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La maîtresse du lieutenant français

Titre original : The French Lieutenant's Woman
  • 1981
  • Tous publics
  • 2h 4min
NOTE IMDb
6,9/10
16 k
MA NOTE
Meryl Streep in La maîtresse du lieutenant français (1981)
Theatrical Trailer from MGM
Lire trailer1:59
1 Video
99+ photos
Drames historiquesTragédieDrameRomance

Charles Smithson, rentier et collectionneur de fossiles marins, fait la connaissance de Sarah Woodruff, jeune préceptrice solitaire. Cette rencontre va faire renaître à la vie celle qui fut ... Tout lireCharles Smithson, rentier et collectionneur de fossiles marins, fait la connaissance de Sarah Woodruff, jeune préceptrice solitaire. Cette rencontre va faire renaître à la vie celle qui fut jadis abandonnée par un lieutenant français.Charles Smithson, rentier et collectionneur de fossiles marins, fait la connaissance de Sarah Woodruff, jeune préceptrice solitaire. Cette rencontre va faire renaître à la vie celle qui fut jadis abandonnée par un lieutenant français.

  • Réalisation
    • Karel Reisz
  • Scénario
    • John Fowles
    • Harold Pinter
    • Karel Reisz
  • Casting principal
    • Meryl Streep
    • Jeremy Irons
    • Hilton McRae
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,9/10
    16 k
    MA NOTE
    • Réalisation
      • Karel Reisz
    • Scénario
      • John Fowles
      • Harold Pinter
      • Karel Reisz
    • Casting principal
      • Meryl Streep
      • Jeremy Irons
      • Hilton McRae
    • 100avis d'utilisateurs
    • 39avis des critiques
    • 64Métascore
  • Voir les informations de production sur IMDbPro
    • Nommé pour 5 Oscars
      • 11 victoires et 20 nominations au total

    Vidéos1

    The French Lieutenant's Woman
    Trailer 1:59
    The French Lieutenant's Woman

    Photos154

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    + 146
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    Rôles principaux42

    Modifier
    Meryl Streep
    Meryl Streep
    • Sarah and Anna
    Jeremy Irons
    Jeremy Irons
    • Charles and Mike
    Hilton McRae
    Hilton McRae
    • Sam
    Emily Morgan
    • Mary
    Charlotte Mitchell
    • Mrs. Tranter
    Lynsey Baxter
    Lynsey Baxter
    • Ernestina
    Jean Faulds
    • Cook
    Peter Vaughan
    Peter Vaughan
    • Mr. Freeman
    Colin Jeavons
    Colin Jeavons
    • Vicar
    Liz Smith
    Liz Smith
    • Mrs. Fairley
    Patience Collier
    Patience Collier
    • Mrs. Poulteney
    John Barrett
    John Barrett
    • Dairyman
    Leo McKern
    Leo McKern
    • Dr. Grogan
    Arabella Weir
    Arabella Weir
    • Girl on Undercliff
    Ben Forster
    Ben Forster
    • Boy on Undercliff
    Catherine Willmer
    Catherine Willmer
    • Dr. Grogan's Housekeeper
    Anthony Langdon
    Anthony Langdon
    • Asylum Keeper
    Edward Duke
    Edward Duke
    • Nathaniel
    • Réalisation
      • Karel Reisz
    • Scénario
      • John Fowles
      • Harold Pinter
      • Karel Reisz
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs100

    6,916.3K
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    Avis à la une

    9hcoursen

    Terrific -- with one major flaw

    This film is a joy to watch -- as not many films these days are. The settings are superbly created -- the green, grotto-like woodland where Irons and Streep meet in the Victorian world of the film, the murky streets of Lyme, Exeter, and London, and the interior of the lawyer's office, for example. The Victorian part of the film emerges from the dawning of the concept of abnormal psychology (just before Freud) and is really convincing. Streep shows us that her character cannot move on emotionally until she has worked out her own madness. That constitutes a remarkable and complex performance of insanity and self-awareness inhabiting a single psyche. She earns the gentle movement out of the tunnel and onto the calm lake. The turbulence of the unconscious -- that threatening sea of which Irons has warned her -- has been subdued. Seems to me the flaw lies in the 'modern story' (as some here have pointed out). It may be that the Streep character is trying to find a subtext for her fictional heroine, but it looks like the old ennui, so that, while her lack of concern for the relationship is understandable, his obsession with it is not. Though the garden party at the end almost gets it there. Were we shown her decision there? If so, I missed it. I like the concept of the 'two endings' and their contrast, but the ending in the 20th century was a so what? The one in the 19th century was complex and included much of the pain that the relationship had caused both characters. A little more attention to the contemporary love affair -- to suggest that it was more than just a romp on location -- would have helped that dimension of the film per se and also suggested what the Victorian lovers had earned within their Hardyesque world.
    7Howlin Wolf

    Brooding, classy, evocative melodrama.

    ... Anyone who's read my earlier review of "Damage", and disagrees with the feelings I expressed there; THIS is how Jeremy Irons should be utilized to portray destructive longing! It's a bodice-ripper without the ripping going on - all internalised, *raw* emotion. It's gorgeously shot, too; and Streep makes good on her reputation in a poignant showing. I've never read "Wuthering Heights", but I couldn't help thinking of Heathcliff and the moors, nevertheless...

    It reminded me of 'The Hours', only it has a less 'studied' feel to it. The realities of 'social exclusion' really hit home, but thanks to the great performances, we don't doubt the extremes shown. Love renders all other concerns as 'insignificant', when you're in its grip.

    This isn't the kind of film I would normally like; but in my quest to sample as much that is acclaimed as possible, I ended up here. I'm glad I did. If you have romance in your soul, this is apt to get you, inside. I only left this out of my 250 list because due to being something of a 'grinch', I tend to side with LIFE'S version of how things end, rather than literatures; but oh well... !
    tedg

    Narrative Folding

    Haunting environments, two of the century's greatest film actors, one of the half-dozen or so best modern playwrights and Fowles' experiment in parallel narratives. Fowles' work was pale compared to Nabokov's "Pale Fire," for instance in building a convoluted, layered narrative, but is comparable in extent. Here, Pinter's obsession with time refines the vision -- his "Proust Screenplay," also centered on layered time, is much studied and admired.

    Everything clicks here. Gorton's designs are detailed and hypnotizing, especially the use of the Lyme groin and related tunnel-like streets. Francis' camera (after "Elephant Man") captures a dim grey sky, made sharp in modern sequences. With the director, they have contrived to quote great paintings. In particular, the first shot after the three year search when Irons gets the telegram directly and obviously references a famous Monet painting -- in fact the first impressionistic painting, a turning point in the artist's perspective. Davis' music -- the only thing that spans time -- supports.

    And Meryl is lovely, but so different in each role. We really wonder if her modern madness created the modern affair in quest of the perfect chemistry for the Sarah role It makes Sarah's imagination deeper and more self-referential than in the book. One scene is uniquely masterful: the modern actors "walk" through a scene, then they do it again. Streep turns on, "steps into" the role and becomes Sarah, and a moment later, she pulls the whole scene into the past. This will stick with you, I promise.

    The director, Reisz, is supposed to have suggested the concept to Pinter, and then attracted the very best. His tightness of vision is apparent. I wish he were still making films. In a sense he is: he literally "wrote the book" on modern film editing.
    octomancer

    With hindsight, a good film

    I have only seen this film once, about 20 years ago, when I was in my mid teens. It intrigued me then, but went completely over my head. I could dimly perceive grand themes in it, but couldn't bring them into focus. A few years ago a friend gave me a John Fowles book to read, "The Magus" and this caused me to re-evaluate this film entirely. For me, the story's strength does not lie in anything definite. It's main themes are suggestion and allegory. The creative role of the mind in human perception is very clearly depicted in "The Magus" and this is central to TFLW too. The 2 central characters, in their modern guises are caught up in this, as the audience is expected to be. Perhaps there is no central message to be understood ... maybe a viewer should just be delighted by the parallels which are revealed by telling these 2 stories in this way ...
    7AlsExGal

    It's surprising that I'd never seen this film...

    ...which fits into the genre of movies that take place in two totally different time periods, with parallel/related stories. This is a beautifully produced film with amazing credits, directed by Karel Reisz, written by Harold Pinter, cinematography by Freddie Francis, and starring Meryl Streep and Jeremy Irons.

    I should have liked this film more than I did, although I did enjoy it. It's beautiful to look at, shot mostly in Lyme Regis on the south coast of England, it focuses on actors making a movie in contemporary times; and the story of that movie, which takes place in Victorian England. Basically, two love stories involving the Meryl and Jeremy characters, one story seemingly tragic, barreling however toward a happy ending; the other, a modern story, ending unhappily, at least for Jeremy. Sometimes, it's almost very briefly unclear at first, which story you are actually watching, which is a nice touch. I liked it but probably would have liked it more, had I seen it in 1981.

    Like the Jeanne Moreau character's sailor in The Sailor from Gibraltar, one wonders if the French lieutenant really existed.

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    Centres d’intérêt connexes

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    Drames historiques
    Casey Affleck and Michelle Williams in Manchester by the Sea (2016)
    Tragédie
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drame
    Ingrid Bergman and Humphrey Bogart in Casablanca (1942)
    Romance

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The source novel does not feature the subplot of the actors and actresses playing the parts in a modern day movie. However, it had three alternate endings, from which readers could choose their favorite. Creating two parallel story lines allowed the filmmakers to include two of those endings, one happy and one tragic.
    • Gaffes
      While at the house in the Lake District, the reaction to Sarah being pushed to the ground by Charles is genuine. Meryl Streep actually hits her head on the floor and when Jeremy Irons acknowledges, she nods, giggles, and reorients herself in position next to him.
    • Citations

      Sarah: I knew it was ordained that I should never marry an equal; so, I married shame. It is my shame that has kept me alive - my knowing that I am truly not like other women. I - I shall never, like them, have - children and a husband, and the pleasures of a home. Sometimes I pity them. I have a freedom they cannot understand. No insult, no blame, can touch me. I have set myself beyond the pale. I am nothing. I am hardly human any more. I am the French lieutenant's - whore!

    • Connexions
      Featured in The South Bank Show: The French Lieutenant's Woman (1981)
    • Bandes originales
      Adagio from Sonata in D, K 576
      by Wolfgang Amadeus Mozart (as Mozart)

      Played by John Lill

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    FAQ20

    • How long is The French Lieutenant's Woman?Alimenté par Alexa
    • See Jeremy Irons discuss this film

    Détails

    Modifier
    • Date de sortie
      • 17 mars 1982 (France)
    • Pays d’origine
      • Royaume-Uni
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • The French Lieutenant's Woman
    • Lieux de tournage
      • Lake District, Cumbria, Angleterre, Royaume-Uni
    • Société de production
      • Juniper Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 8 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 26 890 068 $US
    • Montant brut mondial
      • 26 890 068 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 2h 4min(124 min)
    • Couleur
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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