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Cet obscur objet du désir

  • 1977
  • Tous publics
  • 1h 43min
NOTE IMDb
7,8/10
26 k
MA NOTE
Cet obscur objet du désir (1977)
THAT OBSCURE OBJECT OF DESIRE: please don't go (US)
Lire clip1:25
Regarder THAT OBSCURE OBJECT OF DESIRE: please don't go (US)
2 Videos
99+ photos
SatireComedyDramaRomance

Lors d'un voyage en train, Mathieu Faber raconte aux passagers de son compartiment ses amours avec Conchita, femme radieuse qu'il poursuit de son obsession à travers l'Europe. Mais elle se d... Tout lireLors d'un voyage en train, Mathieu Faber raconte aux passagers de son compartiment ses amours avec Conchita, femme radieuse qu'il poursuit de son obsession à travers l'Europe. Mais elle se dérobe toujours à ses avances.Lors d'un voyage en train, Mathieu Faber raconte aux passagers de son compartiment ses amours avec Conchita, femme radieuse qu'il poursuit de son obsession à travers l'Europe. Mais elle se dérobe toujours à ses avances.

  • Réalisation
    • Luis Buñuel
  • Scénario
    • Luis Buñuel
    • Jean-Claude Carrière
    • Pierre Louÿs
  • Casting principal
    • Fernando Rey
    • Carole Bouquet
    • Ángela Molina
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,8/10
    26 k
    MA NOTE
    • Réalisation
      • Luis Buñuel
    • Scénario
      • Luis Buñuel
      • Jean-Claude Carrière
      • Pierre Louÿs
    • Casting principal
      • Fernando Rey
      • Carole Bouquet
      • Ángela Molina
    • 76avis d'utilisateurs
    • 95avis des critiques
    • 84Métascore
  • Voir les informations de production sur IMDbPro
    • Nommé pour 2 Oscars
      • 6 victoires et 11 nominations au total

    Vidéos2

    Official Trailer
    Trailer 1:25
    Official Trailer
    THAT OBSCURE OBJECT OF DESIRE: please don't go (US)
    Clip 1:25
    THAT OBSCURE OBJECT OF DESIRE: please don't go (US)
    THAT OBSCURE OBJECT OF DESIRE: please don't go (US)
    Clip 1:25
    THAT OBSCURE OBJECT OF DESIRE: please don't go (US)

    Photos117

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    + 110
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    Rôles principaux31

    Modifier
    Fernando Rey
    Fernando Rey
    • Mathieu Faber
    Carole Bouquet
    Carole Bouquet
    • Conchita Pérez (brunette)
    Ángela Molina
    Ángela Molina
    • Conchita
    • (as Angela Molina)
    Julien Bertheau
    Julien Bertheau
    • Edouard
    André Weber
    • Martin
    • (as Andre Weber)
    Milena Vukotic
    Milena Vukotic
    • Femme dans le train
    María Asquerino
    María Asquerino
    • Encarnación Pérez - madre de Conchita
    Ellen Bahl
    • Manolita
    Valerie Blanco
    • Isabelle
    • (as Valérie Blanco)
    Auguste Carrière
    • La femme qui reprise dans la vitrine
    • (as Auguste Carriere)
    Jacques Debary
    Jacques Debary
    • Un voyageur
    Antonio Duque
    • Conducteur
    André Lacombe
    • Portier
    Lita Lluch-Peiro
    • Ballerine
    Annie Monange
    • Employée du cabaret
    Jean-Claude Montalban
    • Garçon dans le bar
    Muni
    Muni
    • Concierge
    Bernard Musson
    Bernard Musson
    • Deporting Policeman
    • Réalisation
      • Luis Buñuel
    • Scénario
      • Luis Buñuel
      • Jean-Claude Carrière
      • Pierre Louÿs
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs76

    7,826.3K
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    Avis à la une

    9mjneu59

    the last sigh of a master surrealist

    Few other directors would dare to equate the male libido with international terrorism, but the final feature by master surrealist Luis Buñuel is a dark comic web of sexual obsession (too dark to be truly funny) set against a background of random explosions and political assassinations. The always dapper Fernando Rey stars as a wealthy gentleman who develops an all-consuming infatuation for his young Spanish maid, who by turns tempts him, teases him, refuses him, and finally humiliates him. All Rey wants is to carry his passion to its logical conclusion, but her (deliberately?) unpredictable shifts in mood, from coy temptation to spiteful rejection, leave him in a state of dangerous frustration. Buñuel applies his usual sly wit to the otherwise cynical and pessimistic scenario (one man affectionately refers to women as "sacks of excrement"), going so far as to cast two completely different actresses in the title role and interchanging them at random. The film is at once perverse and disturbing, providing a suitably mordant swan song to a long and distinguished career in movie iconoclasm.
    jmerlino

    As a surrealist gesture...

    ...I'm giving this film four antilopes and a pear floating in perfume.

    Plot: Idiotic old man gives a duck-ton of money to a barely legal dancer/stripper who in turn manipulates the hell out of him. He chases her around France and Spain, and ultimately gets blowed up real good.

    Personally, for most of the film I was pretty convinced that Conchita and her guitar playing friend were terrorists. I'm still not sure she wasn't.
    10enmussak

    Bunuel seldom disappoints

    Buñuel's "That Obscure Object of Desire" dripped with substance and stunned me throughout the entire film. The masterful working of the two women into the role of Conchita was wonderful. I do not believe Buñuel for a second when he claims that he intended to use one actress, but she quit unexpectedly after shooting several critical scenes. If it is true, it is one of the more miraculous accidents in film right up there with Casablanca and The Third Man. I can be certain that he consciously gave the different Conchita's different personalities and modes of behavior. That comes across as being the focal point of the movie, turning a mediocre "one actress" film into an engaging event. If I had to put my money on something, I'd say that Buñuel is pulling some Andy Kaufman trickery here... the film worked too well with the so-called "change of plans." Or... if you have enough monkeys on typewriters, you'll get the Great American Novel. I don't believe this was chance at all. 10/10.
    10seat850

    Using two actresses for one role not a planned plot device

    Contrary to the initial comment on this page, the director Luis Bunuel did not use two different actresses to play the lead role as a plot device to show "One actress for her placid nature and another actress for her tempermental side."

    While this is an oft-repeated misconception, it's not remotely true. In Luis Bunuel's autobiography, "My Last Sigh" (A fantastic book, still in print) the director discusses the reason for this unique directorial device, and how funny he finds it that so many "fans" assume that the choices were based on the actresses temperment or his desire to "express" something obscure. In truth, two actresses were used simply because the lead actress quit partway through production after having completed many critical scenes. Luis was beside himself over the wasted time and money in reshooting, so he hired a replacement to shoot only the missing scenes, and edited them irregardless of who was acting in a given scene. It served him well, as the end result was brilliant.
    film-critic

    My Conchita...

    I would like to begin by saying that this is one of the most bizarre films that I have ever experienced in my career as a movie buff. I have seen some twist endings, some passionately bad French films, and even some stalker films, but nothing compares to the cinematic genius that I just witnessed. Being a Bunuel 'virgin', I didn't know what to expect coming into this film.

    I was ready for anything, but interestingly enough nothing will prepare you for this film. Deeply rooted in cinematic symbolism, we watch as two very interesting devises that are used to bring forth the overall theme of this film. Two devises that I have never seen used in a movie, until now.

    The first is the obvious. Bunuel successfully uses two different actresses to play the same role of Conchita. At first I thought perhaps it was going to be one of those 'twin' double-cross films where these two girls used this older wealthy man for all his money. I was wrong. Similar to the title of this film, this is a film about passions and desires. It divulges in the emotion of obsession, and the reaction a man can have on someone that he desperately and sexually desires. Mathieu is our possible victim in this story. While both are not the most interesting characters (both have flaws and troubles), they do provide some structured characters. Mathieu is willing to give up everything for this woman that he hardly knows, but is physically attracted to her. It is hard to say that he loves her, but he does lust for her. The dual role of Conchita in this film is used for two purposes. The first is as a distraction, while the second is emotion. Both Conchitas are different in their own way and are used to push forward the story. Whenever Bunuel needed to convey a different emotion, he would bring in the actress that best represented that emotion. At first it was confusing, but as the film progressed you began to see less and less separate actresses, but instead as one character. It is impressive how Bunuel created this illusion.

    As I mentioned above, there were two devises that I have never seen in a movie before. I explained above about the use of two women for one female role, but the second is a bit subtler. I briefly mentioned it above about how these two women (one character) were used to distract. If you pay attention to the film terrorism is a big part of the universe surrounding Mathieu. While he pines continually for Conchita, the world around him is falling apart. Bombings and deaths are at an all time high, yet he doesn't really seem to notice this. He is so caught up in Conchita that it seems like nothing else exists. He is oblivious to his surroundings. In fact, I would go so far as to say that we are also oblivious to the surroundings. Bunuel does this job of keeping our eye focused on the interchanging women that we sometimes forget or miss the actions surrounding this film. I believe that Bunuel is trying to prove the point that obsession does obscure your vision. It blurs your eyes and forces you to miss crucial elements of your surroundings. It isn't until the end when we are reminded violently of the truth surrounding our characters. I felt that Bunuel was slapping me in the face with that final scene. I had nearly forgotten myself of the terrorism outside, but easily he reminded me.

    This was a spectacular film that really opened my eyes to a completely new way of film-making. It reminded me of some of the early works of another favorite director of mine Francois Ozon. Both of these talented artists have their own way of creating a world and an emotion, and both do it with some of the most beautiful strokes of their mechanical brush. I would recommend this film to anyone that is willing to experience radical, yet provocative film-making at its best. You will be impressed.

    I cannot wait to include this film in my collection to watch over and over again. Thanks to Criterion, they have provided a beautiful packaging to this obscure film.

    Grade: ***** out of *****

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      According to screenwriter Jean-Claude Carrière, the reason Maria Schneider was dismissed from the film was her heavy drug use, which caused her to give a "lackluster" performance and caused tremendous friction between her and Buñuel.
    • Gaffes
      Mathieu enters the room where Conchita dances nude, throws the leftmost table to the right, and chases out all the men. The remaining table and chairs on the left are standing upright. After they talk for two minutes the camera returns to the area with the tables, where that same table and chairs lean against the wall in disarray.
    • Citations

      Mathieu: I respect love too much to go seeking it in the back streets.

    • Connexions
      Featured in À propos de Buñuel (2000)
    • Bandes originales
      Die Walküre
      Written by Richard Wagner

      Performed by Orchester der Bayreuther Festspiele

      Conducted by Karl Böhm

      Philips 6747947

    Meilleurs choix

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    FAQ18

    • How long is That Obscure Object of Desire?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 17 août 1977 (France)
    • Pays d’origine
      • France
      • Espagne
    • Langues
      • Français
      • Espagnol
    • Aussi connu sous le nom de
      • That Obscure Object of Desire
    • Lieux de tournage
      • Giralda Tower, Sevilla, Andalucía, Espagne
    • Sociétés de production
      • Greenwich Film Productions
      • Les Films Galaxie
      • In-Cine Compañía Industrial Cinematográfica
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut mondial
      • 3 140 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 43 minutes
    • Mixage
      • Mono
    • Rapport de forme
      • 1.66 : 1

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