[go: up one dir, main page]

    Calendrier de sortiesLes 250 meilleurs filmsLes films les plus populairesRechercher des films par genreMeilleur box officeHoraires et billetsActualités du cinémaPleins feux sur le cinéma indien
    Ce qui est diffusé à la télévision et en streamingLes 250 meilleures sériesÉmissions de télévision les plus populairesParcourir les séries TV par genreActualités télévisées
    Que regarderLes dernières bandes-annoncesProgrammes IMDb OriginalChoix d’IMDbCoup de projecteur sur IMDbGuide de divertissement pour la famillePodcasts IMDb
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter AwardsAwards CentralFestivalsTous les événements
    Né aujourd'huiLes célébrités les plus populairesActualités des célébrités
    Centre d'aideZone des contributeursSondages
Pour les professionnels de l'industrie
  • Langue
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Liste de favoris
Se connecter
  • Entièrement prise en charge
  • English (United States)
    Partiellement prise en charge
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Utiliser l'appli
  • Distribution et équipe technique
  • Avis des utilisateurs
  • Anecdotes
  • FAQ
IMDbPro

Ah! Dieu que la guerre est jolie

Titre original : Oh! What a Lovely War
  • 1969
  • Tous publics
  • 2h 24min
NOTE IMDb
7,0/10
3,4 k
MA NOTE
Ah! Dieu que la guerre est jolie (1969)
SatireComedyMusicalWar

Ajouter une intrigue dans votre langueThe working-class Smiths change their initially sunny views on World War I after the three boys of the family witness the harsh reality of trench warfare.The working-class Smiths change their initially sunny views on World War I after the three boys of the family witness the harsh reality of trench warfare.The working-class Smiths change their initially sunny views on World War I after the three boys of the family witness the harsh reality of trench warfare.

  • Réalisation
    • Richard Attenborough
  • Scénario
    • Charles Chilton
    • Ted Allan
    • Len Deighton
  • Casting principal
    • Wendy Allnutt
    • Colin Farrell
    • Malcolm McFee
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    3,4 k
    MA NOTE
    • Réalisation
      • Richard Attenborough
    • Scénario
      • Charles Chilton
      • Ted Allan
      • Len Deighton
    • Casting principal
      • Wendy Allnutt
      • Colin Farrell
      • Malcolm McFee
    • 76avis d'utilisateurs
    • 29avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Victoire aux 6 BAFTA Awards
      • 8 victoires et 8 nominations au total

    Photos54

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
    + 48
    Voir l'affiche

    Rôles principaux99+

    Modifier
    Wendy Allnutt
    Wendy Allnutt
    • Florence Victoria 'Flo' Smith
    Colin Farrell
    • Harry Arnold Smith
    Malcolm McFee
    • Frederick Percy 'Freddie' Smith
    John Rae
    • Grandpa Smith
    Corin Redgrave
    Corin Redgrave
    • Bertram Biddle 'Bertie' Smith
    Maurice Roëves
    Maurice Roëves
    • George Patrick Michael Smith
    Paul Shelley
    Paul Shelley
    • Jack Henry Smith
    Kim Smith
    • Richard 'Dickie' Smith
    Angela Thorne
    Angela Thorne
    • Elizabeth May 'Betty' Smith
    Mary Wimbush
    Mary Wimbush
    • Mary Emma Smith
    Vincent Ball
    Vincent Ball
    • Australian Soldier
    Pia Colombo
    • Estaminet Singer
    Paul Daneman
    Paul Daneman
    • Czar Nicholas II
    Isabel Dean
    Isabel Dean
    • Sir John French's Lady
    Christian Doermer
    Christian Doermer
    • Fritz
    Robert Flemyng
    Robert Flemyng
    • Major Mallory - Staff Officer in Gassed Trench
    Meriel Forbes
    Meriel Forbes
    • Lady Pamela Grey
    Ian Holm
    Ian Holm
    • President Raymond Poincaré
    • Réalisation
      • Richard Attenborough
    • Scénario
      • Charles Chilton
      • Ted Allan
      • Len Deighton
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs76

    7,03.4K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Avis à la une

    arden_warner

    Very likely my favorite movie ever.

    It's been thirty-five years since I first saw this movie. I remember it as well as any movie I've seen. I check every few months to see if it is available in any format. So far I haven't found it. It would be good if someone could be influenced to create a DVD version. I'd buy it in a minute. I'd probably buy several copies and give them to special friends. It may be my favorite movie of all time.

    Until I saw the movie, I didn't realize that there was some special music that accompanied WWI. It's music that now brings a tear whenever I hear it. The portrayal of pompous generals and their subservient minions, as they are posting the numbers of deaths and casualties for the day, is beautifully done. They were simply putting up numbers. But each number was often a death. A death of a promising young person. This movie makes war appear as brutal as it can really be. The poor always die first. It would be nice if international law demanded that the political and military leaders of a country be required to send their own children into war first. If that were the case, there would likely be no more war.
    stryker-5

    "Old Soldiers Never Die - The Young Ones Wish They Would!"

    Richard Attenborough's directorial debut translates Joan Plowright's theatre concept onto celluloid. "Oh What A Lovely War" tells the story of World War One through the popular songs of the time, some of them sarcastically re-worded by the soldiers at the Front. Made in 1969, the film rides the wave of contemporary 'make love not war' sentiment, and uses humour and avant-garde zaniness to avoid seeming portentous. Brighton Pier represents the First World War, with the British public entering at the turnstiles, and General Haig selling tickets. The Smith family stands for the nation, and the film follows several young Smith men through their experiences in the trenches, most notably Freddy (Malcolm McFee), Harry (Colin Farrell) and George (Maurice Roeves).

    The opening sequence, set in a wrought-iron Nowhere, tries to explain the diplomatic chicanery which (allegedly) caused the Great War. This passage is dull, unnatural, garbled and much too long. It does not harmonise with the rest of the story, and the film would have been better without it. Of the cavalcade of ageing English thespians which populates this sequence, only Jack Hawkins as the profoundly melancholic Austrian emperor is at all memorable.

    1914 was the season of optimism, shown here by the cheerful seaside scene and the first Battle of Mons, both flooded in pleasant sunshine. When the casulaties start to mount, a shocked theatre audience is rallied by a rousing rendition of "Are We Downhearted? No!", a song which expresses something deep in the English psyche: "While we have Jack upon the sea/And Tommy on the land/We needn't fret".

    The government's cynical drive to recruit a volunteer army by 'milking' the simple patriotism of the people is superbly satirised in the 'Roedean' section. Pretty girls onstage sing "We Don't Want To Lose You, But We Think You Ought To Go", and once the young men in the audience are suitably softened up, Maggie Smith lures them into taking the King's Shilling by enticing them sexually.

    Class divisions are emphasised. Wounded men from the lower ranks have to wait for treatment, but officers have taxis laid on to take them to hospital. The War forces an aristocrat to converse with one of his retainers, but the conversation is hollow and awkward, as if the men speak different languages. The working-class men in the trenches fraternise with their German 'brothers', and a staff officer in the comfort and safety of England punishes them for their inappropriate behaviour. The pacifist who addresses the workers falls foul of their instinctive patriotism, and doesn't help herself by referring to her audience as "You misguided masses".

    The film has many delicious ironic touches. A wounded man arrives back in England, relieved to be out of the hell of war, and is told by a nurse, "Don't worry - we'll soon have you back at the Front". Upper-class war dodgers carry on as before, but they think they are making noble sacrifices - "I'm not using my German wine - not while the War's on". The staff officer who visits the Front is patently unfamiliar with life there, and desperate to get away, but happy enough to have the men live (and die) in these conditions.

    By 1915, the optimism has died. The parade of wounded men is a sea of grim, hopeless faces. Black humour has now replaced the enthusiasm of the early days. "There's A Long, Long Trail A-Winding" captures the new mood of despair, and the scene with the tommies filing along in torrential rain is powerfully evocative. Poppies provide the only colour.

    We see English soldiers drinking in an estaminet. The chanteuse (Pia Colombo) leads them in a jolly chorus of "The Moon Shines Bright On Charlie Chaplin", a reworking of an American song, then shifts the mood dramatically by singing "Adieu la vie", a truly great tragic song.

    The Australian troops have an easy, informal approach to discipline. They make fun of the 'proper' English reserves who are replacing them on the battlefield, and the contrast between the two cultures is depicted by the stiffness of the English drill compared with the sprawling comfort of the Aussies. Naturally enough, the Australians deride the staff officers who arrive to inspect the reserves.

    Another passage in the film which simply doesn't work is the religious service in the ruined abbey. Its purpose is to point out the hypocrisy of the great religions, which all came out in favour of the War, but the scene drags horribly and slackens the film's otherwise brisk pace.

    1916 passes, and the film's tone darkens appreciably. Now the songs have a wistful quality, laced with the chirpy stoicism of the British soldier - "The Bells Of Hell", "If The Sergeant Steals Your Rum, Never Mind" and "Hanging On The Old Barbed Wire". The trench scenes are terrific, powerfully evoking the squalour of the Front. The wounded are laid out in ranks at the field station, a mockery of the healthy rows of young men who entered the War. Harry Smith's silently-suffering face is one of the film's great images.

    The War is drawing to its close, but still the ironies are piling up. The Americans arrive, singing (in travesty of Cohan) "And we won't come back - we'll be buried over there!" Freddy notices with disgust that after three years of this nightmare, he is literally back where he started, fighting at Mons.

    As the Armistice is sounding, Freddy is the last one to die. The film closes with a truly stunning aerial view of soldiers' graves, dizzying in their geometry and scale, as the voices of the dead sing, "We'll Never Tell Them". It brought a tear to this reviewer's eye.
    9Jastrzebiec

    Brilliant Tour de Farce

    This is a superlative film. Though based on the Joan Littlewood stage play (itself derived from a Charles Chilton radio piece), the film has the creativity, visual sense and sardonic wit of Len Deighton throughout. Apparently, it also was Len who had the brainstorm to set the fantasy sections at Brighton, which worked brilliantly! Inexplicably, he asked for his name to be removed from the writing and producing credits. (Later, after swearing off the film industry, he got his revenge with his novel "Close-up.") Whatever "corporate changes" (in the sense of group-think) were made to his script, it still works. And it works extremely well. Not only as an anti-World War I piece, but as a powerful critique of the British class structure and the amoral diplomats and generals who sent millions, nearly a generation, to early graves. I can't think of another film that has so artfully blended satire, farce, tragedy and history. This film is "Dr. Strangelove" caliber, but it's a musical, using the patriotic tunes of the day with the sarcastic alternate lyrics that the troops themselves created.

    Kudos go to first-time director (now Lord) Richard Attenborough, and a stellar cast that was essentially the British Pantheon, circa 1969.

    I have never seen anything remotely like this, and I doubt if I ever will again. Emotional? If you don't have a few tears by the time they're playing "No, We'll Never Tell Them,"...better check for a pulse.
    10eberly1

    Should be subtitled: Don't Go Near the Poppies

    I first saw this movie in the theater in 1969. In my opinion it was by far the most powerful anti-war movie I had ever seen. I came to IMDB looking for a place where I could order a copy so that my children could see it. I can not think of another movie which makes use of the media so effectively. For instance, the party atmosphere of the boardwalk where we see a toy merry-go-round with puppets which blends into a real merry-go-round with real soldiers and real women which blends into real soldiers in a real battle. And the scene where the "upper class" lady is enticing men to join the army morphs into a whore soliciting anybody she can drag onstage. Then the camera moves to the men gathered backstage and the backdrop of the curtains in the theatre becomes the canvas cover of the truck carrying the men to the battlefront. Death is symbolized by poppies. The surrealistic atmosphere allows the characters to pass by poppies, or be handed a poppy rather than being shot or dying from mustard gas. And I particularly liked the scoreboard where the result--regardless of the men lost or the ground lost was always VICTORY! The final scene with the women and children having a picnic in a beautiful field requires the scope of the "big screen." When the child comes running up to his mother and asks, "What did Daddy do in the war?" the answer comes not from the mother but from the camera pulling back very slowly from the picnic. We see a cross and some poppies and then we see more poppies and more crosses until all we can see are the crosses and poppies of Flanders Field and we are no longer able to distinguish the people having the picnic. This is a film for those who enjoy surrealism and satire. It is a must for anyone studying anti-war films. And as an added treat, it has in it practically everybody who was anybody in British theatre at the time it was made.
    8klg19

    A brilliant, moving, anti-war film

    I first saw this film when it came out. I was 10 years old, the Viet Nam war was still going on, and it blew me away completely.

    I saw it again 5 years later, in a revival house. I went with a high-school friend, happy to be able to introduce its power and brilliance to someone new. It blew her away completely.

    That was 27 years ago, and I would give almost anything to know if the film could still move me as much as it did those first two times. It is not available on video, and I've never seen it broadcast on any TV channel.

    This is truly one of those films that burned itself into my memory at first viewing. I urge anyone who finds the chance to see it to run, not walk, to the theatre! The Great War -- the War to End All Wars -- has faded deep into the past for most people, and we forget that the death-toll from that conflict blighted an entire generation. This film makes that loss all too vivid, using the music of the war itself.

    Truly a classic, in the most literal sense of the word: a film for the ages.

    Vous aimerez aussi

    Les griffes du lion
    6,7
    Les griffes du lion
    Wagner
    7,4
    Wagner
    Othello
    7,0
    Othello
    Le mystère des sables
    6,4
    Le mystère des sables
    Le songe d'une nuit d'été
    6,8
    Le songe d'une nuit d'été
    Oh! What a Lovely War
    Oh! What a Lovely War
    Porc royal
    6,5
    Porc royal
    Le Divorce de Lady X
    6,6
    Le Divorce de Lady X
    Chaque chose en son temps
    7,3
    Chaque chose en son temps
    War and Destiny
    6,5
    War and Destiny
    Le prince et la danseuse
    6,4
    Le prince et la danseuse
    Ville conquise
    7,2
    Ville conquise

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The song "La Chanson de Craonne" ("Adieu la Vie"), sung by Pia Colombo (Estaminet Singer) in this movie, commemorates a mutiny in 1917 by French troops. Merely singing it was considered an act of mutiny, and it was banned in France until 1974. During the war, a reward of one million francs and immediate honorable release from the Army was offered for the identity of the author, but never claimed.
    • Gaffes
      Sir Edward Grey (Ralph Richardson) is shown early in the film being accompanied by his wife, described in the credits as Lady Pamela Grey. In fact, Grey did not marry Pamela (nee Wyndham, and the widow of Lord Glenconer) until 1922.
    • Citations

      Soldier Singer: It was Christmas Day in the cookhouse, the happiest time of the year, Men's hearts were full of gladness and their bellies full of beer, When up popped Private Shorthouse, his face as bold as brass, He said We don't want your Christmas pudding, you can stick it up your... tidings of co-omfort and joy, comfort and joy, o-oh ti-idings of co-omfort and joy. It was Christmas Day in the harem, the eunuchs were standing 'round, And hundreds of beautiful women were stretched out on the ground, Along came the big bad Sultan, and gazed on his marble halls, He said Whaddya want for Christmas boys, and the eunuchs answered... tidings of co-omfort and joy, comfort and joy, o-oh ti-idings of comfort and joy.

    • Crédits fous
      Opening credits prologue: The principal statements made by the historical characters in this film are based on documentary evidence and the words of the songs are those sung by the troops during the First World War
    • Connexions
      Featured in Love Tory: A Film Portrait of Alan Clark (1993)
    • Bandes originales
      Oh, It's a Lovely War
      (uncredited)

      Written by John Long and Maurice Scott

      Performed by John Mills and chorus

    Meilleurs choix

    Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
    Se connecter

    FAQ16

    • How long is Oh! What a Lovely War?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 28 novembre 1969 (France)
    • Pays d’origine
      • Royaume-Uni
    • Langues
      • Anglais
      • Français
      • Allemand
    • Aussi connu sous le nom de
      • Oh! What a Lovely War
    • Lieux de tournage
      • Brighton Pavilion, Brighton, East Sussex, Angleterre, Royaume-Uni
    • Société de production
      • Accord Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 801 591 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 24 minutes
    • Couleur
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 2.35 : 1

    Contribuer à cette page

    Suggérer une modification ou ajouter du contenu manquant
    Ah! Dieu que la guerre est jolie (1969)
    Lacune principale
    By what name was Ah! Dieu que la guerre est jolie (1969) officially released in India in English?
    Répondre
    • Voir plus de lacunes
    • En savoir plus sur la contribution
    Modifier la page

    Découvrir

    Récemment consultés

    Activez les cookies du navigateur pour utiliser cette fonctionnalité. En savoir plus
    Obtenir l'application IMDb
    Identifiez-vous pour accéder à davantage de ressourcesIdentifiez-vous pour accéder à davantage de ressources
    Suivez IMDb sur les réseaux sociaux
    Obtenir l'application IMDb
    Pour Android et iOS
    Obtenir l'application IMDb
    • Aide
    • Index du site
    • IMDbPro
    • Box Office Mojo
    • Licence de données IMDb
    • Salle de presse
    • Annonces
    • Emplois
    • Conditions d'utilisation
    • Politique de confidentialité
    • Your Ads Privacy Choices
    IMDb, une société Amazon

    © 1990-2025 by IMDb.com, Inc.