NOTE IMDb
5,5/10
9,1 k
MA NOTE
Ajouter une intrigue dans votre langueA quiet man's peaceful suburban lifestyle is threatened by the obnoxious new couple who moves in next next door.A quiet man's peaceful suburban lifestyle is threatened by the obnoxious new couple who moves in next next door.A quiet man's peaceful suburban lifestyle is threatened by the obnoxious new couple who moves in next next door.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 2 nominations au total
Sherman G. Lloyd
- Fireman #1 (DOC)
- (as Sherman Lloyd)
Edward S. Kotkin
- Additional Fireman
- (as Edward Kotkin)
Avis à la une
Anyone familiar with John Belushi's work will remember him as rarely being reputed for his subtle acting style. While Aykroyd delivers his usual quality performance, for me, the brilliance of the film lies in Belushi's performance as a suburban loser. They say that outsiders are the best observers of any culture. Examples might be De Tocqueville's book Democracy in America or even Christian Bales's performance in American Psycho. In Neighbours, Belushi is no exception. He plays the suburban American loser better than the real thing! Consider his appearance, his sexual frustration, the way he automatically goes for the TV when he gets home, how he expects his wife to make dinner when he comes home from work... In fact, he's so devoted to this role that through the entire film he manages to invariably avoid slipping into the hysterical personality that made him famous. He is fantastic at satirizing everything that his lifestyle defies.
My memories of real youth, like from five to ten years old are completely blurred for the most part but for some reason I remember watching John Belushi movies. I remember going to see `Neighbors' and `Continental Divide' in the theater! I haven't really examined this but basically since I was born I have adored John Belushi. I remember renting `Neighbors' when the VCR was a new item and I'd watch it over and over again. I guess I was a pretty strange ten-year old. Memories of watching his movies, his death and whatever else are still with me in strange little flashes.
I find `Neighbors' to be his best work. This is a controversial opinion! I've recently reread Woodward's `Wired' and it seems John detested everything about this movie. He had sincere hatred for the director, Alvidsen- he continually asked to replace him. Yet, John's biggest concern for `Neighbors', again citing from Woodward's book, was the soundtrack. He wanted it to be punk rock and Holy Christ did it ever wind up the antithesis. Of course I would love to have seen `Neighbors' done the way John would have intended it but I still am very fond of this movie as is. I think Alvidsen did a great job of bottling all of John's manic energy and I think he summoned his best performance. It's such a strange contradiction that, again from reading `Wired', John wanted desperately to lose the `Bluto' stigma and prove he could be a versatile actor. This role reversal gave him that chance and yet he was against this film from the beginning.
I think `Neighbors' is fantastic. It's like `Who's Afraid Of Virginia Woolf' on acid or something. This film should be examined by future filmmakers as an example of how what seems like all the wrong ingredients can make a positive and an unforgettable piece of cinema in the end.
I find `Neighbors' to be his best work. This is a controversial opinion! I've recently reread Woodward's `Wired' and it seems John detested everything about this movie. He had sincere hatred for the director, Alvidsen- he continually asked to replace him. Yet, John's biggest concern for `Neighbors', again citing from Woodward's book, was the soundtrack. He wanted it to be punk rock and Holy Christ did it ever wind up the antithesis. Of course I would love to have seen `Neighbors' done the way John would have intended it but I still am very fond of this movie as is. I think Alvidsen did a great job of bottling all of John's manic energy and I think he summoned his best performance. It's such a strange contradiction that, again from reading `Wired', John wanted desperately to lose the `Bluto' stigma and prove he could be a versatile actor. This role reversal gave him that chance and yet he was against this film from the beginning.
I think `Neighbors' is fantastic. It's like `Who's Afraid Of Virginia Woolf' on acid or something. This film should be examined by future filmmakers as an example of how what seems like all the wrong ingredients can make a positive and an unforgettable piece of cinema in the end.
A plot synopsis here would be something of a waste of time, as one or more already appear on this site, but I felt some comments might attract another viewer to this unique film. The movie was very poorly received upon its release, by critics and audience alike. Many fans of Belushi and Aykroyd did not take to their reversal of what was typically their typecasts: here Belushi plays the straight man against Aykroyd's lunatic, which is what I beleive makes the movie so incredibly funny.
On another note: when watching this film, give some attention to the soundtrack, brilliantly done by Bill Conti. The soundtrack, which would probably not work with any other movie, fits Neighbors perfectly. Using the Wagnerian technique of leitmotives, Conti assigns themes to each character: Earl is portrayed by some "shlub" music on bass trombone, Vic gets an eerie theremin melody, Ramona's appearances are always underscored by a sultry saxophone, and native american drums accompany Earl's wife Enid. The way the music underlines the drama is hard to describe without sounding like it cheaply "mickey-mouses" the actions onscreen, so I will forgo an in-depth analysis.
Suffice to say: great movie, brilliant soundtrack.
On another note: when watching this film, give some attention to the soundtrack, brilliantly done by Bill Conti. The soundtrack, which would probably not work with any other movie, fits Neighbors perfectly. Using the Wagnerian technique of leitmotives, Conti assigns themes to each character: Earl is portrayed by some "shlub" music on bass trombone, Vic gets an eerie theremin melody, Ramona's appearances are always underscored by a sultry saxophone, and native american drums accompany Earl's wife Enid. The way the music underlines the drama is hard to describe without sounding like it cheaply "mickey-mouses" the actions onscreen, so I will forgo an in-depth analysis.
Suffice to say: great movie, brilliant soundtrack.
In the times I have seen this movie(too many to count). I always find more to it.I enjoy this lost classic from the late great John Belushi more than so many over produced conventional movies and more than almost all of the SNL cast made movies.Belushi and Acroyd,a duo who didn't do enough together.
See this movie!
See this movie!
Leonerd Maltin's crazy. This movie was before it's time and had me puking. It's been on cable every day for the last few months and I've watched it every time. The ideas behind this movie are awesome. Watch this movie just for the swamp and the tow truck driver. May be Dan Ackroyd's best performance.
Le saviez-vous
- AnecdotesJohn Belushi was originally cast in the role of Vic and Dan Aykroyd in the role of Earl. The two decided to switch roles just prior to filming the movie. As such, Belushi and Aykroyd starred in this movie acting against type, loud-mouthed Belushi played a quiet character whilst the meeker Aykroyd played an over-the-top character.
- GaffesAfter Vic's dog Baby is heard barking in Enid and Earl's bedroom, we never hear or see the dog again, even after Vic, Ramona and Earl leave Bird Street.
- Citations
Vic: In light of Earl's feelings, I think it would be best if we left.
Enid Keese: Oh, no, no. Sit down, sit down. Let's finish this magnificent meal. Don't worry about Earl. He'll get over his feelings.
Vic: He spurned my sauce!
Enid Keese: No, he loves your sauce. He's just jealous, he can't cook.
- Crédits fousA gunshot can be heard after the end credits.
- Versions alternativesThe movie's original cut had a very dark ending with Earl getting killed, but the studio re-edited the film with a happy ending with Earl leaving home and joining Vic and Ramona on their adventures.
- Bandes originalesHello, I Love You
Written by Jim Morrison (uncredited), Robby Krieger (uncredited), Ray Manzarek (uncredited) and John Densmore (uncredited)
Performed by The Doors
Courtesy of Elektra Records
Meilleurs choix
Connectez-vous pour évaluer et suivre la liste de favoris afin de recevoir des recommandations personnalisées
- How long is Neighbors?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langues
- Aussi connu sous le nom de
- Neighbors
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 8 500 000 $US (estimé)
- Montant brut aux États-Unis et au Canada
- 29 916 207 $US
- Week-end de sortie aux États-Unis et au Canada
- 6 481 386 $US
- 20 déc. 1981
- Montant brut mondial
- 29 916 207 $US
Contribuer à cette page
Suggérer une modification ou ajouter du contenu manquant
Lacune principale
By what name was Les voisins (1981) officially released in India in English?
Répondre