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Havana

  • 1990
  • Tous publics
  • 2h 24min
NOTE IMDb
6,1/10
8,9 k
MA NOTE
Lena Olin and Robert Redford in Havana (1990)
After six decades in show business, Robert Redford announced that 2018's 'The Old Man & the Gun' will be his last performance. The role is a familiar one for the screen legend: a con with conviction. Let's travel "Through the Lens" to explore how Redford developed this character and how this on-screen persona perfectly culminates in his cinematic swan song.
Lire clip5:10
Regarder Robert Redford: The Con With Conviction & the End of a Legendary Screen Persona
1 Video
29 photos
DrameGuerreRomance

Dans les années 1950 à Cuba, un joueur professionnel tombe amoureux d'une femme étroitement impliquée dans le mouvement révolutionnaire.Dans les années 1950 à Cuba, un joueur professionnel tombe amoureux d'une femme étroitement impliquée dans le mouvement révolutionnaire.Dans les années 1950 à Cuba, un joueur professionnel tombe amoureux d'une femme étroitement impliquée dans le mouvement révolutionnaire.

  • Réalisation
    • Sydney Pollack
  • Scénario
    • Judith Rascoe
    • David Rayfiel
  • Casting principal
    • Robert Redford
    • Lena Olin
    • Alan Arkin
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,1/10
    8,9 k
    MA NOTE
    • Réalisation
      • Sydney Pollack
    • Scénario
      • Judith Rascoe
      • David Rayfiel
    • Casting principal
      • Robert Redford
      • Lena Olin
      • Alan Arkin
    • 52avis d'utilisateurs
    • 20avis des critiques
  • Voir les informations de production sur IMDbPro
    • Nommé pour 1 Oscar
      • 3 nominations au total

    Vidéos1

    Robert Redford: The Con With Conviction & the End of a Legendary Screen Persona
    Clip 5:10
    Robert Redford: The Con With Conviction & the End of a Legendary Screen Persona

    Photos29

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    Rôles principaux51

    Modifier
    Robert Redford
    Robert Redford
    • Jack Weil
    Lena Olin
    Lena Olin
    • Bobby Duran
    Alan Arkin
    Alan Arkin
    • Joe Volpi
    Tomas Milian
    Tomas Milian
    • Menocal
    Daniel Davis
    Daniel Davis
    • Marion Chigwell
    Tony Plana
    Tony Plana
    • Julio Ramos
    Betsy Brantley
    Betsy Brantley
    • Diane
    Lise Cutter
    • Patty
    Richard Farnsworth
    Richard Farnsworth
    • Professor
    Mark Rydell
    Mark Rydell
    • Meyer Lansky
    Vasek Simek
    • Willy
    Fred Asparagus
    • Baby Hernandez
    Richard Portnow
    Richard Portnow
    • Mike MacClaney
    Dion Anderson
    Dion Anderson
    • Roy Forbes
    Carmine Caridi
    Carmine Caridi
    • Captain Potts
    James Medina
    • Corporal
    Joe Lala
    • Cuban Businessman
    Salvador Levy
    • Menocal's Lieutenant
    • Réalisation
      • Sydney Pollack
    • Scénario
      • Judith Rascoe
      • David Rayfiel
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs52

    6,18.8K
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    Avis à la une

    coboconk

    Better than mediocre

    Havana is a favorite of mine. Sure it's a slick Hollywood movie but I thought Redford and Olin were marvelous together and fit their roles perfectly. Doesn't it seem natural to find Redford in exotic Havana playing cards on the eve of the revolution? And doesn't Olin's intelligence , charm, and beauty fit her role ? The supporting cast were flawless and the intriguing plot stood on it's own merit. The sentimental ending was superb and the musical score which received an academy award nomination was brilliant. Better than mediocre.
    Kirpianuscus

    the flavor

    I love it for its ...flavor. For Lena Olin and Robert Redford. For the clash between romance and politic. For the old image of people in the womb of bad times. And for a Cuba who was so easy lost. And that is all.
    Doctor_Bombay

    Bad Reputation Undeserved.

    Many will claim that Sydney Pollack and Robert Redford were on auto-pilot while making this film. Based on their previous collaborative efforts, the well-received Three Days of the Condor, The Way We Were, The Electric Horseman, and Out of Africa, which swept the Academy Awards, people wanted to see their movies. They could make any movie they wanted. They made Havana, and NOBODY wanted to see it.

    Maybe Pollack, brilliant in his own right, set his watch according to Redford's schedule at this time, and history shows that, subsequent to Havana, and its box office failure Sydney Pollack basically quit directing. His influence in film is still served, and may be better served as a producer, witness Sliding Doors, Sense and Sensibility, Fabulous Baker Boys, and Searching For Bobby Fischer, all of which he helped bring to the screen.

    But, back to the matter at hand-Redford as a gambler, Lena Olin, his distraction (and what a distraction)--the film feels good, looks good, and gives us some perspective on Cuba in the waning hours of Batista.

    Olin (pre-Romeo is Bleeding, post Unbearable Lightness of Being) is properly introduced to American audiences, and is not inappropriate as leading lady to one of Hollywood's leading stars, Redford, who, even on auto-pilot, delivers a strong, engaging performance.

    I understand this film was heavily maligned at release, and failed dismally at the box office, but I enjoyed it. It is a beautiful film to watch with attractive leads - and that alone stands it well ahead of many of the alternatives out there today.
    tcabarga

    Mostly effective and plausible rethinking of Casablanca

    Many viewers have noted that Havana is essentially Casablanca in the Caribbean, which is certainly true. But I found the same apocalyptic tension in Havana as in Casablanca, although not quite as effective the second time around. Others criticized the dialogue. I thought it was exceptionally mature, and subtle, which may be what threw some of the reviewers in this forum, who maybe would have wanted something more bombastic. The plot development was very compressed - things had to happen very quickly, and so some thought they happened far too quickly. But I thought Olin in particular showed all of the pain and turmoil necessary to make her quick transitions of emotion believable. You have to believe that the times were so tumultuous that people had to adjust very quickly to changing circumstances. As for Jack falling in love with Bobby so fast, that's entirely believable, and the look they exchanged at the party where Jack meets her husband for the first time was our signal that this love affair was happening, and was one of those insane passions that overtake people, not infrequently, and in this case, again, against the apocalyptic backdrop of this incipient revolution, which made all involved feel very much at loose ends, ready for, or dreading, the vast changes about to happen to them. I though the end was too dragged out, but other than that, the movie mostly plausible.
    8twistyhair

    Much better than expected

    It's 15 years later, but seeing this film for the first time, I was surprised by its intensity, beauty, realism and acting. This is two thumbs up from my corner.

    I totally believed both Olin and Redford. Yes, they're both very good looking people, but more than that, they both convey intelligence and real emotion. Their performances were relatively restrained and in my opinion that's a good thing.

    As a person interested in politics and history, I found the film interesting and balanced especially considering that this was a studio product. This film made me want to learn more about Batista, Castro and Cuba's move for independence.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Actor Raul Julia appeared in a significant supporting role in the film without any credit or billing at all in the film. Julia chose to be uncredited because producers for contractual reasons could not accommodate Julia's request for him to be billed second alongside Robert Redford, as the top two above-the-title star-teaming credits had already been signed over to top first-billed Redford and second-billed actress Lena Olin, with the third billed credit already having been contracted to actor Alan Arkin. According to the "LA Times," Raul Julia's agent Jeff Hunter said: "Our usual above-the-title credit wasn't available. So, we decided not to take any credit at all." Director Sydney Pollack said told the same paper: "The only billing left for Julia was to be stacked with the rest of the names . . . his agent felt that would be a step backward" and there is a dilemma when there is "an actor on the ascendancy, like [Raul] Julia, and you ask the actor to do a role that's somewhat smaller [than their emerging star status]." Julia had found rising-star status since his performance in the Academy Award winning film Le baiser de la femme-araignée (1985).
    • Gaffes
      Although the film is set in 1958, the garage scene uses a 1961 re-recorded version of Rum And Coca Cola by The Andrews Sisters. This version was recorded for Dot Records, two years after the movie's setting.
    • Citations

      Professor: Take the advice of an old man. There's nothing like a woman, or two. They love men. Even jerks. The biggest jerk you ever knew somewhere somehow has a woman that's nuts over him. Women are perfect. The rest is bullshit.

    • Connexions
      Featured in Siskel & Ebert & the Movies: The Rookie/Berkeley in the Sixties/Edward Scissorhands/The Grifters (1990)
    • Bandes originales
      Round and Round
      Written by Lou Stallman & Joe Shapiro

      Performed by Perry Como

      Courtesy of RCA Records

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    FAQ19

    • How long is Havana?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 27 février 1991 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • Universal Pictures Home Entertainment
    • Langues
      • Anglais
      • Espagnol
    • Aussi connu sous le nom de
      • 哈瓦那
    • Lieux de tournage
      • République Dominicaine
    • Société de production
      • Mirage Enterprises
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 40 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 9 243 140 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 2 175 360 $US
      • 16 déc. 1990
    • Montant brut mondial
      • 9 645 440 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 2h 24min(144 min)
    • Couleur
      • Color
    • Rapport de forme
      • 1.85 : 1

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