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Le bourreau

Titre original : El verdugo
  • 1963
  • Tous publics
  • 1h 27min
NOTE IMDb
7,9/10
7,8 k
MA NOTE
Le bourreau (1963)
Regarder Trailer [OV]
Lire trailer3:37
1 Video
56 photos
Dark ComedySatireComedyDrama

En échange d'un appartement, un employé des pompes funèbres accepte l'emploi de bourreau en se jurant de ne jamais exécuter une sentence en démissionnant sur le champ. Un jour, une condamnat... Tout lireEn échange d'un appartement, un employé des pompes funèbres accepte l'emploi de bourreau en se jurant de ne jamais exécuter une sentence en démissionnant sur le champ. Un jour, une condamnation arrive et Jose Luis s'acquitte de sa tâche.En échange d'un appartement, un employé des pompes funèbres accepte l'emploi de bourreau en se jurant de ne jamais exécuter une sentence en démissionnant sur le champ. Un jour, une condamnation arrive et Jose Luis s'acquitte de sa tâche.

  • Réalisation
    • Luis García Berlanga
  • Scénario
    • Luis García Berlanga
    • Rafael Azcona
    • Ennio Flaiano
  • Casting principal
    • Nino Manfredi
    • Emma Penella
    • José Isbert
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,9/10
    7,8 k
    MA NOTE
    • Réalisation
      • Luis García Berlanga
    • Scénario
      • Luis García Berlanga
      • Rafael Azcona
      • Ennio Flaiano
    • Casting principal
      • Nino Manfredi
      • Emma Penella
      • José Isbert
    • 26avis d'utilisateurs
    • 26avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 4 victoires et 2 nominations au total

    Vidéos1

    Trailer [OV]
    Trailer 3:37
    Trailer [OV]

    Photos56

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    Rôles principaux49

    Modifier
    Nino Manfredi
    Nino Manfredi
    • José Luis Rodríguez, el enterrador
    Emma Penella
    Emma Penella
    • Carmen, la hija de Amadeo
    José Isbert
    José Isbert
    • Amadeo, el verdugo
    • (as Jose Isbert)
    José Luis López Vázquez
    José Luis López Vázquez
    • Antonio Rodríguez, el hermano mayor de José Luis
    • (as Jose Luis Lopez Vazquez)
    Ángel Álvarez
    Ángel Álvarez
    • Álvarez, el enterrador
    • (as Angel Alvarez)
    Guido Alberti
    • Director de la prisión
    Julia Caba Alba
    Julia Caba Alba
    • Mujer visitante de la obra nº 2
    María Luisa Ponte
    María Luisa Ponte
    • Estefanía, esposa de Antonio
    • (as Maria Luisa Ponte)
    María Isbert
    María Isbert
    • Ignacia, esposa de Álvarez
    • (as Maria Isbert)
    Erasmo Pascual
    Erasmo Pascual
    • San Martín
    Xan das Bolas
    Xan das Bolas
    • Guarda de la obra
    José Orjas
    José Orjas
    • Marqués
    • (as Jose Orjas)
    José María Prada
    José María Prada
    • Vigilante con botella de champán
    • (as Jose Maria Prada)
    Félix Fernández
    Félix Fernández
    • Organista
    • (as Felix Fernandez)
    Antonio Ferrandis
    Antonio Ferrandis
    • Funcionario de prisiones
    Lola Gaos
    Lola Gaos
    • Mujer visitante de la obra nº 3
    • (as Dolores Gaos)
    Santiago Ontañón
    • Sr. Corcuera, el académico
    • (as Santiago Ontañon)
    Alfredo Landa
    Alfredo Landa
    • Sacristán
    • Réalisation
      • Luis García Berlanga
    • Scénario
      • Luis García Berlanga
      • Rafael Azcona
      • Ennio Flaiano
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs26

    7,97.8K
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    10

    Avis à la une

    9samxxxul

    A real play on human emotions - a film that won't be easily forgotten

    The Executioner is a macabre comedy which is considered to be one of the best Spanish films and to call this simply a movie is not enough. Yes, it's a fairly basic plot which could never be described as "feel-good" but that isn't (and it never was) a priority. No, its priority is the heart and soul that was put into it.

    What we got here is a satirical view on the middle class situation with anti-death penalty as it's theme throughout the runtime. The guy in the film is literally out of luck and after having to marry the executioner's daughter things begin to change for him for no good. Nino Manfredi's performance as Jose Luis is superb, Jose Ibert is just as splendid.

    The screenplay is crammed in Kafka-esque tone to expose the bureaucratic horror with one of the grotesquely funny and Powerful final scene. The ending is easily one of the most memorable ever, it's just so heartwrenching and profound.
    8lasttimeisaw

    bittersweet, heartfelt and intriguing

    Spanish writer-director Luis García Berlanga's eighth feature film is a Spain-Italy co-production, stars Italian matinée idol Nino Manfredi as an unassuming undertaker, José Luis Rodríguez, whose marriage prospect is not so encouraging due to his profession. Through chance meeting with a senior prison executioner Amadeo (Isbert), he gets acquainted with his daughter Carmen (Penella), who is also pestered by the same pickle, no one is willing to marry her simply because of Amadeo's job, so the two chime in instantly and apparently it is a perfect match, but soon life put José through the wringer of a series of exigencies (Carmen's pregnancy, marriage and a thorny apartment issue), his ideal future where he can get rid of this disreputable trade becomes more and more unattainable, once he has been pushed to register as a successor of his father-in-law, aka. a new executioner is born.

    On the horns of a dilemma, José's predicament is wittily delineated through Berlanga's delightful verve, exerts a realistic spin on the irony of life, how one's ideal having been gradually crushed by the twist of fate. Manfredi's interpretation of José affects in earnest, he is spontaneously sympathetic to establish José as a nobody, stuck in the line of work which he doesn't like, exhibits his own foibles through his marriage, and lives by his blind faith that he could still opt out against the worst-case scenario, until his melt-down when the bubble is burst.

    Veteran Spanish actor José Isbert plays Amadeo enthusiastically, who is decidedly persevering in tricking José to take over his mantle, so as to secure the marriage and an apartment assigned from the government, he is manipulative on top of his goody-goody persona, but we cannot blame him for his simple-mined selfishness, plainly because that's the widespread mindset among most people in the world. As for Emma Fenella, her Carmen is an uncomplicated sort, maternal, down- to-earth and forges strong protection to the men in her life.

    The satirical connotation of morbidness seeps through the debate over the variations of death penalty (garrotte seems to be the most civilised choice), and a unanimous bias towards a now obsolete vocation. A vignette of José and Carmen's frugal wedding right after a fancier one, and the tour in Palma de Mallorca, where the lovey-dovey luxuriates in a string concert on the creek inside a large cave, exactly in that moment, José's duty call arrives, these are brilliant instances where realism meets cinematic creation, whether they are bittersweet, heartfelt or intriguing, together they bring about vigour and pleasure to the audience and it is a telling testimony of a director's faculty.
    10brownieboy

    Best Spanish movie ever

    I suppose the fact that this movie was made during the dictatorship of General Franco, when Spain did not register on any international cultural radars, accounts for the fact that it remains relatively unknown. In my opinion, this is not only the best film ever made by a Spanish director, but one of the best European films ever, and a masterpiece of dark comedy. It is a powerful indictment of the death penalty anywhere, and the scene in which proud and retiring executioner Amadeo sticks prospective son-in-law José Luis' fingers in the lamp fixture, thereby giving him a mild electric shock, remains an all-time classic ("You think that's bad? That's only 125 volts! The Americans are worse, with their electric chairs...")

    This movie is stronger, deeper and funnier than any recent comedies by the likes of Pedro Almodóvar and other Berlanga-influenced Spanish directors, due to the bleaker political reality against which it was made. There is more directorial talent involved and the performances are stronger, with the glorious José Isbert stealing the show as always.

    Times have improved in Spain, and filmmakers may have more freedom, but nothing as corrosive as this has been made since.
    9MogwaiMovieReviews

    Gallows Humour

    This is a real treat, a keenly observed, merry black comedy of life for a mild-mannered undertaker turned unwilling hangman. Every scene is filled with small observations and asides that add something memorable, and every bit character in every scene tosses in some little bit of "business" that is not necessary for the plot, but enriches it and deepens the believability of the world in which it is set.

    Watching this made me think on how, if this film had been made at the same time outside of Europe, the British would have probably made it as a crass Carry On movie, and the Americans would most likely have turned it into a Jerry Lewis vehicle, without any subtlety, thoughtfulness, sensuality, societal commentary or beauty, and yet this is funnier than any of those put together, too.

    The wedding scene is hilarious, with so much going on at every moment outside of the dialogue, and the "wave to daddy" line on the docks is priceless.

    It's always a comedy, and yet one in which the viewer is never allowed to escape the oppressive moral weight of taking another's life, and the inability to look away from this increases as it goes along, until the ending borders on harrowing.

    It's a film that really should be as well known as some of those by Fellini, and I'm eager now to see more by its mischevious writer and director, Luis Garcia Berlanga.
    10kevinmanf

    An unknown comical masterpiece which uses humour to denounce the death penalty

    Luis García Berlanga's El Verdugo (The Executioner) was recently named the second greatest Spanish film of all time yet it still remains unknown to many non-Spanish people. Perhaps the reason it's so unknown is due to the fact that it was released during the Spanish dictatorship lead by General Franco and this did not permit it to get an international recognition and viewing. Whatever the reason, it's a pity that this little treasure of a film can not get the international recognition it deserves. It's one of the great black comedies I have seen, a fierce yet hilarious critique on the death penalty. Berlanga's inspiration is Franco's regime which practised it, but it has a universal appeal.

    Filled with memorable gags, the story starts with Jose Luís (Nino Manfredi), an undertaker who is thinking of moving to Germany to become a good mechanic. In love with Carmen, daughter of Amadeo (José Isbert), an executioner, he is one day discovered by her father during there moment of intimacy and is forced to marry her – the undertaker marries an executioner's daughter. Jose Luís is faced with economic difficulties and the urgent need to create a new home for his new wife. The only way of solving this problem, it seems, would be accepting his father in law's offer (Amadeo): to take the vacant place of executioner Amadeo is leaving due to retirement. Only this way will he get a home. Under pressure from his surrounding, Jose Luís accepts the job convinced that he will never have to put it into practise. Life goes on pleasantly in his new home until one day he receives the feared telegram: he must execute a convicted man.

    The story, filmed in a black and white photography that feels so fresh, sounds serious because below the comical surface, lies not only the serious subject matter of death penalty but also the wide spread pessimism caused by Franco's regime. Director Berlange could have chosen to tell the story as sad drama but he doesn't: in a way, he is laughing at the absurd logic and inhumanity he feels the death sentence is. The film's true brilliance lies not in the wonderful all around performances, but in its screenplay that takes on a comic tone that is apparently inoffensive to condemn an action that is just as inhuman as those committed by the executed. And the great irony is that the executioner goes through much worse emotionally than the executed in a great sequence. The movie looks with amusement at the idea of how those who execute can go on there days with a calm conscience. But don't get the wrong idea, El Verdugo does not portray the condemned as victims – it is not interested in there guilt or innocence. The only victims, it suggests, are those that accept to practise inhumanity under the name of justice. There are so many brilliant comical sequences that have nothing to admire from the exhausted and cheap comedies we get from many of the films nowadays.

    This is a film that will certainly be less appealing to those in favour of the death penalty. For those who do not which to dwell on such a subject can look at it on its simplest level, which is that of a first rate comical masterpiece.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      José Luis López Vázquez improvised the moment when measuring the child's head.
    • Citations

      Chica en feria del libro: [subtitled version] Excuse me, do you have anything on Bergman or Antonioni?

      Sr. Corcuera, el académico: Bergman? The actress?

      Chica en feria del libro: No, not the actress. Thanks.

    • Connexions
      Featured in Berlanga, plano personal (2011)
    • Bandes originales
      El verdugo
      (twist)

      Composed by Adolfo Waitzman

    Meilleurs choix

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    FAQ16

    • How long is The Executioner?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 16 février 1965 (France)
    • Pays d’origine
      • Espagne
      • Italie
    • Site officiel
      • Official site
    • Langue
      • Espagnol
    • Aussi connu sous le nom de
      • El verdugo
    • Lieux de tournage
      • Mallorca, Balearic Islands, Espagne
    • Sociétés de production
      • Naga Films
      • Zebra Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 27 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.85 : 1

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