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Ajouter une intrigue dans votre langueThe close friendship of three German soldiers is strengthened by their shared love for the same woman, who is dying of tuberculosis.The close friendship of three German soldiers is strengthened by their shared love for the same woman, who is dying of tuberculosis.The close friendship of three German soldiers is strengthened by their shared love for the same woman, who is dying of tuberculosis.
- Réalisation
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 5 victoires et 1 nomination au total
Ricca Allen
- Housekeeper at Sea-side Hotel
- (non crédité)
Stanley Andrews
- Officer Giving Toast
- (non crédité)
Jessie Arnold
- Nurse at Sanatorium
- (non crédité)
Barbara Bedford
- Rita - Singer Accompanied by Erich
- (non crédité)
Walter Bonn
- Adjutant Requesting Demolition of Plane
- (non crédité)
Henry Brandon
- Valentin - Man with Eye Patch
- (non crédité)
Francis X. Bushman Jr.
- Second Comic
- (non crédité)
George Chandler
- First Comic with Singer
- (non crédité)
Spencer Charters
- Herr Schultz
- (non crédité)
Avis à la une
Three friends navigate life after the scarring experience of WWI in this melancholy and even somewhat eerie film from 1938.
Notable about this movie is the fact that it's about three German men, though the fact that they're played by Robert Taylor, Robert Young, and Franchot Tone makes that easy to forget. As the dark cloud of WWII was descending on Europe, it was kind of a gutsy move for Hollywood to think anyone would be able to care about a group of protagonists who were the enemy of the film's central conflict and still the enemy in the real conflict developing overseas. But the point of the movie is that war in general and WWI in particular left everyone shattered, no matter what side you were on. The film does a fantastic job of capturing the fatalistic, doomed quality that WWI implanted in the human psyche and that fueled what would be dubbed the Lost Generation of artists coming out of it. I'm personally fascinated by WWI and its psychological effects on the world, and so this movie was of particular interest to me.
I was also interested to see Margaret Sullavan in the role that brought her her sole career Academy Award nomination. She plays a dying woman who falls in love with one of the friends and changes the group's dynamic. Her impending death is a stand in for the impending death of everyone, something that before the war was an abstract notion but after it feels close and real. Death is an ever-present shadow in this movie, and its role in the film's ending makes it both haunting and uplifting at the same time.
Grade: A
Notable about this movie is the fact that it's about three German men, though the fact that they're played by Robert Taylor, Robert Young, and Franchot Tone makes that easy to forget. As the dark cloud of WWII was descending on Europe, it was kind of a gutsy move for Hollywood to think anyone would be able to care about a group of protagonists who were the enemy of the film's central conflict and still the enemy in the real conflict developing overseas. But the point of the movie is that war in general and WWI in particular left everyone shattered, no matter what side you were on. The film does a fantastic job of capturing the fatalistic, doomed quality that WWI implanted in the human psyche and that fueled what would be dubbed the Lost Generation of artists coming out of it. I'm personally fascinated by WWI and its psychological effects on the world, and so this movie was of particular interest to me.
I was also interested to see Margaret Sullavan in the role that brought her her sole career Academy Award nomination. She plays a dying woman who falls in love with one of the friends and changes the group's dynamic. Her impending death is a stand in for the impending death of everyone, something that before the war was an abstract notion but after it feels close and real. Death is an ever-present shadow in this movie, and its role in the film's ending makes it both haunting and uplifting at the same time.
Grade: A
This movie was notable for: the subtle and mysterious acting of Margaret Sullavan; the screenplay by Scott Fitzgerald (which was literary and a bit on the wordy side); and the interesting look at Germany immediately after WWI. Personally, I would have liked to have seen more about the politics and tensions in Germany (playing up Robert Young's role), and less of the Camille-esque love & decline plot. But that's just me.
I thought that the film was carried by Franchot Tone and Margaret Sullavan. Tone's role is nicely played down; he consistently does the right thing, even when it might appear to be the morally wrong thing. He's sure, calm, and direct at every turn. I always enjoy watching him. Sullavan was fascinating. It isn't often you see someone who appears to be an intellectual in a role that didn't necessarily call for that type. She is lovely, dignified, but hardly the standard "babe who attracts three best friends." They seem to like her for her complexity. And that in itself is unusual.
This movie was strange. It should have been better than it was -- the emphasis on the love story slows things up and even feel a bit silly. (When Pat starts wearing traditional German garb in the kitchen just cracked me up.) But the good moments, when they come, making viewing this film worthwhile.
I thought that the film was carried by Franchot Tone and Margaret Sullavan. Tone's role is nicely played down; he consistently does the right thing, even when it might appear to be the morally wrong thing. He's sure, calm, and direct at every turn. I always enjoy watching him. Sullavan was fascinating. It isn't often you see someone who appears to be an intellectual in a role that didn't necessarily call for that type. She is lovely, dignified, but hardly the standard "babe who attracts three best friends." They seem to like her for her complexity. And that in itself is unusual.
This movie was strange. It should have been better than it was -- the emphasis on the love story slows things up and even feel a bit silly. (When Pat starts wearing traditional German garb in the kitchen just cracked me up.) But the good moments, when they come, making viewing this film worthwhile.
"Three Comrades" is one of Frank Borzage's most poignant and memorable love stories.
Based on the novel by Erich Maria Remarque on post-World War I Germany, it concerns three war veterans - Robert Taylor, Franchot Tone, and Robert Young - returning to Berlin on the brink of Nazism and poverty. They share the love of one woman played by Margaret Sullavan who provides them with hope and eternal transcendence.
"Three Comrades" is less emotionally gripping than Borzage's other anti-Nazi films starring Sullavan - "Little Man What Now?"(1934) & "The Mortal Storm"(1940) - but it is imbued with a tender, soft-focus romantic aura and Borzage's characteristic signature, the redemptive powers of love.
Like her role in Borzage's "Little Man", Sullavan is extraordinarily luminous and touching. Aside from Borzage's ethereal touch, I think she is the one that makes the film truly memorable and poignant. The final moment is particularly priceless.
Based on the novel by Erich Maria Remarque on post-World War I Germany, it concerns three war veterans - Robert Taylor, Franchot Tone, and Robert Young - returning to Berlin on the brink of Nazism and poverty. They share the love of one woman played by Margaret Sullavan who provides them with hope and eternal transcendence.
"Three Comrades" is less emotionally gripping than Borzage's other anti-Nazi films starring Sullavan - "Little Man What Now?"(1934) & "The Mortal Storm"(1940) - but it is imbued with a tender, soft-focus romantic aura and Borzage's characteristic signature, the redemptive powers of love.
Like her role in Borzage's "Little Man", Sullavan is extraordinarily luminous and touching. Aside from Borzage's ethereal touch, I think she is the one that makes the film truly memorable and poignant. The final moment is particularly priceless.
In the early sound era, one of the most respected directors in Hollywood was Frank Borzage: in fact, he won the very first Academy Award for Best Director (and would win a second one five years later). Yet his work is now virtually unknown. THREE COMRADES came during his tenure at MGM, where he would stay for the next five years (previously, he had been one of the star directors at Fox, and then worked at Columbia and Warner Brothers); it reunited him with Margaret Sullavan, with whom he had worked on LITTLE MAN WHAT NOW in 1934, and it would represent the only official screen credit for F. Scott Fitzgerald. There are moments (especially in the romance between the poor aristocrat Patricia and the young mechanic Erik) in which you can hear the lilt and romanticism of Fitzgerald's sensibility. THREE COMRADES was one of those movies that played a lot of television in late 1950s-early 1960s, and the moving story of three comrades (played by Robert Taylor, Robert Young and Franchot Tone) and the young woman who enters their lives (played by the great Sullavan, in her Academy Award-nominated performance) trying to find some solace and happiness in the rubble of Germany in the period immediately following the first World War is remarkably touching. Though often criticized for the (many) compromises that went into the making (this was a major studio production in 1938, beset with all the production code and commercial considerations of the era), there's still enough of Remarque's powerful story, Fitzgerald's elegant dialog, and Borzage's romanticism (as well as the superb performance by Margaret Sullavan) to make this one of the most memorable American movies of the 1930s.
What a lovely movie, with such touching performances by all involved it will fill your heart. The three comradesin post war Germany, are Robert Taylor, Franchot Tone, and Robert Young. As the war has ended the three friends try to start life again by opening a auto repair shop. They are all three, different in their ideals and their goals, but are loyal to each other in a wonderful way. Along the way, they meet Margaret Sullivan, a young woman who's past is filled with illness and a mysterious friend by the name of Herr Schultz. He seems to be her benefactor, but the relationship is never defined by more than that. She falls in love with Erich (Taylor) but does not want to marry him, because she is ill, and knows that she will ultimately die. Otto (Tone) persuades her to marry him because even if their time together is short, love is all that matters. She marries him, and falls ill, having never told Erich about her fate. Gottfried (Young) is the idealist who falls the victim of the times, and is killed which breaks up the three comrades. They continue on not telling Pat (Sullivan) he is dead so that she will take an operation to get better. She does, but in the end, sacrifices herself, dying in the arms of her husband (Taylor). It is all and all a beautiful movie, that tells of love and friendship, without selfishness, or pride. Robert Taylor is great in what I would say is a refined, and quiet performance. His love for her is shown in many ways, without words, just a kind of gentleness. This follows the 1936 role of the doomed lover, Armand Duval in Camille, which I consider one of his best performances. Armand was torn and unhappy, Erich is blissful and ardent. Margaret Sullivan is beautiful and valiant as Pat, and her performance gives to Taylor, as did Garbo, a chance to show what a fine actor he really was. A lovely film.
Le saviez-vous
- AnecdotesThis was F. Scott Fitzgerald's only screenwriting credit. Fitzgerald's first draft of the screenplay was completed September 1, 1937.
- GaffesNear the beginning, when the three main characters are seen as civilians, it is 1920. However, Otto's car "Baby" is a 1923 Voisin, and in the road race, the other car is a 1929 Renault.
- Citations
Young Soldier: [At attention] Major, now that the war is over, can I call you "father" again?
- Crédits fousThere is no credit for costume design.
- ConnexionsFeatured in The Romance of Celluloid (1937)
- Bandes originalesAch, wie ist's möglich dann
(uncredited)
(Treue Liebe)
Alte Volksweise
Written by Friedrich Kücken (1827) and Emmerich Freiherr von Hettersdorf (1812)
In the score throughout the film
Played on a record and sung in English by a chorus
Also sung a bit by Barbara Bedford accompanied on piano by Robert Taylor
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- How long is Three Comrades?Alimenté par Alexa
Détails
Box-office
- Budget
- 839 000 $US (estimé)
- Durée1 heure 38 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
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By what name was Trois camarades (1938) officially released in India in English?
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