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Les ensorcelés

Titre original : The Bad and the Beautiful
  • 1952
  • Tous publics
  • 1h 58min
NOTE IMDb
7,7/10
17 k
MA NOTE
Kirk Douglas and Lana Turner in Les ensorcelés (1952)
Trailer for the classic Hollywood drama The Bad and the Beautiful, starring Kirk Douglas, Lana Turner and Gloria Grahame.
Lire trailer2:40
1 Video
99+ photos
Drame de l’industrie du divertissementDrame psychologiqueDrameRomance

Un producteur sans scrupule se sert d'une actrice, d'un réalisateur et d'un écrivain pour réussir.Un producteur sans scrupule se sert d'une actrice, d'un réalisateur et d'un écrivain pour réussir.Un producteur sans scrupule se sert d'une actrice, d'un réalisateur et d'un écrivain pour réussir.

  • Réalisation
    • Vincente Minnelli
  • Scénario
    • Charles Schnee
    • George Bradshaw
  • Casting principal
    • Lana Turner
    • Kirk Douglas
    • Walter Pidgeon
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,7/10
    17 k
    MA NOTE
    • Réalisation
      • Vincente Minnelli
    • Scénario
      • Charles Schnee
      • George Bradshaw
    • Casting principal
      • Lana Turner
      • Kirk Douglas
      • Walter Pidgeon
    • 139avis d'utilisateurs
    • 95avis des critiques
    • 86Métascore
  • Voir les informations de production sur IMDbPro
    • Récompensé par 5 Oscars
      • 7 victoires et 7 nominations au total

    Vidéos1

    The Bad and the Beautiful
    Trailer 2:40
    The Bad and the Beautiful

    Photos113

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
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    + 107
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    Rôles principaux99+

    Modifier
    Lana Turner
    Lana Turner
    • Georgia Lorrison
    Kirk Douglas
    Kirk Douglas
    • Jonathan
    Walter Pidgeon
    Walter Pidgeon
    • Harry Pebbel
    Dick Powell
    Dick Powell
    • James Lee Bartlow
    Barry Sullivan
    Barry Sullivan
    • Fred Amiel
    Gloria Grahame
    Gloria Grahame
    • Rosemary
    Gilbert Roland
    Gilbert Roland
    • 'Gaucho'
    Leo G. Carroll
    Leo G. Carroll
    • Henry Whitfield
    Vanessa Brown
    Vanessa Brown
    • Kay Amiel
    Paul Stewart
    Paul Stewart
    • Syd
    Sammy White
    • Gus
    Elaine Stewart
    Elaine Stewart
    • Lila
    Ivan Triesault
    Ivan Triesault
    • Von Ellstein
    Jay Adler
    Jay Adler
    • Mr. Z - Party Guest
    • (non crédité)
    Stanley Andrews
    Stanley Andrews
    • Sheriff
    • (non crédité)
    Del Armstrong
    Del Armstrong
    • Georgia's Makeup Artist - Screen Test Scene
    • (non crédité)
    Ben Astar
    Ben Astar
    • Joe - Party Guest
    • (non crédité)
    Barbara Billingsley
    Barbara Billingsley
    • Evelyn Lucien - Costumer
    • (non crédité)
    • Réalisation
      • Vincente Minnelli
    • Scénario
      • Charles Schnee
      • George Bradshaw
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs139

    7,717.3K
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    Avis à la une

    Ripshin

    Grahame won an Oscar for this??!!!!

    Winning an Oscar has nothing to do with the amount of on screen time, so the shortness of Grahame's role does not bother me. However, her cartoonish interpretation of a Southern Belle is simply not worthy of an Academy Award, especially when the role is intended to be seriously dramatic. Jean Hagen most certainly deserved the Supporting Actress honor for her APPROPRIATE comedic turn as an over-the-top, unfortunately voiced silent film actress in "Singing in the Rain." And, folks, that scene with an hysterical Lana Turner driving in the rain is, well, HYSTERICAL.

    VM was an excellent director, but some of his films, especially the overwrought melodramas, simply do not hold up. Yes, they always look great, but often the performances in the dramas are of the scenery-chewing variety.

    In regards to another user's post, I agree that the scenario of Powell's character identifying his wife is ridiculous. The same thought immediately crossed my mind when seeing it for the first time.

    My feelings towards Douglas's performance are mixed. At times he hits the mark, but at others, it is pure ham.

    The film is definitely worth seeing, but it does not deserve the status of "classic." Its presentation of the industry is clichéd. As others have stated, "Sunset Boulevard" blows this film out of the water.
    8jotix100

    Making movies

    "The Bad and the Beautiful" takes a look at Hollywood. This incisive take about how movies are made, directed by Vincente Minnelli, dares to go behind the scenes to show what goes on in the way the film industry operates. The film adaptation by Charles Schnee gives us a good idea of that unreal world of fantasy and hype.

    At the center of the story is Jonathan Shields, a young man with connections to the industry. He wants to follow his father's footsteps and goes at it vigorously, making friends and enemies along the way. Jonathan discovers he can be ruthless whenever he wants. His first victim is Fred Amiel, the talented director who Jonathan bypasses in favor of a more established one. Jonathan quickly forgets the friendship Fred and his wife showed him before becoming a big producer.

    Then there is there is Georgia Larrion, the boozy daughter of a famous actor. Jonathan shows how he wants Georgia to succeed in the business, personally taking care of selling her to star in his big project, only to betray her with another woman, a glamorous bit player. When Georgia discovers the truth, she flees Jonathan's mansion in a clear night that suddenly turns into a torrential downpour and loses control of the car, but she doesn't suffer a scratch!

    The last victim of Mr. Shields is the Pulitzer prize winner, James Lee Bartlow, who Jonathan coaxes into leaving his academic life to adapt his own novel for the movies. James is married to the flighty Rosemary, in whom Jonathan discovers a weak link that will do anything to hobnob with the celebrities. Jonathan makes it easy for Rosemary to fall into an affair with the star of Shields' film.

    When we first watched this film, it seemed much better, than on this viewing where a lot of things surface to make some of the story much weaker than before. Some viewers have compared this film with the fate of Orson Welles in Hollywood, and there are a couple of references that could be interpreted that way. Whether it was so, or not, it's up to the viewer to guess where the truth lies.

    Kirk Douglas gave a strong performance as Jonathan Shields. Mr. Douglas showed he clearly understood who this man was. He runs away with the film, in our humble opinion. Lana Turner, a beautiful presence in any movie, is good, but at times she appears to be overwhelmed by the range of emotions she has to project, especially with that phony car scene.

    Dick Powell and Gloria Graham put in an excellent appearance as the Bartlows. Barry Sullivan disappears after Lana shows up, not to be seen until the end. Walter Pigeon is effective as the studio head. Gilbert Roland is perfect as Gaucho, the Latin actor with a lot of charisma.

    Mr. Minnelli shows he wasn't afraid to portray the industry the way we see it in the film, not a small accomplishment, knowing well how it could have backfired on him. Hollywood is not forgiving to those who dare to show its ugly side and that's when the parallel with Orson Welles problems with the system and eventual exile can be drawn.
    9bkoganbing

    A Tale of Three Betrayals

    Producer Jonathan Shields is in big trouble on a production and reaches out to three people he's befriended and betrayed in the past for help. All three are brought to Harry Pebbel's office where he makes a pitch for the help of each one. And we're told in flashback the dynamics of the relationships between Shields and each one.

    One thing about Tinseltown, they've never been afraid to show the seamier side of movie-making. Kirk Douglas's Jonathan Shields is a not too thinly disguised version of David O. Selznick. The same drive, the same ambition, the same overwhelming ego that Selznick was legendary for is a part that was tailor made for Kirk Douglas.

    The three betrayed people, director Fred Amiel(Barry Sullivan), star Georgia Lorrison(Lana Turner), and screenwriter James Lee Barlow(Dick Powell)all ring very true. One of the things I like about this film is that all three stories, each in itself, could be expanded into a film all it's own.

    Lana Turner's role as the ersatz Diana Barrymore is not to hard to spot either. It's so much better here than the film based on her own book Too Much Too Soon. If that voice of Turner's actor father on those 78 rpms she's playing sounds familiar, it's that of Louis Calhern. Turner's was a life lived out all too well in the tabloids and she brings all of it to bear in playing Gerogia Lorrison.

    Dick Powell, who was offered the lead as Jonathan Shields, opted to play tweedy professor turned screenwriter James Lee Barlow. This was Powell's next to last feature picture as an actor, it should have been the one he went out on. Powell was always ahead of the industry's cutting edge and he decided to concentrate more on directing and acting for the small screen.

    Powell's segment includes Gloria Grahame as his flirty wife. Post World War II Hollywood, whenever it had a part for a tramp, first call Gloria Grahame. Here she responds with an Academy Award winning performance. She hasn't many scenes, but as was said in another MGM picture around that time, what there is is cherce.

    I don't think there's ever been an actor who can go from zero to sixty on the emotional scale as quickly as Kirk Douglas. Check the scene when Lana Turner discovers how Douglas betrayed her. The intensity of his reaction alone is frightening and real. Douglas was also up for an Oscar, but it went that year to laconic Gary Cooper in High Noon.

    Vincente Minelli put all the pieces together just right and it comes out great entertainment.
    didi-5

    that bad, bad producer

    A story of betrayals and misunderstandings in the festering underbelly of Hollywood; this is Vincente Minnelli's cool expose of the workings of a producer (Kirk Douglas, as one of the movies' great detestable characters) and the effect he has on those who come into contact with him: a director who feels abandoned yet goes on to produce his greatest work (Barry Sullivan); an actress who is rescued from semi-alcoholism and turned into a star (Lana Turner, in one of her trademark parts); and a prize-winning novelist who is uprooted to shape his book for the screen (Dick Powell, in one of his last film roles before moving into television and film directing).

    We see their stories in a series of flashbacks, linked by the three enemies of Douglas coming together in the office of studio biggie Walter Pidgeon – who coolly reminds them of the good things the producer brought to their lives along with the bad. There are other good performers in smaller roles – Gloria Grahame as Powell's twittery wife, Gilbert Roland as the Latin temptation, and so on. ‘The Bad and the Beautiful', filmed in good old black and white, has plenty of meat to keep you watching. Only the slightly twee ending lets it down, but you can't have everything.
    7moonspinner55

    Entertaining backstage business

    Glossy MGM soaper has many things to recommend it, not the least of which is a surprisingly grounded, natural Lana Turner (looking great, even in ordinary jammies) playing a successful movie actress who, along with a top screenwriter and director, help producer-on-the-skids Kirk Douglas stage a comeback. Not especially revealing about Hollywood, which at this stage wasn't quite ready to unmask itself, but still engaging and intriguing. Douglas is well-cast (he spits out his lines with a terse jaw--nothing new--but he's right for this part and is commendable). Turner is a revelation and deserved at the very least an Oscar nomination for her work; the picture did go on to win Academy Awards in five categories, including Gloria Grahame as Best Supporting Actress; Charles Schnee, Best Screenplay; Robert Surtees, Best Cinematography, Black-and-White; Best Art Direction-Set Decoration, Black-and-White; and Best Costume Design, Black-and-White. Well-directed by Vincente Minnelli, the picture gets less attention than something like "All About Eve", but it's actually more entertaining. *** from ****

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      At 9 minutes and 32 seconds, Gloria Grahame's performance in this movie became the shortest to ever win an Oscar. She held the record until 1976, when Beatrice Straight won for her 5 minute performance in Network : Main basse sur la TV (1976).
    • Gaffes
      The story takes place over an 18-year period, roughly 1934-1952, but the hairstyles and clothing of all the women, from beginning to end, are strictly 1952.
    • Citations

      Jonathan: Don't worry. Some of the best movies are made by people working together who hate each other's guts.

    • Versions alternatives
      Also available in a computer colorized version.
    • Connexions
      Featured in Le monde, la chair et le diable (1959)
    • Bandes originales
      Don't Blame Me
      (uncredited)

      Music by Jimmy McHugh

      Lyrics by Dorothy Fields

      Performed by Peggy King

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    FAQ18

    • How long is The Bad and the Beautiful?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 8 avril 1953 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Cautivos del mal
    • Lieux de tournage
      • Beverly Hills Hotel & Bungalows - 9641 Sunset Blvd., Beverly Hills, Californie, États-Unis
    • Société de production
      • Loew's
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 1 558 000 $US (estimé)
    • Montant brut mondial
      • 2 025 $US
    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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