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White Man

Titre original : White Man's Burden
  • 1995
  • Tous publics
  • 1h 29min
NOTE IMDb
5,3/10
5,3 k
MA NOTE
John Travolta and Harry Belafonte in White Man (1995)
In an alternative America where African-Americans and White Americans have reversed cultural roles, a white factory worker kidnaps a black factory owner for dismissing him over perceived disdain.
Lire trailer1:26
1 Video
95 photos
DrameThriller

Ajouter une intrigue dans votre langueIn an alternative America where African-Americans and White Americans have reversed cultural roles, a white factory worker kidnaps a black factory owner for dismissing him over perceived dis... Tout lireIn an alternative America where African-Americans and White Americans have reversed cultural roles, a white factory worker kidnaps a black factory owner for dismissing him over perceived disdain.In an alternative America where African-Americans and White Americans have reversed cultural roles, a white factory worker kidnaps a black factory owner for dismissing him over perceived disdain.

  • Réalisation
    • Desmond Nakano
  • Scénario
    • Desmond Nakano
  • Casting principal
    • John Travolta
    • Harry Belafonte
    • Kelly Lynch
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    5,3/10
    5,3 k
    MA NOTE
    • Réalisation
      • Desmond Nakano
    • Scénario
      • Desmond Nakano
    • Casting principal
      • John Travolta
      • Harry Belafonte
      • Kelly Lynch
    • 52avis d'utilisateurs
    • 11avis des critiques
  • Voir les informations de production sur IMDbPro
  • Vidéos1

    Official Trailer
    Trailer 1:26
    Official Trailer

    Photos95

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    + 88
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    Rôles principaux54

    Modifier
    John Travolta
    John Travolta
    • Pinnock
    Harry Belafonte
    Harry Belafonte
    • Thaddeus
    Kelly Lynch
    Kelly Lynch
    • Marsha
    Margaret Avery
    Margaret Avery
    • Megan
    Tom Bower
    Tom Bower
    • Stanley
    Andrew Lawrence
    Andrew Lawrence
    • Donnie
    Bumper Robinson
    Bumper Robinson
    • Martin
    Tom Wright
    Tom Wright
    • Lionel
    Sheryl Lee Ralph
    Sheryl Lee Ralph
    • Roberta
    Judith Drake
    • Dorothy
    Robert Gossett
    Robert Gossett
    • John
    Wesley Thompson
    Wesley Thompson
    • Williams
    Tom Nolan
    Tom Nolan
    • Johansson
    Willie C. Carpenter
    Willie C. Carpenter
    • Marcus
    Michael Beach
    Michael Beach
    • Policeman #1 Outside Bar
    Lee Duncan
    • Policeman #2 Outside Bar
    Wanda-Lee Evans
    • Renee
    Lawrence A. Mandley
    Lawrence A. Mandley
    • Sheriff #1 at Eviction
    • (as Lawrence Mandley)
    • Réalisation
      • Desmond Nakano
    • Scénario
      • Desmond Nakano
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs52

    5,35.3K
    1
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    3
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    9
    10

    Avis à la une

    5philblyghton

    Brave attempt at inverting social prejudices, falls just short of hitting the mark.

    I expected good things from this film as I tend to admire directors and screenwriters who take a visually arresting premise and manipulate it in order to prompt self reflection in the audience (The Elephant Man for example). In addition, I am a big fan of Travolta and the role seemed an artistically sound one for him to undertake. Initially, the widespread symbolism is interesting and inventive, yet becomes overbearing relatively quickly, and to me it seemed that the director underestimated his audience's perception and continually rammed home his point with the subtlety of Dolph Lundgren.

    The film ultimately left me frustrated because I thought the idea was a good one but the story simply wasn't multi-faceted enough to be engaging. Aside from the characters played by Travolta and Belafonte, most of the supporting cast was very underwritten, particularly the families of both men. However, the performances were very good, and I thought Belafonte conveyed the defeatism and inherent arrogance of his role particularly well.

    Overall though, I thought this was pseudo-art: it masqueraded as a deep and meaningful examination of the social relevance of race, but ended up as a very simplistic story disguised by delusions of self worth.

    5/10
    8kingrexxx

    Eye opening, even to a black man

    I think the ending was sad. I felt sorry for Travolta, even his son. But I disagree with the comment about "whats the point" because it shows what I go through weekly. I mean, some of it is extreme, but true. And when Belafonte remarked, "well, most of them don't have father's" in response to his wife's comment about the white kids discipline, it was... I'm at a lost for words. I'm watching it again tonight, and I think every white man needs to see the movie, and every black man. It was a trip seeing the roles flipped. But the movie is truly, "a trip". I mean, when Belafonte talks about the "socially crippled, genetically inferior" whites, its a trip, just hearing that. I study psychology, and all these theories are pervasive, and they relate to science by the genetic concepts of the 20th century, i mean, eugenics and it is really wild. Anyway, this is a must see movie. You must see it. I'm mad I didn't know it existed for the last ten years.
    8Pates

    Excellent because of its ability to disturb.

    Although on the surface a stupid, simplistic and "unrealistic" film, there is much more to the film. If the roles were reversed and every black character was played by a white and every white by a black I would be bored to tears, the film would never have made a dime, and we'd all hate it with justification. However, it was this very realization, during the film, which made me respect its message. Because the roles are completely and totally reversed, swapping black and white character for character, the film is disturbing. It's almost painful to watch. Ask yourself while you're watching how you're reacting and how the reaction would be different if there were no race reversals. Maybe that's because of the stereotypes we have in place and the roles we do play in the world - if it were just another story about a black man down on his luck we'd all yawn but because it's a white man and all of society is reversed, we watch, we wonder how it will play out, and we're bothered by it. I analogize the film to Planet of the Apes in some ways because of its ability to make us step back and take a look at society in a different way entirely. It is not as well done as Planet of the Apes but is worthwhile.
    busstnactgrp

    Usual 'concept movie' prob's

    Just watched this film tonight on TV and if I were asked to sum the film up I would say "it conveys an important message, but one feels oneself constantly checking the film for the 'real-ness' of the scenario it is trying to portray". I say this because even a fantasy film such as this - and fantasy is precisely what it is - has to be real to make sense. In the event it felt at least partially real, granted, but as a viewer I felt that this aforementioned 'checking' got in the way of getting emotionally attached to the characters, which would have helped get the message across. It wasn't a bad film but watching it was a decidedly strange experience. Maybe that was the intended effect. I don't know.
    7sweetakatude

    Good intentions, lost cause

    It is JUST a movie!!! geez... you all are giving this movie too much power. It is meant to ENTERTAIN. The movie's soul purpose was to illustrate many popular stereotypes. Any mature audience would recognize that it was only meant to do this and NOT to properly represent either role for the sake of being politically correct. However, it is apparent that many of you find it offensive or brutal because you feel that "your race" was being misrepresented. Speaking as an African American female, I understood that this movie was ONLY meant to open my eyes to society's view of race roles of blacks and whites in America. Sure black people dont walk around with duck-tape on their jackets (as in the scene with the thugs at the restaurant) and little black girls do not have easy access to a revolver that they are permitted to use in the case of an emergency (as in the scene where Belafonte's character hid in a white person's home for safety) and LORD KNOWS a white man will NEVER bring a black girl home to meet his family. *haha* --kiddin'. ("disturbing" comment, huh?)

    Well anyways, I think the movie was good for rousing up these feelings of disturbance, however it lost me when the whole kidnapping took place. It became the focal point of the movie and confused many of its viewers. Other than that, the movie was ok. I give it a 8 on a scale from 1 to 10, only because I have never seen such a bold attempt to deal with race roles as this one. Therefore, I enjoyed the movie.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Quentin Tarantino urged both John Travolta and Kelly Lynch to act in the film. Tarantino's production company, A Band Apart, produced the film.
    • Gaffes
      Toutes les informations contiennent des spoilers
    • Citations

      [Last lines. Mrs. Pinnock has just refused to accept from Mr. Thomas the money he owed her husband]

      Thaddeus Thomas: Why don't you keep it? I can give you some more if you think... if you think it's not enough.

      Marsha Pinnock: How much is enough, Mr. Thomas? How much will ever be enough?

      [turns, shuts the door and walks away]

    • Connexions
      Featured in Siskel & Ebert & the Movies: White Man's Burden/Last Summer in the Hamptons/Wild Bill/The Journey of August King/Things to Do in Denver When You're Dead (1995)
    • Bandes originales
      Dream Baby
      Written by Cindy Walker

      Performed by Hootie & the Blowfish

      Courtesy of Atlantic Records

    Meilleurs choix

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    FAQ17

    • How long is White Man's Burden?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 3 janvier 1996 (France)
    • Pays d’origine
      • France
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • L'impossible rançon
    • Lieux de tournage
      • Southern California, Californie, États-Unis(Location)
    • Sociétés de production
      • A Band Apart
      • Chromatic
      • Home Box Office (HBO)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 7 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 3 734 870 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 1 743 251 $US
      • 3 déc. 1995
    • Montant brut mondial
      • 3 734 870 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 29min(89 min)
    • Couleur
      • Color
    • Mixage
      • Dolby Digital
    • Rapport de forme
      • 1.85 : 1

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