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Oscar and Lucinda

  • 1997
  • R
  • 2h 12min
NOTE IMDb
6,5/10
7,4 k
MA NOTE
Ralph Fiennes and Cate Blanchett in Oscar and Lucinda (1997)
Period DramaDramaRomance

Oscar (Ralph Fiennes) est un prêtre aimant le jeu qui donne ses gains aux pauvres et Lucinda (Cate Blanchett) est une femme d'affaires australienne qui défie avec audace les règles de la soc... Tout lireOscar (Ralph Fiennes) est un prêtre aimant le jeu qui donne ses gains aux pauvres et Lucinda (Cate Blanchett) est une femme d'affaires australienne qui défie avec audace les règles de la société.Oscar (Ralph Fiennes) est un prêtre aimant le jeu qui donne ses gains aux pauvres et Lucinda (Cate Blanchett) est une femme d'affaires australienne qui défie avec audace les règles de la société.

  • Réalisation
    • Gillian Armstrong
  • Scénario
    • Laura Jones
    • Peter Carey
  • Casting principal
    • Ralph Fiennes
    • Cate Blanchett
    • Ciarán Hinds
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,5/10
    7,4 k
    MA NOTE
    • Réalisation
      • Gillian Armstrong
    • Scénario
      • Laura Jones
      • Peter Carey
    • Casting principal
      • Ralph Fiennes
      • Cate Blanchett
      • Ciarán Hinds
    • 54avis d'utilisateurs
    • 29avis des critiques
    • 65Métascore
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
    • Nommé pour 1 Oscar
      • 10 victoires et 7 nominations au total

    Vidéos1

    Oscar And Lucinda
    Trailer 0:32
    Oscar And Lucinda

    Photos109

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    + 101
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    Rôles principaux87

    Modifier
    Ralph Fiennes
    Ralph Fiennes
    • Oscar Hopkins
    Cate Blanchett
    Cate Blanchett
    • Lucinda Leplastrier
    Ciarán Hinds
    Ciarán Hinds
    • Reverend Dennis Hasset
    • (as Ciaran Hinds)
    Tom Wilkinson
    Tom Wilkinson
    • Hugh Stratton
    Richard Roxburgh
    Richard Roxburgh
    • Mr. Jeffries
    Clive Russell
    Clive Russell
    • Theophilus
    Bille Brown
    • Percy Smith
    Josephine Byrnes
    Josephine Byrnes
    • Miriam Chadwick
    Barnaby Kay
    Barnaby Kay
    • Wardley-Fish
    Barry Otto
    Barry Otto
    • Jimmy D'Abbs
    Linda Bassett
    Linda Bassett
    • Betty Stratton
    Geoffrey Rush
    Geoffrey Rush
    • Narrator
    • (voix)
    Polly Cheshire
    • Young Lucinda
    Gillian Jones
    • Elizabeth Leplastrier
    Robert Menzies
    • Abel Leplastrier
    Adam Hayes
    Adam Hayes
    • Young Oscar
    James Tingey
    • Oscar (13 Years Old)
    Matyelok Gibbs
    • Mrs. Williams
    • Réalisation
      • Gillian Armstrong
    • Scénario
      • Laura Jones
      • Peter Carey
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs54

    6,57.3K
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    Avis à la une

    7grantss

    Good, but not great

    England, mid-19th century. Lucinda is a wealthy Australian heiress with a love of glass, resulting in her buying a glass factory. Oscar is a young Anglican priest. Both have a gambling addiction, though Oscar has been very successful with this pastime. Lucinda builds a church made entirely of glass and transports it to Australia. On the ship she meets Oscar, setting off a dramatic chain of events.

    Good, but not great. Had massive potential - it was compelling viewing for the first 60% or so of the movie. But then it takes a rather random turn, a turn which should have just been a minor detour but becomes the ultimate plot line.

    Great performance from Ralph Fiennes and a good one from Cate Blanchett. Good support from Ciaran Hinds.
    7xenophil

    Odd and appealing

    This beautifully made romance has an odd appeal. I only ranked it a seven, because it has some flaws - the complicated story is is not rendered clearly in all its details (I could not figure out what was going on with the Reverend Haslitt, for example) and the style tends towards a gothic/romantic manneredness in places.

    All the same, I recommend it for anyone who can tolerate the genre. I love these two actors, Ralph Fiennes and Cate Blanchett. They and the supporting cast, including the bit parts, fill out their roles with life, warmth and poignancy. There are numerous evocative touches in the details of the production - the mysterious moving church in the opening scene, for example, the music, the costumes, and the sets. The story is unique, original, character-based, and there are some unexpected flashes of insight into human nature.
    tedg

    Obsession, Compulsion

    This is one of my favorite movies. Regular readers of my comments will wonder why I elevate it to my "must see" category

    Part of the reason I want you to see it is because of how well it pairs with Cate's masterpiece, "Heaven." Now, that film can stand on its own as a transcendent cinematic experience. It easily shifts us from a "real" world into one more magical and over the course of the experience that distance increases.

    It took Kieslowski's notion of cinematic distance and added the journey to that distance. It is one of the most important successful experiments in cinema and it owes much to the collaboration of Cate.

    That reflects on this. A smaller project. A less ambitious director, but still with an affecting emotional directness. A pre-existing story that has literary strengths that become cinematic defects. And yet there is that same collaboration with the creating of an alternative magical reality fueled by obsession.

    There is that same smooth slide from here to there. There is that same equating of wilderness (a Herzogian river) to the internal landscape. The same trigger of the gamble.

    And also, there is the remarkable glass chapel. One shot has it moving down the river, but it seems as if it is floating through the trees. You are dead if that does not stick with you for years.

    Alas, not much is made of a central image in the book — the tensed glass tears that explode when gently traced at their origin.

    The major flaw is Fiennes. Both brothers have a sort of forehead acting style which unravels much of the subtleties of Cate's acting by breathing. But she is so breathtaking an actress in both these films, even though she is only the referent in the last part of this.

    See the two films in one night. Any order.

    Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.
    8QueenMag

    Unusual Love Tale

    I am not one for love stories, but this one truly moved me. It is wonderfully strange! It's nothing like anything I've seen before. I loved the awkwardness of Oscar and Lucinda, and the way that we had a chance to see (at length} who they were before they ever met each other. It made their attraction to one another make sense (something so rare in cinematic romances).

    I think this is Ralph Fiennes' best performance of his career, and he's proved his versatility. Compare his Oscar to his Count in The English Patient - completely different people, not even carrying themselves in the same way! This was a very good role for him. Cate Blanchett was really the standout for me; I took notice of her right away, and determined to keep an eye out for her future performances (she did a terrific job in the flawed "Elizabeth").

    Of course, the film is beautifully made (I wouldn't expect anything less from Gillian Armstrong) and imaginative ... the way it depicts reality as almost surreal, and the surreal as quite real ... it's lovely.

    On the one hand, this is a sad film, in that it's about two people who are just ... odd. They don't really fit in anywhere, and people don't understand them. Neither Oscar nor Lucinda are even anticipating (or aspiring) to be understood, and yet they find, and take comfort in, one another. Here is where the film turns from sad to joyful ... it is thrilling to see the surprise and delight they express as they discover that they have found their soulmates. I have to say that I found, in their story, a true (and hopeful) portrayal of love.
    7KatharineFanatic

    Not all tales have happy endings

    There are many films that are so controversial yet so beautiful, they appeal to only a select number of individuals. "Oscar & Lucinda" is one such triumph. It manages to border on heresy and yet sustain profoundness. Altogether a masterful piece of work from one of my favorite directors (Armstrong also filmed "Charlotte Gray," and "Little Women"), with an absolutely stunning, star-studded (before they were "big") cast.

    You simply cannot comment on the film without considering the two leading cast members. Cate Blanchett is stunning here. She was beautiful, aloof, and impressive as "Elizabeth," but her role as the uncertain yet adventurous Lucinda is extremely memorable. Note her childish transformation into womanhood -- the discovery that not all tales have happy endings, that love eventually leads to sorrow. Her scenes with Ralph Fiennes literally crackle with intensity. These are two actors who manage to convince us they're not acting. The passion and devotion put into the role gives the film it's sparkle beyond the stunning cinematography and absolutely breathtaking musical score. Ralph Fiennes is rapidly becoming one of my favorite actors. He's extremely versatile and never shies away from challenging roles, whether it's a heartless Nazi in WWII, a Cambridge professor caught up in the throes of a quiz show scandal, or the impassioned Evgene Onegin. With "Oscar" we see him literally at his finest. The appropriately-nicknamed Academy Award should have been handed to him the day this sweet little Australian film premiered. His Oscar is passionate, guilt-ridden, complex, and utterly sweet. If you're not in tears by the end, you've not managed to give your heart over to one of the most fascinating literary characters ever created.

    The sub-roles are all very good (Richard Roxburg in yet ANOTHER 'villainous' lead, but no one minds his untimely demise; Cirian Hinds in the upper-crust role of a minister shocked by his lady friend's gambling habits, even Geoffrey Rush as the unseen narrorator) and lend themselves to a highly romantic atmosphere. I love a slowly unfolding, deep love story but dislike superficial attachments. In the course of this film you believe Oscar & Lucinda actually get to know one another. They're involved in a series of "narrow hits and misses," which make the ending all the more tragic. They "connect" in a way other people cannot; in a world full of round holes, two square pegs make the perfect match.

    The religious aspect of this film is also highly interesting. As a Christian myself, I regard anything bordering on heresy with wary suspicion. At first glance, the film borderlines on blasphemy, as Oscar so prudently considers in a key scene ("... unless it is blasphemy to consider mortal pleasure on the level of the divine!") when comparing eternal salvation to gambling ("It's all a gamble, isn't it?"), but if you take the time to explore it more fully, there are very realistic truths tucked in with the uncertainties. Oscar eventually does find Truth and clings to his beliefs to the bitter end. The rivalry between different denominations is also notable.

    Older viewers seeking enthralling but not necessarily uplifting entertainment will find "Oscar & Lucinda" an excellent way to spend a couple of hours, particularly in a group. There is one scene of sexual content that is offensive (although clothed and necessary to the plot; for my own enjoyment, I always skip this provincial scene) but otherwise the film is surprisingly light in content. But it's a movie you shouldn't enter lightly. Out of the group of friends I showed it to one weekend, two out of five found it "depressing." But the rest of us were enthralled.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Christopher Eccleston revealed in his memoir that he auditioned for Oscar Hopkins.
    • Gaffes
      While taking the glass church from Sydney to Bellingen, Oscar crosses the scenic Blue Mountains. They should not be on his route.
    • Citations

      [On how Christians are by nature gamblers]

      Oscar: We bet that there is a God.

    • Connexions
      Featured in Siskel & Ebert & the Movies: Tomorrow Never Dies/Mousehunt/As Good as it Gets/Kundun/Oscar and Lucinda (1997)
    • Bandes originales
      Motet - Os Justi
      Written by Anton Bruckner

      Performed by La Chapelle Royale and Collegium Vocale Gent (as Collegium Vocale Ghent)

      Ensemble Musique Oblique

      Conducted by Philippe Herreweghe

      Courtesy of Harmonia Mundi S.A. France

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    FAQ16

    • How long is Oscar and Lucinda?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 31 décembre 1997 (États-Unis)
    • Pays d’origine
      • Royaume-Uni
      • Australie
      • États-Unis
    • Langues
      • Anglais
      • Français
    • Aussi connu sous le nom de
      • Oscar et Lucinda
    • Lieux de tournage
      • Boscastle, Cornwall, Angleterre, Royaume-Uni
    • Sociétés de production
      • Australian Film Finance Corporation (AFFC)
      • Dalton Films
      • Fox Searchlight Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 16 000 000 $AU (estimé)
    • Montant brut aux États-Unis et au Canada
      • 1 897 404 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 83 461 $US
      • 4 janv. 1998
    • Montant brut mondial
      • 1 897 404 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 12 minutes
    • Couleur
      • Color
    • Mixage
      • Dolby Digital
    • Rapport de forme
      • 2.35 : 1

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