Havana
- 1990
- Tous publics
- 2h 24min
NOTE IMDb
6,1/10
8,9 k
MA NOTE
Lire clip5:10
Regarder Robert Redford: The Con With Conviction & the End of a Legendary Screen Persona
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
- Scénario
- Casting principal
- Nommé pour 1 Oscar
- 3 nominations au total
Avis à la une
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.
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.
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.
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.
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.
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.
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.
Le saviez-vous
- AnecdotesActor 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).
- GaffesAlthough 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.
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Détails
Box-office
- 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
- Durée
- 2h 24min(144 min)
- Couleur
- Rapport de forme
- 1.85 : 1
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