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La nuit des rois

Titre original : Twelfth Night or What You Will
  • 1996
  • Tous publics
  • 2h 14min
NOTE IMDb
7,1/10
6,7 k
MA NOTE
Helena Bonham Carter, Toby Stephens, and Imogen Stubbs in La nuit des rois (1996)
Theatrical Trailer from Fine Line
Lire trailer1:59
1 Video
23 photos
ComédieDrameRomance

La comédie de Shakespeare sur la confusion des genres, dans laquelle une fille se déguise en homme pour être près du comte qu'elle adore, pour être ensuite poursuivie par la femme qu'il aime... Tout lireLa comédie de Shakespeare sur la confusion des genres, dans laquelle une fille se déguise en homme pour être près du comte qu'elle adore, pour être ensuite poursuivie par la femme qu'il aime.La comédie de Shakespeare sur la confusion des genres, dans laquelle une fille se déguise en homme pour être près du comte qu'elle adore, pour être ensuite poursuivie par la femme qu'il aime.

  • Réalisation
    • Trevor Nunn
  • Scénario
    • William Shakespeare
    • Trevor Nunn
  • Casting principal
    • Helena Bonham Carter
    • Richard E. Grant
    • Imogen Stubbs
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,1/10
    6,7 k
    MA NOTE
    • Réalisation
      • Trevor Nunn
    • Scénario
      • William Shakespeare
      • Trevor Nunn
    • Casting principal
      • Helena Bonham Carter
      • Richard E. Grant
      • Imogen Stubbs
    • 75avis d'utilisateurs
    • 25avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire et 2 nominations au total

    Vidéos1

    Twelfth Night
    Trailer 1:59
    Twelfth Night

    Photos23

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    Rôles principaux18

    Modifier
    Helena Bonham Carter
    Helena Bonham Carter
    • Olivia
    Richard E. Grant
    Richard E. Grant
    • Sir Andrew Aguecheek
    Imogen Stubbs
    Imogen Stubbs
    • Viola
    Steven Mackintosh
    Steven Mackintosh
    • Sebastian
    Nicholas Farrell
    Nicholas Farrell
    • Antonio
    Sidney Livingstone
    • Captain
    • (as Sid Livingstone)
    Ben Kingsley
    Ben Kingsley
    • Feste
    James Walker
    • Priest
    Nigel Hawthorne
    Nigel Hawthorne
    • Malvolio
    Mel Smith
    Mel Smith
    • Sir Toby Belch
    Imelda Staunton
    Imelda Staunton
    • Maria
    Toby Stephens
    Toby Stephens
    • Orsino
    Alan Mitchell
    Alan Mitchell
    • Valentine
    Peter Gunn
    Peter Gunn
    • Fabian
    Tim Bentinck
    Tim Bentinck
    • First Officer
    Rod Culbertson
    • Second Officer
    Jeff Hall
    • Gardener
    David Burke
    David Burke
    • Party Guest
    • (non crédité)
    • …
    • Réalisation
      • Trevor Nunn
    • Scénario
      • William Shakespeare
      • Trevor Nunn
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs75

    7,16.6K
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    Avis à la une

    7Mitch-38

    Entertaining Film

    Slick Shakespeare adaptation, well acted and very humorous (in parts) in its telling. Naturally, there's always going to be some differences from stage to cinema. The film took advantage of this, of course, to avoid a "stage" feel. The perceptions, or rather the misperceptions, of people and motivations are well explored and portrayed. Ben Kingsley is a standout, for his interesting twist on the character Feste. In short, a good adaptation and film. Recommended.
    9JamesHitchcock

    New Insights into a Great Play

    At one time adaptors of Shakespeare for the cinema trended to concentrate more on his tragedies and history plays rather than his comedies. The 1990s, however, saw two very fine adaptations of Shakespearean comedies, Kenneth Branagh's "Much Ado about Nothing" and Trevor Nunn's "Twelfth Night".

    "Twelfth Night" is another name for the Feast of the Epiphany, January 6th, and the action of the play is supposed to take place around that date. Nunn, however, did not shoot this film in winter but in autumn; filming actually took place in November, but the crew were mostly lucky with the weather and the look of the countryside might suggest late September or early October. Although the setting is still officially "Illyria", an old name for Croatia, Nunn effectively updates the action to Victorian England. The film was shot on location in Cornwall, with St Michael's Mount standing in for Orsino's palace and Lanhydrock for Olivia's mansion.

    Unlike his contemporary Marlowe in "Edward II", Shakespeare never dealt directly with the subject of homosexuality, but "Twelfth Night" is perhaps the play in which he came closest to dealing with it by implication. The plot revolves around a curious love-triangle, A loves B, who loves C, who loves A. Orsino, Duke of Illyria, is in love with the beautiful countess Olivia. She, however, has no interest in Orsino, but has fallen for "Cesario", the handsome young man whom Orsino uses as his go-between. Unknown to both Orsino and Olivia, however, the supposed "Cesario" is really a disguised woman, Viola- who has fallen in love with her employer. An extra complication- and a possible solution to the problem- arises when Viola's identical twin brother Sebastian, whom she previously believed to be dead, arrives on the scene. (Yes, I know that in reality you cannot have identical opposite-sex twins, but Shakespearean comedies are not noted for their strict realism).

    The lesbian overtones to the Olivia/Viola relationship would probably have been rather muted in Shakespeare's day when all female roles would have been played by boys, but here Helena Bonham-Carter and Imogen Stubbs (the director's wife) make the most of them. Even with the assistance of a quasi-military uniform and a false moustache, the lovely Imogen never looks particularly masculine, so there is an implication that Olivia has fallen for someone she consciously believes to be male but subconsciously knows to be female. The gay overtones to the relationship between Toby Stephens' Orsino and "Cesario", and to that between Sebastian and Antonio, the sea-captain who has befriended him, are perhaps even stronger. Certainly, Orsino's conversations with "Cesario" seem remarkably intimate if he really does believe his young companion to be male.

    Along with the likes of "Much Ado…" and "As You Like It", "Twelfth Night" is sometimes described as a "joyous" comedy in contradistinction to more "problematic" comedies like "Measure for Measure" and "All's Well that Ends Well". It does, however, have its darker side; several characters, for example, have recently suffered bereavement, or believe themselves to have done so, and this production tends to stress the darkness underlying the play. The autumnal setting contributes to this feeling, as does the fact that most of the characters are seen dressed in black.

    The dark overtones are particularly pronounced in the sub-plot involving Olivia's steward, Malvolio. He is sometimes played simply as a narrow- minded Puritan and his adversary Sir Toby as a jovial, lovable old man whose only concern is to have his "cakes and ale". For Nunn, however, matters are not so simple. Nigel Hawthorne's Malvolio- the one character for whom there is no happy ending- is an essentially tragic figure, a dignified and dedicated servant who is tricked into making a fool of himself by a gang of people who have taken an irrational dislike to him. His name is derived from the Italian for "ill will", yet its significance here may be that Malvolio is not so much the perpetrator of malice as the victim of the malice of others.

    There is an excellent performance from Mel Smith, better known as a television comedian, as Sir Toby. Smith brings out both the nastiness and the sadness which lie at the heart of his character. Sir Toby is a man of wealth and noble family (he is Olivia's uncle) who has spent his whole life in feasting, drinking and womanising and who has a fondness for cruel practical jokes; besides his tricking of Malvolio he dupes his friend Andrew Aguecheek and "Cesario" into fighting a duel. (Both acquit themselves surprisingly well, given that one is really a woman and the other an arrant coward). Yet there is also an implied sadness about Smith's characterisation; Toby knows that his life has been a wasted one, but feels that it is too late to amend.

    Besides Hawthorne and Smith there are too many good contributions to single them all out individually. I must, however, mention Stubbs, who is able to suggest both a male persona and the underlying woman, and Ben Kingsley as Olivia's jester Feste, whom he plays less as a clown than as a sardonic old philosopher, an eccentric but also a man gifted with penetrating insights into human life.

    "Twelfth Night" is one of Shakespeare's best-known comedies, and like all well-known Shakespeare plays it has become very familiar in the theatre. A good director, however, whether in the theatre or on screen, will always be able to find something new to say about it, and that is what Nunn has done here. He and his cast have found new insights into this great play, enabling us to see it with new eyes. An excellent production. 9/10
    9henry-girling

    Excellent

    Reading other reviews of 'Twelfth Night' it is interesting to see that some people think it is a slow film and others quite fast. It gripped me from the opening gust of rain on a dark night to Feste dancing off into the sunset. Grappling with Shakespeare is a perilous activity but I thought Trevor Nunn brought out the comedy and the emotions of the story well. It is a film to make you smile at the follies of mankind but also their charm.

    Ben Kingsley is amazing. I've never seen Feste played that way but it seemed perfect. Imogen Stubbs does the comedy and the drama equally well. The scene with Orsino in the bathtub is a stock one but she does it beautifully, balancing the humour of the situation with the tenderness and the longing. Imelda Staunton brings unusual depth to the character of Maria. The rest of the cast are great too.

    The text of the play is changed around but not unnaturally so. The scene that cuts between Feste's song and Viola/Cesario and Orsino playing cards is wonderful, taking in eight of the characters and telling you more about them. The last act of the play is difficult to stage well but Nunn gives it a good shot.

    The Cornwall setting is lovely, the radiant sunshine, the green leaves and fine buildings are captured gorgeously by the cameras. I also liked the music very much and find some of the tunes quite hummable.

    Very enjoyable and worth seeing again and again.
    tom_amity

    Sparkling comedy transformed into a ponderous bore

    In writing Twelfth Night (and the same goes for many other of his romantic comedies), Shakespeare showed that he was not only a genius at dark tragedy but also at light comedy. I saw a junior college production of this play which did live up to Shakespeare's intentions, which was in fact so funny I was falling off my chair.

    Unfortunately, director Nunn will not allow a hilarious slapstick comedy to just be a hilarious slapstick comedy. Apparently he succumbed to the notion that everything Shakespearean has somehow to seem profound, which in this case results in an attempt to transfer this light, sparkling comedy, full of deliberately overdrawn characters and silly lines and pratfalls, into a brooding tragedy in which pompous ass Malvolio acts as if he were, or imagined himself to be, Hamlet caught in the wrong play, while clown Feste is misanthropic to the point of sadism. There is no suggestion of comic timing anywhere in this film!

    It appears that once Nunn decided to insist on a modern-dress version, he adopted as his mentor the let's-portray-the-messed-up-dysfunctional-household school. This is stupid. A better mentor would have been a closer modern equivalent of what Shakespeare was doing in this play. Something like I Love Lucy or Amos 'n' Andy or The Honeymooners, in other words.

    One thing that entirely puzzles me is: why the devil didn't Nunn exploit the particular advantages of the cinema in depicting this gender-bender story of a girl impersonating a look-alike boy? Why in sam hill didn't Nunn have a male actor who is skilled at female impersonation, or an actress skilled at impersonating males, play both roles on a split screen? (See, for the sort of impersonation I refer to, Vanessa Redgrave as the trans-sexual tennis player in Second Serve.) In other words: Why transform a stage play into a film at all, if you're not going to put the advantages of the cinema, as opposed to those of the stage, to work? Nunn's treatment of this play is not only a mangled interpretation, it's unimaginative.

    Ben Kingsley is the only performer who does very much with his part, and what he does he does very well. His acting creates a very interesting character, and his interpretation of Feste is certainly consistent, but it receives no support whatsoever from the text.
    9hitchs

    The best

    This is, quite simply, the best production of a Shakespeare comedy ever filmed. The plot is delightfully absurd, the acting brilliant, the direction superb. It is the sort of comedy you can watch over and over again.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      In the mid 1950s, director Joseph L. Mankiewicz tried to set up a version with Audrey Hepburn and Danny Kaye, but it failed to materialize.
    • Gaffes
      During one of the final scenes, when Malvolio reenters, it can be seen that his left shoe is missing. However, as he is walking up the stairs, you can clearly hear both heels clicking on the steps.
    • Citations

      Malvolio: Some are born great, some achieve greatness, and some have greatness thrust upon them.

    • Connexions
      Featured in Siskel & Ebert & the Movies: The Associate/High School High/Normal Life/Twelfth Night/Trees Lounge (1996)
    • Bandes originales
      O Mistress Mine
      Music by Shaun Davey

      Words by William Shakespeare

      Sung by Ben Kingsley

    Meilleurs choix

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    FAQ20

    • How long is Twelfth Night?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 15 janvier 1997 (France)
    • Pays d’origine
      • Irlande
      • Royaume-Uni
    • Site officiel
      • arabuloku.com
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Twelfth Night
    • Lieux de tournage
      • Lanhydrock House, Bodmin, Cornwall, Angleterre, Royaume-Uni(Olivia's house and garden)
    • Sociétés de production
      • Renaissance Films
      • BBC Film
      • Circus Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 5 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 588 621 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 33 451 $US
      • 27 oct. 1996
    • Montant brut mondial
      • 588 621 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 2h 14min(134 min)
    • Mixage
      • Dolby
      • Dolby SR
    • Rapport de forme
      • 1.85 : 1

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