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La Fille de Ryan

Titre original : Ryan's Daughter
  • 1970
  • Tous publics
  • 3h 20min
NOTE IMDb
7,4/10
11 k
MA NOTE
La Fille de Ryan (1970)
Trailer two
Lire trailer2:15
2 Videos
60 photos
Period DramaDramaRomance

Dans le sillage de l'Insurrection de Pâques 1916, dans un petit village irlandais, une femme mariée a une liaison avec un officier britannique tourmenté.Dans le sillage de l'Insurrection de Pâques 1916, dans un petit village irlandais, une femme mariée a une liaison avec un officier britannique tourmenté.Dans le sillage de l'Insurrection de Pâques 1916, dans un petit village irlandais, une femme mariée a une liaison avec un officier britannique tourmenté.

  • Réalisation
    • David Lean
  • Scénario
    • Robert Bolt
  • Casting principal
    • Robert Mitchum
    • Trevor Howard
    • John Mills
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,4/10
    11 k
    MA NOTE
    • Réalisation
      • David Lean
    • Scénario
      • Robert Bolt
    • Casting principal
      • Robert Mitchum
      • Trevor Howard
      • John Mills
    • 152avis d'utilisateurs
    • 46avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompensé par 2 Oscars
      • 9 victoires et 22 nominations au total

    Vidéos2

    Ryan's Daughter
    Trailer 2:15
    Ryan's Daughter
    Ryan's Daughter
    Trailer 2:55
    Ryan's Daughter
    Ryan's Daughter
    Trailer 2:55
    Ryan's Daughter

    Photos60

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
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    + 54
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    Rôles principaux26

    Modifier
    Robert Mitchum
    Robert Mitchum
    • Charles Shaughnessy
    Trevor Howard
    Trevor Howard
    • Father Collins
    John Mills
    John Mills
    • Michael
    Sarah Miles
    Sarah Miles
    • Rosy Ryan
    Christopher Jones
    Christopher Jones
    • Major Randolph Doryan
    Leo McKern
    Leo McKern
    • Thomas Ryan
    Barry Foster
    Barry Foster
    • Tim O'Leary
    Marie Kean
    Marie Kean
    • Mrs. McCardle
    Arthur O'Sullivan
    • Mr. McCardle
    Evin Crowley
    Evin Crowley
    • Moureen
    Douglas Sheldon
    Douglas Sheldon
    • Driver
    Gerald Sim
    Gerald Sim
    • Captain
    Barry Jackson
    Barry Jackson
    • Corporal
    Des Keogh
    • Lanky Private
    Niall Toibin
    Niall Toibin
    • O'Keefe
    Philip O'Flynn
    • Paddy
    Donal Neligan
    • Moureen's Boyfriend
    Brian O'Higgins
    • Constable O'Connor
    • Réalisation
      • David Lean
    • Scénario
      • Robert Bolt
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs152

    7,411.2K
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    Résumé

    Reviewers say 'Ryan's Daughter' is visually stunning with epic scale, breathtaking cinematography, and a haunting score. It explores themes of desire, longing, and forbidden love, praised for performances by Sarah Miles, Robert Mitchum, and John Mills. However, criticisms include slow pacing, overlong runtime, and lack of chemistry between leads. Some note issues with the script, character development, and Irish stereotypes. Despite these, many appreciate its grandeur, emotional depth, and the portrayal of its Irish setting.
    Généré par IA à partir de textes des commentaires utilisateurs

    Avis à la une

    david-greene5

    A victim of mistaken expectations

    It is such a major tragedy that one of the greatest directors in the history of film, David Lean was so savaged by the critics after pouring vast stores of time, energy and devotion into this production. It has long been clear to me why "Ryan's Daughter" was so poorly received. After Lean's previous epics, everyone was certain that, with all the time and money that went into this film, and with its lengthy running time, it would simply have to be a similar type of show. When people bring such expectations to a movie and are confronted with something so daringly different, they often focus on what they didn't see and miss the virtue of the picture they saw. This film is too "slow", too absorbed with the subtle dynamics of the interaction between its characters for a viewer who is burning to see vast battle scenes, mighty parades and mobs of extras caught up in violent historical struggles. The "spectacle" in this film (and spectacle it is indeed) comes from the exquisite widescreen lensing of stunning Irish coastal scenery. The fabulous storm sequence with villagers battling raging surf in their efforts to retrieve floating contraband is, in my opinion, unmatched in all the thousands of movies I have seen. The drama of the central characters' lives and the depiction of the way the eternal conflicts that continue to trouble their nation work to destroy normal existence for them....this all works for me. I guess there are going to be many who just can't buy into the whole thing, but I can only feel sorry for them. To me, Lean did create an epic here, but not the traditional kind that everyone came to see. It is a "feast-for-the-eyes", intimate epic of the tumultuous emotional life of a little village caught in a swirl of hatred, suspicion, prejudice and seething conflict with an occupying army. One of my dearest hopes is that I may live to see a handsome DVD release of this splendid masterpiece before too much more time elapses. It should NEVER be viewed in some pan-and-scan edition on an ordinary TV! Seen this way with all that glorious cinematography cropped and miniaturized, "Ryan's Daughter" could indeed be seen as a failure. I always wonder how many magnificent David Lean films we will never see as a result of the unproductive years that resulted from the crushing effect on the director of the widespread rejection of this wonderful creation. What a travesty!
    picicici

    Sadly forgotten beautiful epic.

    It's one of the most underrated, but one of the most beautiful epic that ever put on screen. It's directed by David Lean, who made 'The Bridge on the River Kwai', 'Lawrence of Arabia' and 'Doctor Zhivago' before and this film ranks up with his previous works. I can only write about this film in superlatives. Foremost the photography - another excellent work by Freddie Young - honoured with an Academy Award, and the acting by John Mills, who won the Best Supporting Actor Oscar for his outstanding performance as the dumb fisherman. But I would have awarded Sarah Miles (she's "just" nominated for the Best Actress Oscar). Robert Mitchum has never been better, he fills the widow village teacher's character with life. Also great performances by the supporting cast - the aged Trevor Howard as the priest, and Ryan, the two-faced village pub owner, who risks his daughter's life when the villagers abusing her. It's one of the most disgusting character I've ever seen. Robert Bolt's original screenplay is also one of the most complex story I've ever seen. It' as good as the screenplay of 'Doctor Zhivago' which was honoured with an Academy Award and also written by Robert Bolt. This is a film about an outstanding love at an unbearable period of history between an English officer and an Irish woman. It's about sensitivity, courage, hope, admiring and collaborating. The story is so complex, that it's almost impossible to summarize in few words, so I would like to draw the attention to some WONDERFUL scenes: the love scene between the two young lovers, full of symbols and sensitively photographed. It's the most poetic love scene ever. The other beautiful scene is when Robert Mitchum finds his wife's and her lover's footsteps in the beach sand, follows them, imagines what could have happened between the two lovers and becomes sure, that his wife has got another man in her life. And finally of course the storm scene, when the villagers try to save the weapons from the stormy sea. This enormously powerful scene with those poetic scenes above are my favourites in the movie, but the whole movie is full of wonderful scenes and the 3 hours long film remains a religious experience until the last minute.

    Last but not least I have to mention the score which can be explained perfectly in 4 words: made by Maurice Jarre. Could be jungle, desert, Russian winter or wild Irish landscapes David Lean always knew how to use these locations to tell his stories. It's pity, that he didn't make any movies until 1984, because of the bad critics. Waste of talent and genius.
    Ricky_Roma__

    Lean's most underrated film

    It's not hard to see why the critics disliked Ryan's Daughter so much. Films like Midnight Cowboy and Easy Rider had come along and made lots of money and won lots of plaudits. Therefore Ryan's Daughter, a three-hour, 70mm epic must have seemed like something of a fossil – it certainly wasn't hip or trendy. But while Midnight Cowboy and Easy Rider have dated pretty badly, Ryan's Daughter seems timeless.

    That's not to say that Ryan's Daughter is without its faults. The story is wafer-thin, some of the writing (surprisingly for Robert Bolt) is lacklustre and the film runs out of steam before the end. But I'm more than able to forgive the film its faults, as it contains some wonderful scenes and some of the best visuals in cinema.

    My fondness for Lean's much maligned film is secured in the first few frames. In a long wide shot we see a cliff with a microscopic figure running towards the edge. Then we see the film's heroine, Rosy Ryan (Sarah Miles), chasing a black umbrella that is floating down towards the sea. It's a breathtaking start with some of the best photography committed to film – the skies, in particular, are gorgeous.

    And it's the start of the film that I enjoy the most. At the beginning the film is quite light and it has lots of energy. It also presents you with a central character who is full of hope for the future – I like the way Rosy, skipping along to Maurice Jarre's magnificent score, tosses her trashy romantic book into the sea, thinking that she wont have to live vicariously through other people anymore. And then when this is cut against Charles (Robert Mitchum) arriving on the outskirts of the village by bus, you realise what everything means – Rosy's white knight is arriving.

    But the film doesn't stay light and breezy for long. In fact, things go downhill on the wedding night – after expecting great things from her husband and this curious piece of human behaviour called sex, Rosy only gets a minute or so of love from Charles. It's not like it is in the books she read.

    After this you're introduced to Major Doryan (Christopher Jones), a shell-shocked English soldier who's been sent to Ireland. Right from the first moment you know he and Rosy are going to get involved. Therefore it's a good decision on Lean's part not to delay the inevitable. And I think the scene in the pub where Rosy and the Major meet and begin their affair is easily the best in the film, and certainly one of my favourites in cinema. It's just so imaginatively done. The photography, the editing and the scoring are perfect.

    I also like Rosy and the Major's first sexual encounter. It's done without any dialogue (well, until Rosy has come twice) and again it's impeccably shot. And although I'm sure all the critics scoffed at the nature shots, Lean makes it work. And Lean makes it work because he was a genuine romantic. I mean, the reason why the vast majority of romantic films are risible are because they're not sincere – they feel incredibly cynical. But Lean can film a sex scene with shots of forest canopies and not make it laughable. But the scene also works because of Miles' superb acting. Her face captures all the trepidation and excitement that such an encounter would inspire.

    It's actually criminal that Miles didn't win an Oscar for her performance (she was nominated). She makes Rosy, a woman who is cheating on her good-natured husband, both despicable and understandable – it's to Miles' credit that she isn't afraid to show Rosy's ugly side; sometimes she's a petulant brat.

    And I also think that Mitchum's performance is underrated. He makes a dull character interesting. But I think it helps if you're familiar with Mitchum's work. I mean, it's strange to see the original Max Cady play a cuckold. And it's even stranger to see him last seconds in the sack and get beaten up.

    And although his performance gets a lot of stick, I think Christopher Jones is fine in the film. He certainly looks the part. And although a lot of his dialogue had to be cut because the man was a mess on set, it actually works for the character. I mean, with hardly any dialogue it make his romance with Rosy a lot less banal – it gives it a bit mystery. Plus, what would an English officer and a poor Irish schoolteacher's wife have to talk about? The relationship makes much more sense as a sexual one – Rosy may love her husband but the Major gives her what she's missing.

    Another refreshing element of Ryan's Daughter is the portrayal of the English and the Irish. All too often in any film set in Ireland, the locals are universally pure hearted while the English are universally loathsome. Here you have small-minded Irish peasants and English soldiers who are just doing their job. You also have an IRA that kills police officers in cold blood. Yeah, the film may be simplistic, but at least it doesn't have a sentimental, misty-eyed view of the common man.

    And how can I talk about Ryan's Daughter and not mention the storm sequence? It's quite a remarkable piece of film and again it features some breathtaking photography – there's one shot where the waves crashing against the cliff seem to be blown backwards and another where the spray is sucked upwards into the sky. Anyone with a pair of eyes should enjoy it.

    However, as much as I love the film, I do think it splutters towards its conclusion. I certainly don't mind it being three hours long, but the film does seem to run out of ideas towards the end. But that's only a minor complaint. On the whole, I think the film's fantastic.
    7Njs2016

    It's the score that kills it.

    I wish someone would do a little project to re score this film with an Irish soundtrack. The score by Maurice Jarre is god awful and rips away any romance or passion that's under the surface. It also completely undercuts the visuals making the piece feel off kilter and parochial. Where the bolt script isn't quite as bad as some say it is.
    lfsutherland

    Human longing for life, bare and simple on the screen

    I love this movie. Saw it again last night on the big, wide screen at the Astor, from a beautiful new print. There is much to deserve love: the artistry of the film making; unspeakably fine cinematography; superb use of music and sound (hearing nothing but the wind in the trees during the forest scene is breathlessly sensual); and major and minor characters who each in their own way reflect the eternal enigma of human longing for life and transcendence. The film's evocation of human lives caught up in the inexorable forces of nature and history at this particular moment and place is profoundly arresting. There's a timelessness about this movie which makes the criticisms I've heard - about miscasting, stiff acting and the like - melt away into irrelevance, or even shows them to be virtues. I love the way the film maintains narrative integrity but has a foreordained, mythical quality as well: the overwhelming, all-penetrating power of nature and fate seems to make the human doings at once piercingly real and immediate, yet disconnected, almost surreal. But the touches of humour and sharp, immediate visual detail (often wittily drawn from the visual history of paintings and caricatures of village life) save us from any kind of authorial portent or angst: the greatest wonder of this artful work is that there is nothing between us and the story, except perhaps the icy whip of the ocean wind gainst our faces. The range of characters both in kind and in how we experience them is enlivening - from the formidably down to earth Father Collins, to the captivatingly tragic and symbolic figure of Doryan. And Michael the retarded angel is the ultimate figure of grace.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      While filming in Ireland, they ran out of sunshine, so they shot quite a few of the beach scenes at Noordhoek Beach, located a few miles from Cape Town in the Cape Peninsula, South Africa. Those scenes are easy to identify because the sky is particularly bright and clear, and the beach sand exceptionally white and fine.
    • Gaffes
      The British army camp outside of the village has several Quonset or possibly Nissan huts. Neither style of hut was developed until early in WW2, about 1941 - 25 years after the setting for this movie.
    • Citations

      Thomas Ryan: [meeting Doryan for the first time] Now, I can't just say you're welcome - not in your official function. Ah, but in YOURSELF, you're welcome! A brave man is a brave man in any uniform, be it English khaki, Irish green, aye, or German gray.

    • Versions alternatives
      The general release version omits the Overture, Intermission, and Exit Music, bringing the running time down to 195 minutes. The roadshow version is what appears on most laserdisc and VHS releases, along with the DVD version.
    • Connexions
      Edited into Elizabeth - L'âge d'or (2007)
    • Bandes originales
      Mary of the Curling Hair
      (uncredited)

      Traditional

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    FAQ18

    • How long is Ryan's Daughter?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 23 décembre 1970 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • Warner Bros. (United States)
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • La Fille d'Irlande
    • Lieux de tournage
      • Cliffs of Moher, County Clare, Irlande(Rosy loses her parasol, opening scene)
    • Sociétés de production
      • Metro-Goldwyn-Mayer (MGM)
      • Faraway Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

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    • Budget
      • 15 000 000 $US (estimé)
    • Montant brut mondial
      • 8 768 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      3 heures 20 minutes
    • Couleur
      • Color
    • Rapport de forme
      • 2.20 : 1

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