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Lorna, l'incarnation du désir

Titre original : Lorna
  • 1964
  • Unrated
  • 1h 18min
NOTE IMDb
5,7/10
1,3 k
MA NOTE
Mark Bradley, Hal Hopper, Lorna Maitland, Fred Owens, James Rucker, and Doc Scortt in Lorna, l'incarnation du désir (1964)
Drama

Ajouter une intrigue dans votre langueThe unsatisfied wife of a salt miner experiences a sexual awakening after she is raped by, and subsequently falls in lust with, an escaped convict.The unsatisfied wife of a salt miner experiences a sexual awakening after she is raped by, and subsequently falls in lust with, an escaped convict.The unsatisfied wife of a salt miner experiences a sexual awakening after she is raped by, and subsequently falls in lust with, an escaped convict.

  • Réalisation
    • Russ Meyer
  • Scénario
    • James Griffith
    • Russ Meyer
  • Casting principal
    • Lorna Maitland
    • Mark Bradley
    • James Rucker
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    5,7/10
    1,3 k
    MA NOTE
    • Réalisation
      • Russ Meyer
    • Scénario
      • James Griffith
      • Russ Meyer
    • Casting principal
      • Lorna Maitland
      • Mark Bradley
      • James Rucker
    • 16avis d'utilisateurs
    • 21avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos108

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    Rôles principaux10

    Modifier
    Lorna Maitland
    Lorna Maitland
    • Lorna
    Mark Bradley
    • The Convict
    James Rucker
    • Jim
    Hal Hopper
    Hal Hopper
    • Luther
    Doc Scortt
    • Jonah
    Althea Currier
    • Ruthie
    Fred Owens
    • Ezra
    • (as F. Rufus Owens)
    Frank Bolger
    • Silas
    Ken Parker
    • The Fisherman
    James Griffith
    James Griffith
    • The Man of God
    • Réalisation
      • Russ Meyer
    • Scénario
      • James Griffith
      • Russ Meyer
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs16

    5,71.2K
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    6tomgillespie2002

    The birth of the auteur we now know and love

    After spending the first few years of his career on traditional 'nudie cuties', director Russ Meyer made his first foray into 'real' film- making with 1964's Lorna, written by and starring James Griffith. Though his colourful visuals and sense of humour were evident in the likes of The Immoral Mr. Teas (1959) and Eve and the Handyman (1961), these films were still very much confined to being nothing more than a peep show. With Lorna, Meyer resorted to black-and-white photography, but whether this was for budgetary reasons or stylistic choice, I don't know. But the decision to shoot this way gives the film more gravitas, and the attention is moved away from the big-breasts and onto the story and script, giving birth to the auteur that is now so revered.

    Beginning with the rape of a girl named Ruthie (Althea Currier), the two men responsible, Luther (Hal Hopper) and Jonah (Doc Scortt), travel to work and pick up Jim (James Rucker) on the way. Jim is married to the beautiful Lorna (Lorna Maitland), who is sexually unsatisfied by the nice-guy Jim. Luther proceeds to tease Jim about Lorna at work, while an escaped convict (Mark Bradley) forces himself onto Lorna. Lorna is extremely turned on, and invites the convict back to the house where she feeds and washes him. Clearly, it's not the most complex of plots, but we are in familiar Meyer territory with square-jawed men, put-upon women, and a funky jazz score.

    One of the most familiar traits of a Meyer film is the narrator. Commonly, the role of the narrator in his films was to play the traditional man, one that obeyed the values and traditions of the 1950's American. The idea of sexual repression was clearly something that amused Meyer, and in Lorna, he employs James Griffith to play 'the Man of God', who is littered throughout the film addressing the audience directly to camera and questioning their moral fibre. He introduces the film, and this leads to one of the best moments in the films. He stands in the middle of a wide desert road, allowing the camera to glide past him and forward into the unknown as the jazz score kicks in. It's a lovely little touch, and a clear indication that this isn't simple another nudie-cutie.

    This is far from his best work, with Lorna being relatively subdued in comparison to his more wilder visions such as Faster, Pussycat! Kill! Kill! (1965) and especially Beyond the Valley of the Dolls (1970), and Lorna's pandering to the violent convict may seem rather chauvinistic in comparison to the majority of Meyer's output, where the female was quite often the dominant sex. But this was only the beginning of a now widely- celebrated career, so Meyer was still very much honing his craft. His sense of humour is unmistakable however, and one of the standout scenes has the despicable Luther writing and performing a song about Lorna's adultery to Jonah. It's played out so naturally that the two start to really laugh, making the scene really quite wonderful. It's this kind of playfulness that make Meyer's output such as joy to watch.

    www.the-wrath-of-blog.blogspot.com
    7Red-Barracuda

    Russ Meyer's first attempt at narrative film-making

    Lorna signalled an important change of direction for director Russ Meyer. While it remained within the overall bracket that could be termed sexploitation it was quite a significant departure from the nudie cuties which had hitherto constituted his filmography. Unlike those, Lorna was shot in black and white but upgraded to 35mm. Even more significantly it also was his first feature to have synchronised sound, which allowed him to better engage the viewer and allowed him to tell an actual story with proper, interesting characters. With these ingredients it was the first of his films that truly showcased what he was all about and gave far more of an indication of his overall sensibilities, beyond his obvious love of large breasts.

    Like most Meyer films this one is as much a showcase for his lead actress as it is anything else. In this instance it is the buxom Lorna Maitland who takes centre stage. She plays a young woman who is bored with married life in a rural area. Her pathetic husband cannot satisfy her sexually and spends all his time working in a salt mine while taking verbal abuse from his two slovenly co-workers; one of which is a mean-spirited misogynist who we first see forcing his way into the home of a young woman only to then violently knock her about. While Lorna's husband is away on one of these details, she is raped by an escaped convict whose attack excites her, leading her to invite him home for an afternoon of further lust. Of course, this is not set to end well.

    I guess it should be said from the outset that the idea of Lorna being so receptive to being raped is a pretty outrageous and offensive one. It's certainly at best 'of its time'. Although I reckon if you see a few Meyer movies you begin to realise that his cinematic universe operates by its own hyper-real rules and content that would be somewhat dubious in other hands seems quite normal is his world of strong women and dumb men constantly at war with each other. Lorna was the first of his four black and white 'roughies' which culminated with his classic Faster, Pussycat! Kill! Kill! (1965). Like a few of his films it takes the form of a melodrama, although unlike most it has little in the way of his soon-to-be typical distinctive comedy, in fact it's possibly the least humorous film he ever made. This may well be because it was written by James Griffith – who plays the part of a hell and brimstone preacher who appears periodically to commentate on the sins of the players – who also wrote the screenplay for the later Motorpsycho! (1965) which was another Meyer film with a decidedly darker tone.

    It is, however, as visually accomplished as films by Meyer would go on to become known for. Having said that, at this stage in his career he was more restrained in his visual approach and had not developed the manic fast editing style that would typify his later, more over-the-top efforts. This one is more indebted to noir than his others and the presentation is consequently a little more downbeat. Almost all of the lighter moments involve Lorna Maitland in a state of undress; the best of these is a scene where she takes a dip in a river. It's shot beautifully and is one of the most iconic moments of 60's cinematic erotica. Historically, the film itself was prosecuted for obscenity in some American states but cashed in big-time on the drive-in circuit and even played some art-houses. It's not surprising that it had this varying effect, as Lorna is simultaneously a pioneering and daring sexploitation classic which was certainly pushing the envelope at the time for what was permissible, yet at the same time it's very well made and certainly has artistic merit and ambition beyond its voluptuous leading ladies most prominent assets.
    8gloovins

    Lorna, a lonely housewife, is left to stay at home Well, this changes after an escaped con finds her alone in the back woods...

    Meyer is at his beginning's of film-making (esp for what was to come) when Lorna came out. An earlier commentator remarked it has a very (since it's shot in B&W) film noir quality to it. I agree but it's more like American film noir say -- for the bold rape scenes are over the top. However, if gritty fiction with this type of scenes depicted you like, this movie may be for you -- it's that '60's camp feel that really doesn't let most viewers take it too seriously, I think. An 8 was fair because anything Meyer does I am partial to because of his unique style, independent spirit and sense of creating something different in a time when people were jailed, or at least critically blasted as "pornographers". Meyer was not this though. He was always more interested in telling a coherent, fast-paced story & filming what was going on above the waist -- but spicing it up with (real) buxom women who mostly held the "power" over men (esp in later Meyer films) was his real signature style that will hold Meyer up as the best B-grade movie maker of all time. KING LEER - R.I.P. in that big bosom in the sky!
    9christopher-underwood

    it strikes such a basic chord, one is in awe at how simple Meyer has made it look.

    Top notch Meyer with magnificent b/w photography, assured and vigorous editing and a super effective soundtrack. The presence of Lorna Maitland does nothing to distract but this is a movie about much more than DD breasts. It is far more about the very nature of man and woman. It is uncomfortable stuff with men delighting in humiliating and fighting each other and the possibility of getting the woman of their dreams. The rapes, both non consensual and vaguely consensual, turning romantic, are difficult but intrinsic to the flimsy, but oh so basic and believable storyline. The soothsayer and rather melodramatic ending may be a little over the top but this is a fine well told tale of human animals lusting and being lusted over. Sex, eating and dying, just about sums this up and it strikes such a basic chord, one is in awe at how simple Meyer has made it look.
    7dragonslayor

    Vivid memories of lust and violence ...

    Lorna Maitland was one of Meyer's rare "finds." Physically stunning but as easily engaged as was the earlier Monroe, one easily fantasizes a personal encounter with her. The river bathing scene, partially obscured by tree branches, makes you her willing voyeur; her eventual passionate response to the convict escapee who rapes her, tells you that you might also have your way with her should you ever somehow meet.

    I found the violence in the film to be gratuitous albeit realistic and disturbing; as in Cherry, Harry, and Raquel, a later Meyer (color) film, the viewer is torn from (his) fantasy of passion and plunged into anger and terror. Why Meyer felt he had to mix the two escapes me, but therefore, his films are doubly memorable; along with the river scene, the shotgun blast from under the hood of the old car is equally etched.

    Lorna Maitland, like Roberta Pedon of another genre, had a short stay in the limelight; with their early passing, they share a unique, cult-like icon status.

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    Histoire

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    Le saviez-vous

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    • Anecdotes
      Shot in 10 days.
    • Citations

      Lorna: [speaks to herself] Wham, bam, thank you ma'am... .

      [thinks to herself]

      Lorna: Is it me? Why can't they tell me what's wrong? Why can't he make love to me like the way he should? If he could only make me feel... the way HE feels when he... if he starts slowly... I'm a woman, not just a tool. Tomorrow will make one year... Happy anniversary to me. He's probably forgotten what day it will be...

    • Connexions
      Featured in Mondo Topless (1966)
    • Bandes originales
      Lorna
      Written by Hal Hopper

      Sung by Bob Grabeau

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    FAQ12

    • How long is Russ Meyer's Lorna?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 15 octobre 1969 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Russ Meyer's Lorna
    • Lieux de tournage
      • Walnut Grove, Californie, États-Unis
    • Société de production
      • Eve Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

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    • Budget
      • 60 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

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    • Durée
      1 heure 18 minutes
    • Couleur
      • Black and White
    • Mixage
      • Mono

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    Mark Bradley, Hal Hopper, Lorna Maitland, Fred Owens, James Rucker, and Doc Scortt in Lorna, l'incarnation du désir (1964)
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    By what name was Lorna, l'incarnation du désir (1964) officially released in India in English?
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