it becomes a matter of pride to go on calling ourselves Jews." I would highly recommend this movie.
        10chevyblue-86998

        Powerful? 75 years later and it still changes people.

        I often hear movies described as powerful. Most of the time the word is misused. Not this time.

        It's 2021 as I write. I watched this movie last night for the simple reason that there was nothing else on tv worth watching at 1 AM other than reruns of The Monkees. Seeing as how I love The Monkees, it's weird that I chose to watch this movie instead. I think I know why though.

        The description doesn't do this movie justice. I almost changed channels after reading it, but one of the early scenes caught my attention and every scene after kept it. The more I watched, the further from shore I walked until it was impossible to swim back.

        I am 62 years old and more set in my way of thinking than any other white male Georgia boy there is. Or so I thought. Thank God I was wrong. Born and raised a small town Confederate Conservative. Nuff said? No. That's one of the truths of this movie. Watch it and quit putting people in the groups that even today's society say are morally correct. Lesson learned.

        Just by being who I am and where I'm from, I know what it's like to be stigmatized.

        I'm a racist. That's the box the world says I belong in. That's the label in big bold letters that I wear every where I go. I always took pride in knowing the label was wrong. From that day long ago when I made friends with the first black kid to be placed in my elementary school after segregation, I have lived my life riding a different wave. The road I took led me on different paths. Racist was the opposite of who I am. 62 years of living this life proved it. This movie made its way deep inside and for the first time I realized I have spent my life seeing my reflection in a fun house mirror. The image of my reflection was distorted. That's a hard truth to swallow. I knew everyone else was wrong, (yes you are), the reflection you see is warped, but mine? Yes. Even mine.

        Watch this movie alone. Don't let anything disturb you. And hopefully you will see your true self for the first time. I did. Maybe it will change you. Hopefully, it did me. Time will tell.

        If this movie is in book form, it should be required reading for every high school student. If not, it should be recommended that every college grad watch it before receiving their diploma. The world would be so much closer to God's intent if we did.

        Oscars Best Picture Winners, Ranked

        Oscars Best Picture Winners, Ranked

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        Histoire

        Modifier

        Le saviez-vous

        Modifier
        • Anecdotes
          In 1984 Gregory Peck claimed to have been misquoted in a 1967 interview in which he said Elia Kazan was the wrong director for the film. The actor said, "That's a misunderstanding. I don't think there could have been a better director for the film. What I meant was that he and I didn't have a rapport; emotionally, we were not on the same wave length. I don't think that I did my best work for him. If I worked with him now--as a mature man--I think I would give him everything he would want."
        • Gaffes
          Early on, when Phil reminisces about his Jewish friend, Dave, he looks into the mirror and assesses his own features as being consistent with those of the Jews. This reveals his own experiences of having been influenced by the false stereotype of there being a "Jewish look". This is antithetical to his attacking anti-Semitic thoughts and actions in others, throughout the film. This, however, should not be considered a "GOOF" as many people are guilty of hypocrisy.
        • Citations

          Kathy Lacey: You think I'm an anti-Semite.

          Phil Green: No, I don't. But I've come to see lots of nice people who hate it and deplore it and protest their own innocence, then help it along and wonder why it grows. People who would never beat up a Jew. People who think anti-Semitism is far away in some dark place with low-class morons. That's the biggest discovery I've made. The good people. The nice people.

        • Crédits fous
          The main title theme begins with the Fox logo, replacing the usual Alfred Newman fanfare.
        • Connexions
          Featured in Precious Images (1986)
        • Bandes originales
          Street Scene
          Composed by Alfred Newman

          Played during opening scene

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        FAQ17

        • How long is Gentleman's Agreement?Alimenté par Alexa

        Détails

        Modifier
        • Date de sortie
          • 24 septembre 1948 (France)
        • Pays d’origine
          • États-Unis
        • Langue
          • Anglais
        • Aussi connu sous le nom de
          • La luz es para todos
        • Lieux de tournage
          • Darien, Connecticut, États-Unis
        • Société de production
          • Twentieth Century Fox
        • Voir plus de crédits d'entreprise sur IMDbPro

        Box-office

        Modifier
        • Budget
          • 1 985 000 $US (estimé)
        Voir les infos détaillées du box-office sur IMDbPro

        Spécifications techniques

        Modifier
        • Durée
          • 1h 58min(118 min)
        • Couleur
          • Black and White
        • Rapport de forme
          • 1.37 : 1

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