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IMDbPro

La longue nuit

Titre original : The Long Night
  • 1947
  • Approved
  • 1h 41min
NOTE IMDb
6,5/10
2,3 k
MA NOTE
Henry Fonda and Barbara Bel Geddes in La longue nuit (1947)
Film NoirDrama

Ajouter une intrigue dans votre languePolice surround the apartment of apparent murderer Joe Adams, who refuses to surrender although escape appears impossible. During the siege, Joe reflects on the circumstances that led him to... Tout lirePolice surround the apartment of apparent murderer Joe Adams, who refuses to surrender although escape appears impossible. During the siege, Joe reflects on the circumstances that led him to this situation.Police surround the apartment of apparent murderer Joe Adams, who refuses to surrender although escape appears impossible. During the siege, Joe reflects on the circumstances that led him to this situation.

  • Réalisation
    • Anatole Litvak
  • Scénario
    • John Wexley
    • Jacques Viot
  • Casting principal
    • Henry Fonda
    • Barbara Bel Geddes
    • Vincent Price
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,5/10
    2,3 k
    MA NOTE
    • Réalisation
      • Anatole Litvak
    • Scénario
      • John Wexley
      • Jacques Viot
    • Casting principal
      • Henry Fonda
      • Barbara Bel Geddes
      • Vincent Price
    • 52avis d'utilisateurs
    • 15avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 4 victoires au total

    Photos78

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    Rôles principaux47

    Modifier
    Henry Fonda
    Henry Fonda
    • Joe
    Barbara Bel Geddes
    Barbara Bel Geddes
    • Jo Ann
    Vincent Price
    Vincent Price
    • Maximilian
    Ann Dvorak
    Ann Dvorak
    • Charlene
    Howard Freeman
    Howard Freeman
    • Sheriff
    Moroni Olsen
    Moroni Olsen
    • Chief of Police
    Elisha Cook Jr.
    Elisha Cook Jr.
    • Frank
    Queenie Smith
    Queenie Smith
    • Janitor's Wife
    David Clarke
    David Clarke
    • Bill
    Charles McGraw
    Charles McGraw
    • Policeman
    Melinda Byron
    Melinda Byron
    • Peggy
    • (as Patty King)
    Davis Roberts
    Davis Roberts
    • Freddie
    • (as Robert A. Davis)
    Fred Aldrich
    Fred Aldrich
    • Ticket Taker
    • (non crédité)
    Murray Alper
    Murray Alper
    • Mac - Bartender
    • (non crédité)
    Bobby Barber
    Bobby Barber
    • Nightclub Patron
    • (non crédité)
    Vangie Beilby
    • Audience Member
    • (non crédité)
    Brooks Benedict
    Brooks Benedict
    • Audience Member
    • (non crédité)
    Gladys Blake
    Gladys Blake
    • Millie - Saloon Waitress
    • (non crédité)
    • Réalisation
      • Anatole Litvak
    • Scénario
      • John Wexley
      • Jacques Viot
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs52

    6,52.2K
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    Avis à la une

    7Quinoa1984

    sentimental film-noir with a superb cast

    I wouldn't say The Long Night is a great film, and if anything it only peaks my interest more to see how much more classic the film it's based on is- Marcel Carne's La Jour se Leve. But for the time it ran, I was mostly glued to the screen, and got wrapped up in the plight of Henry Fonda's character Joe, and his predicament of his downfall from normalcy. It probably isn't very original, taking aside its connection with the French source; it's about a factory worker, very nice guy, who falls in love with a woman whom, he finds out, was an orphan just like him. But one night he follows her to a bar, sees her cavorting sort of with a sleazy magician (Vincent Price), and his perfect image of her is shattered, and grows only darker after he meets him (he first tells Joe he's her father, which is a truly great scene between two huge stars of classic film), and when she tells him about her history with him.

    While I could never take my eyes off the screen, it should be said that for all of the strong craftsmanship with the picture (it's one of the finest photographed 'noirs' of the late 40s, especially for those stark scenes of Joe alone in his room with the whole town on the street calling for him) and for all of the tremendous talent in front of the camera- besides Fonda and Price, who the former it's a splendid and rewarding if not best-ever performance and for the latter a triumph of playing sneaky and villainous, the girl playing Jo Ann (Barbara Bel Geddes) is very good- it only works up to a point. I was engrossed the most in the last twenty minutes or so, as the film revved up its pace and tempo to the "will Joe or won't Joe" beat. Before that, it's many scenes that mostly rely on the presence of the actors to uplift the material past the breezy and conventional air of the dialog. There's nothing especially "wrong" with the material, but it doesn't go anywhere aside from hitting its main points.

    The Long Night is something of a minor lost marvel- only recently did it come out on DVD in an OK print- and for Fonda and Price fans its a can't-miss kind of picture. Just don't go expecting anything that will change your perception of what film-noirs can go that don't go for the easy routes.
    10jakob_34

    Dramatic Film Noir

    A remake of Marcel Carnes French film Le Jour Se Leve, with excellent performancies, Henry Fonda is very good in the leading role and Vincent Price at his smarmiest. Barbara Bel Geddes makes a very good debut as movie actress. The director Anatole Litvak have done the film with great flair, it has a nice feel to it and is interesting and dramatic. I think this film is very underrated and should receive more attention than it does, Sol Politos camerawork is very interesting and give some scenes a claustrophobic feeling with his use of light and shadow. If you like atmospheric, dramatic noir dramas I can recommend this one.
    5AlsExGal

    This movie is one big tease

    I've never seen the original French film upon which this film was based, but I can tell you I kept waiting for a plot line payoff that never came. It has everything going for it - solid cast giving good believable performances, good direction, even a good speech that Fonda's character delivers from this broken out window as he is under siege by the police that gives us some insight into what it's like for an average guy who has returned home from years of killing and seeing killing in the war expected to pick up where he left off. But ultimately, I never see anything that Fonda's character, factory laborer Joe Adams, has been put through as far as shock or emotional torment or even disillusionment that would justifiably cause him to kill a man. Is Vincent Price's character Maximillian eloquently taunting and creepy? Yes, and in a way that Price excelled at over the years starting in noirs and proceeding on into his horror films. However, at no time does he do anything that would drive anybody to do more than shoo him away or stuff earplugs in their ears or possibly call the ASPCA (You'll have to watch the film to understand this last remark). I'm giving this film a five just for the fact that I believe the production code is the reason any hard edges that seem to be just under the surface never appear. I'm almost positive the script would have gone further if the censors would have allowed it to be so.

    The real point of interest to me was the action of the police, who behave a lot like the fascists that Joe Adams spent years fighting in WWII. Sure they have a murderer holed up in his rented room, but he's holding no hostages, they've emptied the building, and still they spray him twice with automatic gunfire unannounced - once from the outside into his window, then from the stairwell into the door. When he pushes a sturdy dresser against the door and they realize they can't force their way in THEN they try talking to Joe, starting with the line "We're not fooling"?? No kidding! After Fonda's speech to the crowd, once the crowd starts voicing their support for Joe and promising financial help with a lawyer the police form a line and practically trample the crowd forcing them out of the street. I don't know if the heavy handedness of the police was something that Litvak wanted the audience to notice, but it was something I noticed.

    I'd recommend this one just for the good performances and atmosphere and some imagery you don't see that much in films immediately after WWII, but don't expect something shocking or even interesting to happen just because of all of the talent assembled here.
    6kenjha

    Long, Dull Night

    Holed up in his apartment after committing a murder, a depressed war veteran engages in a gun battle with the police while reflecting on the circumstances that led to the situation. It sounds intriguing on paper, but the script is rather sloppy, featuring flashbacks within flashbacks. It's basically an uninteresting story with dull characters. Fonda tries to make something of his role, but is given little to work with. Bel Geddes makes an impressive film debut, and Dvorak and Price are also fine, but they are all let down by the screenplay. Litvak has made better films, but here his staging of police work and the shootout is poorly executed.
    dbdumonteil

    Le Jour ne se Lève pas.

    This is an example of a very BAD remake.Proof positive that great actors and good directors do not necessarily mean good work.You have got to bear in mind that Carné/Prévert's "Le JOur se Lève" was made in 1939 at a time when France was not smiling .The movie was so depressing it was quickly forbidden by the military censorship (see my review of the French film for more details).The movie was an exact reflection of its time.Out of that context it's another melodrama.Besides,deprived

    of Prévert's lines -when a poetic dialog is translated into another language,there's always a problem- it loses much of its appeal)

    Although one of the best actors in American cinema,Henry Fonda could not succeed in Gabin's plebeian part.Ann Dvorak is the most adequate choice since her swagger imitates Arletty's.

    And who could forgive the new ending?

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Film debut of Barbara Bel Geddes. She was signed to a seven-year contract with RKO after this film. Director Anatole Litvak cast her after seeing her on Broadway as the female lead in "Deep Are the Roots", which played at the Fulton Theatre for 477 performances beginning 26 September 1945.
    • Gaffes
      When Joe from inside his apartment shoots at the cops who are standing outside his door; it leaves bullet holes in the door. But on a following cut after speaking with the little girl and going back into his apartment; there are no bullet holes on the interior side of the door.
    • Citations

      Maximilian: [to Jo-Ann] You have sharp nails like a little animal. Maybe that's what I like about you.

    • Crédits fous
      Opening card: "...the night is long That never finds the day..." William Shakespeare, Macbeth, Act IV, Scene III
    • Connexions
      Featured in Henry Fonda: The Man and His Movies (1982)
    • Bandes originales
      Symphony No. 7: II. Allegretto
      (uncredited)

      Music by Ludwig van Beethoven

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    FAQ17

    • How long is The Long Night?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 28 mai 1947 (États-Unis)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • The Long Night
    • Lieux de tournage
      • Younghorizon, Ohio, États-Unis(archive footage)
    • Société de production
      • Select Productions (III)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 1 000 000 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 41 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Henry Fonda and Barbara Bel Geddes in La longue nuit (1947)
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    By what name was La longue nuit (1947) officially released in India in English?
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