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Entre le ciel et l'enfer

Titre original : Tengoku to jigoku
  • 1963
  • Tous publics
  • 2h 23min
NOTE IMDb
8,4/10
61 k
MA NOTE
POPULARITÉ
1 968
11
Toshirô Mifune, Kenjirô Ishiyama, Kyôko Kagawa, and Tatsuya Nakadai in Entre le ciel et l'enfer (1963)
Regarder Trailer [OVS]
Lire trailer3:39
1 Video
99+ photos
Police ProceduralCrimeDramaMysteryThriller

À Yokohama, un malfaiteur kidnappe un enfant, qu'il prend pour le fils d'un industriel japonais. Il s'agit en fait du fils de son chauffeur. Le commissaire Tokura est chargé de l'affaire.À Yokohama, un malfaiteur kidnappe un enfant, qu'il prend pour le fils d'un industriel japonais. Il s'agit en fait du fils de son chauffeur. Le commissaire Tokura est chargé de l'affaire.À Yokohama, un malfaiteur kidnappe un enfant, qu'il prend pour le fils d'un industriel japonais. Il s'agit en fait du fils de son chauffeur. Le commissaire Tokura est chargé de l'affaire.

  • Réalisation
    • Akira Kurosawa
  • Scénario
    • Hideo Oguni
    • Ryûzô Kikushima
    • Eijirô Hisaita
  • Casting principal
    • Toshirô Mifune
    • Yutaka Sada
    • Tatsuya Nakadai
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    8,4/10
    61 k
    MA NOTE
    POPULARITÉ
    1 968
    11
    • Réalisation
      • Akira Kurosawa
    • Scénario
      • Hideo Oguni
      • Ryûzô Kikushima
      • Eijirô Hisaita
    • Casting principal
      • Toshirô Mifune
      • Yutaka Sada
      • Tatsuya Nakadai
    • 188avis d'utilisateurs
    • 123avis des critiques
    • 90Métascore
  • Voir les informations de production sur IMDbPro
  • Film noté 81 parmi les meilleurs
    • Récompenses
      • 3 victoires et 3 nominations au total

    Vidéos1

    Trailer [OVS]
    Trailer 3:39
    Trailer [OVS]

    Photos112

    Voir l'affiche
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    + 105
    Voir l'affiche

    Rôles principaux52

    Modifier
    Toshirô Mifune
    Toshirô Mifune
    • Kingo Gondô
    Yutaka Sada
    Yutaka Sada
    • Aoki - the Chauffeur
    Tatsuya Nakadai
    Tatsuya Nakadai
    • Chief Detective Tokura
    Kyôko Kagawa
    Kyôko Kagawa
    • Reiko Gondô
    Tatsuya Mihashi
    Tatsuya Mihashi
    • Kawanishi - Gondô's Secretary
    Isao Kimura
    • Detective Arai
    Kenjirô Ishiyama
    Kenjirô Ishiyama
    • Chief Detective 'Bos'n' Taguchi
    Takeshi Katô
    Takeshi Katô
    • Detective Nakao
    Takashi Shimura
    Takashi Shimura
    • Chief of Investigation Section
    Jun Tazaki
    Jun Tazaki
    • Kamiya - National Shoes Publicity Director
    Nobuo Nakamura
    Nobuo Nakamura
    • Ishimaru - National Shoes Design Department Director
    Yûnosuke Itô
    Yûnosuke Itô
    • Baba - National Shoes Executive
    Tsutomu Yamazaki
    Tsutomu Yamazaki
    • Ginjirô Takeuchi - Medical Intern
    Minoru Chiaki
    Minoru Chiaki
    • First Reporter
    Eijirô Tôno
    Eijirô Tôno
    • Factory Worker
    Masao Shimizu
    Masao Shimizu
    • Prison Warden
    Masahiko Shimazu
    Masahiko Shimazu
    • Shin'ichi Aoki
    Toshio Egi
    • Jun Gondô
    • Réalisation
      • Akira Kurosawa
    • Scénario
      • Hideo Oguni
      • Ryûzô Kikushima
      • Eijirô Hisaita
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs188

    8,461.4K
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    Résumé

    Reviewers say 'High and Low' is acclaimed for its moral dilemmas, class disparity, and human nature complexities. Kurosawa's direction, storytelling, and cinematography are praised. Mifune and Nakadai's performances are noted for depth and realism. The suspenseful narrative, blending moral dilemma and police procedural, is commended. Social commentary on Japan's economic changes and Western influence is relevant and insightful. However, some find the pacing slow and the ending ambiguous. Overall, it's a significant work in Kurosawa's versatile filmography.
    Généré par IA à partir de textes des commentaires utilisateurs

    Avis à la une

    9marstokyo

    I was enthralled from start to finish.

    This movie was incredible!! They called it Film Noir but, my God, it's so much better than THAT-- This film out-Hitchcocks Hitchcock! And I'm a Hitchcock devotee. The issues Kurosawa wrestles with in this, and his other films; the ethic responsibility we have as humans, humanity vs. greed, crime and punishment are universally understood. Nothing he presents in black and white(except literally in the film stock)-- but every shade of grey is reflected on. The story unfolds slowly but contains many twists and turns as the viewer questions the motives of each character. It's not just the force of good against evil--but a question of what is morally right and morally wrong. The title itself clues the viewer in to the ambiguities of class, greed, and moral ethic.
    fuyuno

    Great suspenceful crime story. Fine performances early in the careers of future stars.

    A child of a chauffeur is mistakenly kidnapped in the place of a businessman's son. The businessman, involved in a high-stakes takeover of his company from his erring bosses, chooses to risk losing his shirt to pay the ransom for a child not his own. While the clock is ticking on both the businessman's fortune and the child's life, the police decide that they want a sure conviction rather than a quick arrest.

    A suspenseful crime story based on a novel by Evan Hunter (aka Ed McBain) transported to 1960's Japan. The soon to be famous "Economic miracle" is in full swing as Japan rebuilds its war-ravaged landscape. The mix of optimism and despair of the people in the thick of this economic transformation is palpable beneath the multiple story lines of scrappy cops following their hunches, the inventive kidnapper and the businessman.

    Toshiro Mifune shines as the businessman while Tatuya Nakadai makes a fine appearance as Inspector Tokura. Tsutomu Yamazaki as the kidnapper debuts into a glorious career. Many of the bit players who appear only briefly eventually became big stars notably Eijiro Tono as the worker in a shoe factory and Nekohachi Edoya as the charming engineer who identifies a train, gesturing with chopsticks, by merely listening to recorded sounds.
    10jemmytee

    Kurosawa at his best and most subtle

    This is one of those rare movies I had to watch twice to catch all the meaning and beauty of its construction, that is how sleek and polished this film is. The storyline is deceptively simple -- a businessman named Gondo is about to take control of the company he's worked in for years when he's told his son's been kidnapped. It turns out the kidnappers got his chauffeur's son by mistake, but they still want him to pay the ransom. If he does, he will be financially ruined. If he doesn't, he will be reviled. Which will he choose? This makes up the first half of the movie, culminating in a breathtaking scene on one of Japan's bullet trains. The second half is the police search for the kidnapper/murderer and how a case is built that will take him to the gallows.

    Now this sounds like your typical cop thriller, the type Hollywood churns out with one hand tied behind its back, but Kurosawa makes it into a meditation on honor and decency, and on how one's choices can lead one to Heaven or to Hell in little steps that seem to be taking you nowhere. Gondo is an honorable man who worked hard to built himself a life of wealth and power. This is no small feat, considering Japan is not known as a society where one can easily change one's station in life, so this adds to his dilemma; he will not only lose his fortune, he will also lose his hard-gained power and respect in the business community, all for a child that is not even his. And not only will he lose but his own wife and son will, as well. But to NOT pay the ransom means he will lose everything in him that is human and decent, and his wife and son will suffer from that, too.

    This is a big deal -- not just in Japanese society but in the world as a whole. It doesn't matter if you live in Nepal or Kenya or Argentina or New York City, when faced with the choice of losing your position in your society or losing your soul, which would you choose? And would you still make that choice knowing that even if the cops catch the bad guy, it will make no difference in your own circumstances? Just a glance at some of the recent stock scandals gives you a good idea of where most people fall in their choices. And even Ed McBain, upon whose novel this movie is based, knew how hard it would be to give up your world for your spirit; his businessman refuses to pay the ransom.

    To me, this movie is Kurosawa at his best and most subtle. Every shot is composed and measured and done just right. Not all films have to have bombs exploding and chase scenes and people going "Boo!" to affect you; sometimes just a man riding on a train en route to what he knows will be a catastrophe to him and his world is enough to make you thank the heavens for a story well told.
    10Quinoa1984

    If you like ransom/police storiesmysteries, and have interest in Kurosawa &/or Mifune, check it out at least once

    High and Low, like Yojimbo and Throne of Blood, combines elements to create something special while seeming rather routine- while Yojimbo seems like a bad-ass samurai flick, it has the ingredients of a western and satire, and Throne of Blood is a rather faithful, strange adaptation of Macbeth in the guise of a warlord/samurai tale, High and Low does a similar method. Akira Kurosawa, a filmmaker who gets film buff's ears lit up at the mere mention of him, can usually be counted on to keep a film interesting even if it may not be entertaining to some of the crowd that likes a section of his movies or another (there's usually a split between his samurai/medieval tales and epics, and his dramas about the tragedies of ordinary people).

    Here he finds a middle ground- the story is taken from a hard-boiled detective novel, the kind you could probably buy for a quarter or fifty cents in the old days- as he tells of two stories interconnected at the hip, both with detail a commercial Hollywood director would brush off. The first is of businessman Gondo (Toshiro Mifune, with his usual bravura presence, but with enough nuanced and quiet moments for two movies), who is about to close a deal to get the shoe company he's worked for for years, when he gets a phone call. There's been a kidnapping- not his son, but his chauffeur's by default. Backed into a corner without options, he gets together 30 million he really can't afford, and gives it to the kidnapper(s). The police, meanwhile, are not about to give up, and start digging for clues with an in-depth investigation that goes to probe every possibility: the chauffeur's son used as a partial witness with drawings; a car; a trolly car; all this leads to nothing and everything, leading to a third act that's as riveting as the first two.

    Although the acting by everyone involved, cop characters included (Tatsuya Nakadai and Yutaka Sada are surprisingly good, the later even with limited screen time), Kurosawa keeps the film deliberately paced. Another director (more modern perhaps, but maybe not) might cut to the chase quicker, cutting past most of the investigation details, and even the emotional high-points in the first act. But Kurosawa is as interested in the nature and details of what the police do as he is with the compositions, which are constructed and framed as only an artist would do. The film creates a superb juxtaposition as well- Mifune's Gondo is enraged about what will happen with his money, but his morals stand above everything in his business affairs. Meanwhile, the cops here aren't cruel and unforgiving, but professionals trying to crack a case that the audience can hang onto. And then when the "seedy" underbelly of the city comes into view, it's looked on with at least some compassion by Kurosawa, and it's not too over-the-top.

    If all your looking for is thrill after thrill, like in Sanjuro or even Hidden Fortress, look elsewhere- the violence, by the way, is kept to a low level for this one (it'd even be quite suitable for kids, if they don't mind the subtitles and quintessential intensity in the Japanese style of film acting). But for tight, often gripping suspense in the IL' 'whodunit' mystery tale, this is a keeper. Manipulative, perhaps, yet in the hands of a master it's an exemplary deal. And, in the end, it even provides a sad, existential kind of conclusion as good and evil become blurred as the kidnapper looks through glass at the disillusioned Gondo. It's one of the great endings in world cinema. A+
    Craig-32

    Another Great Film from Japan's Master Filmmaker

    While I've seen HIGH AND LOW referred to as a "film noir," a "detective drama," a "riveting game of cat-and-mouse," and so on into infinity, I think those terms tend to underestimate some very great films (such as this and Kubrick's THE KILLING) and attempts to place them within boundaries over which the expanse of a few powerful films such as these spill.

    Indeed HIGH AND LOW is a story involving some familiar techniques from film noir; the detective story; and the hunter-and-hunted storyline, but it surpasses so many films that might be included in a list of fine films noires. It, in true Kurosawa style (one which Stanley Kubrick matched blow-for-blow, seeming to complement one another in their stunning gifts to the cinema), stands as a fable showing the differences and tensions which the coexistance of different classes creates.

    Gondo, the rich on high, receives torment from those who live below him, being literally perched upon a hill, overlooking the city in a feudalistic way, in which the king's palace gazes down upon the serfs below. As the kidnapper says, "it's hot as hell down here. But you wouldn't know that, you have air conditioning." Thus we see the parallels pile upon each other: it is about class warfare but also shows the differences between heaven and hell; and Gondo makes both a descent and ascent simultaneously.

    The plot is simple, but the truth is complicated, and I won't go into it here, but take my word as it stands: this is an amazing piece of film. See it now or regret it! Every Kurosawa film is sublime.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      After the film was released, kidnappings were on the rise in Japan. Akira Kurosawa himself had received threats for the kidnapping of his own daughter, Kazuko Kurosawa. She quoted him as once saying to her "With High and Low, I wanted to inspire tougher sentences on kidnappers. Instead, I was criticized for their increase."
    • Gaffes
      The story occurs in midsummer. This implies that Mt. Fuji has no snow. Since the location filming was carried out in winter season, the top of Mt. Fuji is very white. Some film critics mention that this is almost the only mistake they can find in the film.
    • Citations

      Kingo Gondo: Why should you and I hate each other?

      Ginjirô Takeuchi, medical intern: I don't know. I'm not interested in self-analysis. I do know my room was so cold in winter and so hot in summer I couldn't sleep. Your house looked like heaven, high up there. That's how I began to hate you.

    • Connexions
      Featured in Tsukuru to iu koto wa subarashii! Kurosawa Akira: Korega Kuroswa sasupensu da (2003)
    • Bandes originales
      The Magic Begins
      (uncredited)

      Performed by Yumi Shirakawa

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    FAQ18

    • How long is High and Low?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 9 juin 1976 (France)
    • Pays d’origine
      • Japon
    • Langue
      • Japonais
    • Aussi connu sous le nom de
      • Le paradis et l'enfer
    • Lieux de tournage
      • Toho Studios, Tokyo, Japon(Studio)
    • Sociétés de production
      • Toho
      • Kurosawa Production Co.
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 230 000 000 JPY (estimé)
    • Montant brut aux États-Unis et au Canada
      • 46 808 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 15 942 $US
      • 28 juil. 2002
    • Montant brut mondial
      • 64 503 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 23 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 2.35 : 1

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