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Intérieurs

Titre original : Interiors
  • 1978
  • Tous publics
  • 1h 32min
NOTE IMDb
7,3/10
22 k
MA NOTE
Diane Keaton, Mary Beth Hurt, and Kristin Griffith in Intérieurs (1978)
Regarder Trailer [EN]
Lire trailer2:49
1 Video
99+ photos
Drama

Trois sœurs voient leur vie échapper à tout contrôle à la suite du divorce soudain et inattendu de leurs parents.Trois sœurs voient leur vie échapper à tout contrôle à la suite du divorce soudain et inattendu de leurs parents.Trois sœurs voient leur vie échapper à tout contrôle à la suite du divorce soudain et inattendu de leurs parents.

  • Réalisation
    • Woody Allen
  • Scénario
    • Woody Allen
  • Casting principal
    • Diane Keaton
    • Geraldine Page
    • Kristin Griffith
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,3/10
    22 k
    MA NOTE
    • Réalisation
      • Woody Allen
    • Scénario
      • Woody Allen
    • Casting principal
      • Diane Keaton
      • Geraldine Page
      • Kristin Griffith
    • 133avis d'utilisateurs
    • 63avis des critiques
    • 67Métascore
  • Voir les informations de production sur IMDbPro
    • Nommé pour 5 Oscars
      • 9 victoires et 17 nominations au total

    Vidéos1

    Trailer [EN]
    Trailer 2:49
    Trailer [EN]

    Photos126

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    Rôles principaux14

    Modifier
    Diane Keaton
    Diane Keaton
    • Renata
    Geraldine Page
    Geraldine Page
    • Eve
    Kristin Griffith
    Kristin Griffith
    • Flyn
    Mary Beth Hurt
    Mary Beth Hurt
    • Joey
    Richard Jordan
    Richard Jordan
    • Frederick
    E.G. Marshall
    E.G. Marshall
    • Arthur
    Maureen Stapleton
    Maureen Stapleton
    • Pearl
    Sam Waterston
    Sam Waterston
    • Mike
    Missy Hope
    • Young Joey
    Kerry Duffy
    • Young Renata
    Nancy Collins
    • Young Flyn
    Penny Gaston
    • Young Eve
    Roger Morden
    • Young Arthur
    Henderson Forsythe
    • Judge Bartel
    • Réalisation
      • Woody Allen
    • Scénario
      • Woody Allen
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs133

    7,321.6K
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    Avis à la une

    drosse67

    Charts new territory

    Interiors is Woody Allen's first straight drama, and while most compare the film to Ingmar Bergman (one of Allen's favorite directors), the film's examination of a dysfunctional family struggling for normalcy is a forerunner to such '80s films as Ordinary People and Shoot the Moon, and acclaimed '90s films The Ice Storm, Happiness and American Beauty. The film focuses on three sisters (not the first time Woody Allen would do this), and their reaction to their parents' sudden divorce and then their father's affair with a less glamorous, but very REAL, woman.

    Maureen Stapleton plays the new woman and has what I feel is the most heartbreaking scene in the movie. One of the sisters (played by Mary Beth Hurt) inexplicably lashes out at Stapleton after she accidentally breaks a vase. Stapleton's reaction to this is so touching that I remembered it long after the other events faded away. The film is good but stagy; I prefer Woody Allen's later serious dramas because they seem less confined or more stylish (the various Manhattan settings in "Another Woman" and the sudden blackout in the Vermont house in "September"). Still, fans of the '90s films should seek this one out, and since Woody Allen doesn't appear, movie fans should invite Woody bashers over to their homes and start the movie right after the opening credits. The reactions may be interesting.
    10secondtake

    A large ensemble cast, written, filmed, and directed with quiet force....

    Interiors (1978)

    This is one of those dark, serious, realistic personal dramas that critics shook their heads at in 1978. It wasn't because it wasn't good--it's frankly a brilliant combination of the big three: acting, writing, photography. It was because it was directed (and written) by Woody Allen. And Woody Allen is funny, right? Critics at the time, however, to their credit, gave the film a fair reading, and for three brilliant excerpt of period reviews, I recommend the Wikipedia entry on the movie.

    So watch this film thinking it's by someone else, if you have to. take it in on its own subtle terms as three sisters watch their own deficiencies bloom when their parents abruptly separate. There is some familiar territory here, actors Allen has turned to many times (including Diane Keaton, of course, who he was once, in 1970, involved with). The world is one that might actually be parallel to his own, not Jewish New York but rather a highly educated literary set with money and ambitions, but deeply steeped in the arts.

    In short, "Interiors" was and is appreciated but always with a feeling that it isn't quite complete, that it isn't what it could have been. It's easy to see that it is unremittingly dour, almost to perversion. And you might say that it plays the Bergman card too hard without overt appropriation (which makes it merely derivative, that worst of echoes). It is fair, I suppose, to say that Allen really has succeeded, but not in the remarkable ways he had succeeded so clearly in his earlier films, including his previous nugget, "Annie Hall," which is in my view his first true drama, but which has the benefit of also being funny.

    Or you can just sit back and take it in for what it does do so well, letting the interior lives of these people seem as shattered and pathetic as they really seem. The photography by Gordon Willis is admirable for being beautiful and inventive without being distracting. Allen and Willis make clear this intention with opening shots, a series of fixed camera views of rooms, and then views out windows, all framed with classic proportions, but sequenced to pull you in. But look how often the camera follows two people as they walk and talk, either up close in front of them, or along the beach through an irregular snow fence. Its pace and "tastefulness" of the photography almost seems designed by one of the main characters, the troubled interior decorator mother played with uncanny effectiveness by Geraldine Page.

    Expect nothing in particular here except a tour-de-force that works on its own depressing terms.
    9kyle_furr

    great film

    John Waters said that if this film was made under a Swedish pseudonym, they would of called it a masterpiece. Woody Allen was only able to get a film like this made after he won all those Oscars for Annie Hall. Everyone is great in here and it's nice that there's no soundtrack. This is one of Woody Allen's best films.
    7BitterJim

    Anyone else get this from the movie like me?

    I'm a big fan of Woody Allen, and I just watched this movie for the first time. I can totally understand why many people hate it, or do not like it. It is depressing, and there's no real "finish" or arc for the characters.

    That being said, the one thing that stood out for me that nobody has mentioned, is that even Woody Allen didn't like the characters. I think that was his point. As some have pointed out, the characters are pretentious, self absorbed upper middle class yuppies with no real problems. I think what Woody Allen was doing, as was the case in Manhattan, was giving us a glimpse into that sort of liberal elitist upper crest society, where these characters in particular are pseudo-intellectuals and wannabe artists, who create their own problems that really don't mean anything.

    This would explain the introduction of Pearl, the fathers new fiancé. Pearl is great. Amidst all the self absorbed, elitist syrup the characters espouse relentlessly, Pearl emerges as almost a down to earth, working class gal.

    The family goes out to a play with their father and Pearl, and later while eating dinner, they are discussing this play. The daughters and their yuppy husbands are over analyzing the play to literally a puke inducing pretentiousness...and Pearl just chimes in "One character was a squealer, the other wasn't. I liked the character who wasn't a squealer. Thats all there is to it!" They try to argue with her with more pretentious drivel, and Pearl simply states again "The message I got was "dont Squeal." Later, Pearl is dancing to dixieland music with everybody, and knocks over a vase on accident, and the one daughter calls her an animal. Towards the end of the movie, Pearl ends up saving the daughters life with CPR after she nearly drowns. She seems almost ungrateful. Its as if this fmaily is so elitist, they look down on Pearl as some sort of "inferior".

    Pearl is a down to earth, normal, lovable older woman with some spunk, which is why the father fell in love with her. Throughout the movie, we see how dominating and obnoxious their mother is. She is pretty much the reason the family is dysfunctional, with her delusional, relentless whining, and quiet yet aggressive behavior. On top of that, she was a successful interior designer, and her 3 daughters are all "artsy" intellectuals...and you can see why a character like the father is just overwhelmed with them all, and falls in love with a very grounded, relatively simple woman, Pearl.

    I think it was Woodys purpose to make you feel burdened or overwhelmed by the characters, the mother...hell, almost feel completely alienated, only to suddenly find yourself relating to Pearl when she arrives.

    Another scene that kind of highlights the pretentiousness of the characters, one of the girls husbands is speaking into a tape recorder about marxism and communism, hinting that he is a supporter of such ideology. Which, again, is woody making a small point. Because here you have this wealthy, yuppy guy, embracing the concept of marxism.

    For anyone who grew up or lived around New York in the 60's and 70's, that was always one of those ironies...wealthy yuppy types preaching about marxism and communism. Its sort of a hypocrisy Woody Allen often points out in many of his movies.

    To summarize, this was a serious movie that essentially criticizes the upper class liberal crowd, as Woody has done in many of his movies. In Manhattan, Woody narrates in the film at the end about how its full of people with no real problems, so they create them. That is essentially the characters in this film. They want for nothing...so they began creating these "existential dilemmas".
    7EUyeshima

    A Dysfunctional Family Wrapped in Frigid Austerity Makes for Allen's So-Serious Drama

    It's pretty obvious that Woody Allen was so resistant in being confined as a comedy filmmaker that in the throes of his success with the wondrous "Annie Hall", he felt a need to make an über-serious drama in the Ingmar Bergman mode. This 1978 Chekhovian family drama is the result, and it is alternately affecting and exasperating. The key problem is that Allen presents such a hermetically sealed world of intellectuals and artistic souls that the interactions among the characters feel pointed and self-conscious. He has obviously since learned that his best films ("Manhattan", "Hannah and Her Sisters") are served most by his particular balance between comedy and drama.

    The story concerns an upscale New York family reacting to the news that patriarch Arthur wants to leave his psychologically unstable wife Eve just released from a sanitarium. They have three daughters, all of whom are grappling with their own problems. Eldest sister Renata is a successful poet stuck in a volatile marriage to Frederick, a fellow writer whose lack of commercial success has merely heightened his jealousy and paranoia. Middle daughter Joey is Arthur's favorite, but she is unable to figure out what to do with her life, and her constant flailing frustrates everyone around her in spite of the patience of her boyfriend Michael. Youngest daughter Flyn is the beautiful, emotionally isolated one who moved to Hollywood to become a semi-successful actress.

    They all respond to their mother Eve's neediness in different ways, and the inevitable turning point comes when Arthur finalizes the divorce and remarries, this time to a passionate, fun-loving widow named Pearl. Even though Gordon Willis' beige-dominated cinematography and the frigid, almost-too-perfect art direction by Mel Bourne and Daniel Robert lend the extreme austerity for which Allen seems to be striving, the acting is what makes this film dramatically effective. Mary Beth Hurt gives a brave performance as Joey, capturing all the inadequacy and wounded rejection her character feels. Maureen Stapleton is a breath of fresh air as Pearl, lending an amusing earthiness and colorful indifference when she arrives late in the story.

    With her severe look, Geraldine Page effectively lends unrelenting, humorless intensity to her heavily mannered portrayal of Eve and turns her character into a hopelessly desperate victim as the story moves toward its conclusion. As Renata, Diane Keaton removes all traces of the lovable Annie Hall but unfortunately comes across as the most contrived, especially when her character cannot help but be patronizing to Frederick and Joey. Richard Jordan plays Frederick in broad strokes that make it difficult to empathize with his plight. Making lesser impressions are Sam Waterson as Michael, Kristin Griffith as Flyn and a surprisingly understated E.G. Marshall as Arthur. Just the original trailer is included as an extra on the 2000 DVD.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      First dramatic film of Woody Allen. Allen was known for comedy, and wanted to break the mold by having no humor at all in this movie. At one point, the family is gathered around the table laughing at a joke which Arthur has just told, but we never hear the joke.
    • Gaffes
      During the ending credits when the producers' acknowledgments are given, it is misspelled as "ackowledge."
    • Citations

      Pearl: You only live once, and once is enough if you play your cards right.

    • Crédits fous
      Casting director Juliet Taylor's name is spelled Juilet Taylor in the credits.
    • Connexions
      Featured in Sneak Previews: Death on the Nile/Somebody Killed Her Husband/Interiors/The Boys From Brazil/A Wedding/Piranha/Up in Smoke (1978)
    • Bandes originales
      Keepin' Out of Mischief Now
      (1932)

      Written by Fats Waller (uncredited) & Andy Razaf (uncredited)

      Performed by Tommy Dorsey & His Orchestra

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    FAQ19

    • How long is Interiors?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 13 décembre 1978 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • MGM
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Interiors
    • Lieux de tournage
      • Church of St. Ignatius Loyola, Ville de New York, New York, États-Unis
    • Sociétés de production
      • Jack Rollins & Charles H. Joffe Productions
      • Rollins-Joffe Productions
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 10 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 10 432 366 $US
    • Montant brut mondial
      • 10 432 366 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 32 minutes
    • Couleur
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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    Diane Keaton, Mary Beth Hurt, and Kristin Griffith in Intérieurs (1978)
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    By what name was Intérieurs (1978) officially released in India in English?
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