NOTE IMDb
7,6/10
19 k
MA NOTE
Deux évadés, l'un blanc et l'autre noir, sont enchaînés l'un à l'autre. Ils doivent réussir à s'entendre pour éviter d'être capturés.Deux évadés, l'un blanc et l'autre noir, sont enchaînés l'un à l'autre. Ils doivent réussir à s'entendre pour éviter d'être capturés.Deux évadés, l'un blanc et l'autre noir, sont enchaînés l'un à l'autre. Ils doivent réussir à s'entendre pour éviter d'être capturés.
- Réalisation
- Scénario
- Casting principal
- Récompensé par 2 Oscars
- 16 victoires et 21 nominations au total
Lon Chaney Jr.
- Big Sam
- (as Lon Chaney)
Carl 'Alfalfa' Switzer
- Angus
- (as Carl Switzer)
Joe Brooks
- Townsman
- (non crédité)
Jack Clinton
- Townsman
- (non crédité)
Jimmy Dime
- Townsman
- (non crédité)
Clem Fuller
- Search Party Member
- (non crédité)
Mickey Golden
- Search Party Member
- (non crédité)
Avis à la une
Sidney Poitier continues to break race barriers with this formula jail-break drama. Teamed with Tony Curtis, the escaped prisoners encounter many situations, where their difference in color seems to matter more than the fact that both are fugitives from the law. Throughout the film, the viewer empathizes with the escapees, figuring that they always got a bum deal in life. A scene towards the end, where a single mother sees a chance to "hook up" with Curtis, shows how Curtis, although often disagreeing, even physically fighting with Poitier, still sees Poitier as an equal in their quest for freedom. Rather than "sell out" his friend, he would rather die trying to save him. The inevidable ending (remember that one of the rules in Old Hollywood was that the bad guys can never win)is quite moving.
Definitely among the established Hollywood Classics. Although many of the "old ways" have changed drastically since the late 50s, this film offers insight into a piece of Americana many people living today can still recall. An important piece of Film History, and highly recommended.
Definitely among the established Hollywood Classics. Although many of the "old ways" have changed drastically since the late 50s, this film offers insight into a piece of Americana many people living today can still recall. An important piece of Film History, and highly recommended.
A great job by Stanley Kramer on this film. Tony Curtis and Sidney Poitier turn in stellar performances as two convicts who get an unexpected shot at escape but are held together by a length of chain. They must learn to overcome their racial dislike of each other in order to survive and gain their freedom. But will they? The film is shot in black and white and had it been shot in color it would not have been as good. A remake was done some years later which was passable but didn't match this original version.
I have seen this film several times and each time I am feeling that this is one of the best drama I've ever seen. There are new remakes of this film, but the original is the best. Acting of Sidney Poitier is without any doubt superb, while Tony Curtis did also his best. The director, Stanley Kramer, chose a very good and interesting plot, how two different persons can have better relationship and interests when they fight together for their lives. No matter if one is black and the other white, or no matter if one is atheist and the other Christian, at the end they will understand each other because their cause is only one and is the same, to become free.
Opposite characters doomed to each other by handcuffs is an old theme in movies that goes back to at least "The 39 steps" (1935, Alfred Hitchcock). In that film the opposites where man and woman, in "The defiant ones" it is black and white. By taking racism as its subject the film is very liberal in a time that the civil rights issue was firm on the political agenda.
The film thanks a lot to its two main characters. In the first place Sidney Poitier as Noah Cullen. Poitier was the only black star actor of its time and was frequently cast in a film wit racism as its subject. Think of films such as "In the heat of the night" ( 1967, Norman Jewison) and "Guess who's coming to dinner" (1967, Stanley Kramer). This type casting can be interpreted as a sort of racism of its own kind.
Even more striking is the performance of Tony Curtis as John Jackson. In the beginning he was casted as the handsome guy. The year before "The defiant ones" he had proven with "Sweet smell of success" (1957, Alexander Mackendrick) that he was capable of serious acting too.
Director Stanley Kramer has the image of being more or less a moralist. In his films the social engagement is sometimes a bit to explicit. Apart from the earlier mentioned "Guess who is coming to dinner" (1967) one can think of films such as "Inherit the wind" (1960) and "Judgement at Nuremberg" (1961). In "The defiant ones" there is the right mix between social engamement, action and a sultry form of eroticism. In this respect the film has much in common with "In the heat of the night" ( 1967, Norman Jewison).
The film thanks a lot to its two main characters. In the first place Sidney Poitier as Noah Cullen. Poitier was the only black star actor of its time and was frequently cast in a film wit racism as its subject. Think of films such as "In the heat of the night" ( 1967, Norman Jewison) and "Guess who's coming to dinner" (1967, Stanley Kramer). This type casting can be interpreted as a sort of racism of its own kind.
Even more striking is the performance of Tony Curtis as John Jackson. In the beginning he was casted as the handsome guy. The year before "The defiant ones" he had proven with "Sweet smell of success" (1957, Alexander Mackendrick) that he was capable of serious acting too.
Director Stanley Kramer has the image of being more or less a moralist. In his films the social engagement is sometimes a bit to explicit. Apart from the earlier mentioned "Guess who is coming to dinner" (1967) one can think of films such as "Inherit the wind" (1960) and "Judgement at Nuremberg" (1961). In "The defiant ones" there is the right mix between social engamement, action and a sultry form of eroticism. In this respect the film has much in common with "In the heat of the night" ( 1967, Norman Jewison).
... but no Charlie Potatoes: like the races they represent, two escaped cons battle through the swamps, and their prejudice, to demonstrate there's so much more to who we are than the colour of our skin.
Sydney Poitier and Tony Curtis are outstanding!
Sydney Poitier and Tony Curtis are outstanding!
Le saviez-vous
- AnecdotesThe young man with the transistor radio is played by Our Gang/The Little Rascals graduate Carl 'Alfalfa' Switzer in his final screen appearance before his untimely death in a shooting incident.
- GaffesTwice they are soaked to the skin in water and mud, but come up with dry cigarettes and matches.
- Citations
Noah Cullen: I ain't gettin' mad, Joker. I been mad all my natural life.
- ConnexionsFeatured in Precious Images (1986)
- Bandes originalesLong Gone
Adapted from "Long Gone (From Bowlin' Green)" (1920)
Music by W.C. Handy (as William C. Handy)
Words by Chris Smith
Sung a cappella by Sidney Poitier (uncredited) several times
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
- How long is The Defiant Ones?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langue
- Aussi connu sous le nom de
- L'impossible évasion
- Lieux de tournage
- Kern County, Californie, États-Unis(crossing the river)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 778 000 $US (estimé)
- Durée
- 1h 36min(96 min)
- Couleur
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant