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IMDbPro

Quo Vadis

  • 1951
  • Tous publics
  • 2h 51min
NOTE IMDb
7,1/10
18 k
MA NOTE
Deborah Kerr, Robert Taylor, Peter Ustinov, and Patricia Laffan in Quo Vadis (1951)
International
Lire trailer1:47
3 Videos
99+ photos
Sword & SandalDramaRomance

Le féroce commandant romain Marcus Vinicius se passionne pour la belle otage chrétienne Lygia et commence à remettre en question le commandement tyrannique du despote empereur Néron.Le féroce commandant romain Marcus Vinicius se passionne pour la belle otage chrétienne Lygia et commence à remettre en question le commandement tyrannique du despote empereur Néron.Le féroce commandant romain Marcus Vinicius se passionne pour la belle otage chrétienne Lygia et commence à remettre en question le commandement tyrannique du despote empereur Néron.

  • Réalisation
    • Mervyn LeRoy
    • Anthony Mann
  • Scénario
    • John Lee Mahin
    • S.N. Behrman
    • Sonya Levien
  • Casting principal
    • Robert Taylor
    • Deborah Kerr
    • Leo Genn
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,1/10
    18 k
    MA NOTE
    • Réalisation
      • Mervyn LeRoy
      • Anthony Mann
    • Scénario
      • John Lee Mahin
      • S.N. Behrman
      • Sonya Levien
    • Casting principal
      • Robert Taylor
      • Deborah Kerr
      • Leo Genn
    • 155avis d'utilisateurs
    • 53avis des critiques
    • 65Métascore
  • Voir les informations de production sur IMDbPro
    • Nommé pour 8 Oscars
      • 9 victoires et 10 nominations au total

    Vidéos3

    Quo Vadis
    Trailer 1:47
    Quo Vadis
    Quo Vadis
    Trailer 1:46
    Quo Vadis
    Quo Vadis
    Trailer 1:46
    Quo Vadis
    Streaming Passport: The Roman Empire
    Clip 4:38
    Streaming Passport: The Roman Empire

    Photos233

    Voir l'affiche
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    + 226
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    Rôles principaux99+

    Modifier
    Robert Taylor
    Robert Taylor
    • Marcus Vinicius
    Deborah Kerr
    Deborah Kerr
    • Lygia
    Leo Genn
    Leo Genn
    • Petronius
    Peter Ustinov
    Peter Ustinov
    • Nero
    Patricia Laffan
    Patricia Laffan
    • Poppaea
    Finlay Currie
    Finlay Currie
    • Peter
    Abraham Sofaer
    Abraham Sofaer
    • Paul
    Marina Berti
    Marina Berti
    • Eunice
    Buddy Baer
    Buddy Baer
    • Ursus
    Felix Aylmer
    Felix Aylmer
    • Plautius
    Nora Swinburne
    Nora Swinburne
    • Pomponia
    Ralph Truman
    Ralph Truman
    • Tigellinus
    Norman Wooland
    Norman Wooland
    • Nerva
    Peter Miles
    Peter Miles
    • Nazarius
    Geoffrey Dunn
    • Terpnos
    Nicholas Hannen
    Nicholas Hannen
    • Seneca
    D.A. Clarke-Smith
    D.A. Clarke-Smith
    • Phaon
    • (as D. A. Clarke-Smith)
    Rosalie Crutchley
    Rosalie Crutchley
    • Acte
    • Réalisation
      • Mervyn LeRoy
      • Anthony Mann
    • Scénario
      • John Lee Mahin
      • S.N. Behrman
      • Sonya Levien
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs155

    7,117.7K
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    Avis à la une

    Maestro-15

    MGM burns Rome

    This movie helped usher in the age of biblical epics that were produced in the 1950's and 1960's that have not been equalled since. This film also was a first in that it much of the filming was done on location in the famous Cinecetta studios in Rome. The film is unequalled in production values, costumes, sets, musical score, etc. As far as the script is concerned, it is a bit weak, the screenplay not being adapted well from the classic novel about Rome. The only actor to watch in this is Peter Ustinov as the psychotic emperor Nero. Ustinov steals the film from everyone else.
    8bkoganbing

    Whither Thou Goest

    Quo Vadis, based on the late nineteenth century novel by Henryk Sienkiewicz, has been filmed many times in many lands for the cinema and for television. It was done as a Broadway play at the turn of the last century. But this is the version that most people remember and talk about.

    It's also the first of the big budget sand and scandal epics that the movies made to try and compete with that little home entertainment machine that was popping up in more and more homes. MGM built the magnificent sets the film was done on and sent Robert Taylor, Deborah Kerr and the whole cast over to Italy to shoot it. Those sets later popped up in Ben-Hur, The Fall of the Roman Empire and dozens of Italian gladiator films. Supposedly somewhere in the cast of thousands both Elizabeth Taylor and Sophia Loren appeared as extras. Spot them if you can.

    Another extra was Lia DiLeo and gossip about her and Robert Taylor led to the break up of the Robert Taylor-Barbara Stanwyck marriage.

    The story is about Robert Taylor as Marcus Vinicius, Roman soldier and his lust then love for Christian girl Lygia played by Deborah Kerr. Their story is set against the background of the early Christian church in Rome and the persecution of it by the Emperor Nero.

    Taylor and Kerr are fine in the leads, but in this case the supporting cast really overshadowed the stars. Peter Ustinov as Nero and Leo Genn as Petronius were both nominated for Best Supporting Actor of 1951, but lost to Karl Malden in Streetcar Named Desire.

    Peter Ustinov got a once in a lifetime part as Nero. It's the kind of role that one can overact outrageously and still convey all the sinister impulses that this villain possessed. Ustinov was compared with Charles Laughton as Nero in The Sign of the Cross and I wouldn't dare say who was better.

    My favorite part in this film has always been Leo Genn as Gaius Petronius. He's the only actor in the film who's holding his own with Ustinov. He's a pretty smart guy this Petronius, keeping his place at the court by flattery and guile. It's a bitter pill for him to swallow when after Nero burns Rome, the Rome he loves and has dedicated his life to. He could have prevented it by taking a righteous stand against the tyrant. But instead he played the cynic once too often and decides what he deems to be the only course of action open to him.

    Finlay Currie is a strong and hearty, but aged St. Peter. My conception of St. Peter has always been that of Finlay Currie and in his youth that of Howard Keel in The Big Fisherman. Peter's a hands on kind of pastor used to hard work. After all he was a fisherman in his younger days and that certainly is outdoor work.

    Whether people are confirmed Christians or not will depend on how they take this film. We all can certainly admire the spectacle and the talent of the players. And nobody questions the atrocities committed by Emperor Nero against the early Christians.

    But at one point after Taylor realizes his love for Kerr, he makes what I consider a quite reasonable offer to allow her to continue in her faith and he'll even put up whatever kind of chapel on the house grounds for that purpose. Not so says Kerr, it's going to be all or nothing. That all or nothing attitude today has got a few people upset with organized religion for various reasons. But that's in the distant future from the First Century AD.
    Doylenf

    Lives up to your expectations...Leo Genn and Peter Ustinov steal the acting honors...

    Ancient Rome never looked so good--especially in the gorgeous MGM technicolor of 1951. Costumes, sets, photography and music are all of a high order--and all of the performances are competent with two outstanding ones by Leo Genn (Petronius) and Peter Ustinov (Nero). Ustinov reminds me of an overbaked Charles Laughton in some of his mad scenes, but he is a convincing weakling as Nero. Leo Genn has some of the wittiest dialogue and handles his lines with professional ease, his eyes flashing with humor as he pretends to agree with Nero on certain points. Robert Taylor is stalwart in the lead giving his usual dependable performance and Deborah Kerr is lovely (if a bit British in manner) as Lygia.

    All the action and excitement you want from a spectacle--the burning of Rome, Christians in the arena thrown to the lions, the triumphal marches accompanied by Miklos Rozsa's mighty score--and scenes with sentimental and religious overtones (sometimes too extended and talky) --all combine to make the kind of lush spectacle MGM knew would be popular at the box-office. Although discriminating critics found fault with certain factors, it won eight Academy Award nominations with Ustinov and Genn both nominated for supporting roles.

    Grand scale spectacle--but don't expect anything deep.
    gregcouture

    The original novel and this cinema version of it are two very different kettles of fish!

    A fellow IMDb-er from Poland, defending Henryk Sienkiewicz's monumental, Nobel Prize-winning novel (which I HAVE read, by the way) calls this M-G-M Technicolor spectacle "CRAP"!

    Please! The novel is incredibly dense and detailed; possibly a lot truer to what was known in the early part of the twentieth century of the actual events of the time of its plot; with lots of references to the cruelty and luxury of Nero's Rome; frequent mentions of the pervasive nudity under all kinds of circumstances among the Romans of the time; and, given its length, a perhaps more respectful view of the emergence of Christianity at a time when its converts risked their very lives to admit their beliefs. There is no way that even a multi-part TV mini-(I mean, maxi-)series could come close to approximating the novel's overwhelming complexity.

    But, as a piece of filmed entertainment, this cinema extravaganza is not at all worthy of being consigned to the proverbial garbage heap. The cast, yes, including Robert Taylor and Deborah Kerr, but, especially the supporting actors (Peter Ustinov, of course; plus Leo Genn, in particular, as well as Patricia Laffan, Marina Berti, Finlay Currie, Felix Aylmer, Rosalie Crutchley, et al.) all take full advantage of a script that had many witty as well as dramatic moments and, for its day, a fairly reverent (though not historically accurate) rendering of Christianity's emergence in a hostile Roman world.

    In addition its production values have never been surpassed; in fact, they've never been equalled. One understands how beleaguered those of Polish descent often must feel (I, for one, have never been a fan of so-called "Polish jokes."), but let's not set impossible standards for a translation of one of Poland's most memorable literary achievements! This production is an example of Hollywood marshalling some impressive resources, while avoiding more than a modicum of the cliches that can sabotage such a project. It may not honor its source as some might wish, but it's still a quite grand and opulently eye-filling way to enjoy close to three hours.
    7TheLittleSongbird

    Grand visual spectacle, magnificent score and solid performances make this worth watching

    Quo Vadis is a good movie, but I personally don't consider it a truly great one. I did find some of the religious aspects over-bearing, some of the script rather stilted(Petronious' philosophical lines excepted) and a little rambling and bloated in the story and pace. Problems aside, Quo Vadis is a film of visual spectacle and grandeur. You can never go wrong with sweeping cinematography, lavish scope, sets and scenery and colourful costumes and Quo Vadis succeeds in all these areas. Mervyn LeRoy directs excellently, while Miklos Rosza's score is absolutely magnificent. The performances are solid, Robert Taylor does a good job playing it straight and isn't too dull and Deborah Kerr is as ravishing as ever, but it is Leo Genn playing Petronious more than admirably and especially a superb Peter Ustinov as Nero that walk away with the picture. All in all, a solid film albeit not one without its flaws. 7/10 Bethany Cox

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      In his memoirs, "Dear Me" (1981), Sir Peter Ustinov recalled that MGM had sought him for the role of Emperor Nero but dithered for months, refusing to commit. During this time, he received numerous telegrams from the studio, one of which stated that they were concerned that he might be too young to play the notorious Roman Emperor. Ustinov replied that Emperor Nero died when he was thirty, and that if they waited much longer, he'd be too old. The studio cabled back: "Historical research has proved you correct. You have the part." Coincidentally (or not), Ustinov was 30 years old when this movie was released.
    • Gaffes
      Marcus Vinicius is angry because the Emperor will not allow him to bring his legion into the city of Rome. Since the early days of the Republic a military commander was forbidden to bring his troops armed into the city of Rome.
    • Citations

      Petronius: [in his dying letter to Nero] To Nero, Emperor of Rome, Master of the World, Divine Pontiff. I know that my death will be a disappointment to you, since you wished to render me this service yourself. To be born in your reign is a miscalculation; but to die in it is a joy. I can forgive you for murdering your wife and your mother, for burning our beloved Rome, for befouling our fair country with the stench of your crimes. But one thing I cannot forgive - the boredom of having to listen to your verses, your second-rate songs, your mediocre performances. Adhere to your special gifts, Nero - murder and arson, betrayal and terror. Mutilate your subjects if you must; but with my last breath I beg you - do not mutilate the arts. Fare well, but compose no more music. Brutalize the people, but do not bore them, as you have bored to death your friend, the late Gaius Petronius.

    • Versions alternatives
      The DVD release restores the original overture and exit music, which, up until that point, was only heard in the original roadshow release and in the 1964 roadshow re-release.
    • Connexions
      Edited into Atlantis, terre engloutie (1961)

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    FAQ18

    • How long is Quo Vadis?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 2 octobre 1953 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Qvo Vadis
    • Lieux de tournage
      • Rome, Lazio, Italie
    • Société de production
      • Metro-Goldwyn-Mayer (MGM)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 7 623 000 $US (estimé)
    • Montant brut mondial
      • 101 486 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 51 minutes
    • Rapport de forme
      • 1.37 : 1

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    Deborah Kerr, Robert Taylor, Peter Ustinov, and Patricia Laffan in Quo Vadis (1951)
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    By what name was Quo Vadis (1951) officially released in India in English?
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