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Velvet Goldmine

  • 1998
  • Tous publics
  • 2h 3min
NOTE IMDb
6,9/10
40 k
MA NOTE
Jonathan Rhys Meyers in Velvet Goldmine (1998)
Trailer
Lire trailer0:26
1 Video
99+ photos
DramaMusic

En 1984, le journaliste britannique Arthur Stuart enquête sur la carrière de la superstar glamour des années 70, Brian Slade, qui fut à ses débuts fortement influencé par le chanteur américa... Tout lireEn 1984, le journaliste britannique Arthur Stuart enquête sur la carrière de la superstar glamour des années 70, Brian Slade, qui fut à ses débuts fortement influencé par le chanteur américain rebelle et au mode de vie extrême Curt Wild.En 1984, le journaliste britannique Arthur Stuart enquête sur la carrière de la superstar glamour des années 70, Brian Slade, qui fut à ses débuts fortement influencé par le chanteur américain rebelle et au mode de vie extrême Curt Wild.

  • Réalisation
    • Todd Haynes
  • Scénario
    • James Lyons
    • Todd Haynes
  • Casting principal
    • Ewan McGregor
    • Jonathan Rhys Meyers
    • Christian Bale
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,9/10
    40 k
    MA NOTE
    • Réalisation
      • Todd Haynes
    • Scénario
      • James Lyons
      • Todd Haynes
    • Casting principal
      • Ewan McGregor
      • Jonathan Rhys Meyers
      • Christian Bale
    • 338avis d'utilisateurs
    • 91avis des critiques
    • 65Métascore
  • Voir les informations de production sur IMDbPro
    • Nommé pour 1 Oscar
      • 4 victoires et 12 nominations au total

    Vidéos1

    Velvet Goldmine
    Trailer 0:26
    Velvet Goldmine

    Photos160

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    Rôles principaux67

    Modifier
    Ewan McGregor
    Ewan McGregor
    • Curt Wild
    Jonathan Rhys Meyers
    Jonathan Rhys Meyers
    • Brian Slade
    Christian Bale
    Christian Bale
    • Arthur Stuart
    Toni Collette
    Toni Collette
    • Mandy Slade
    Eddie Izzard
    Eddie Izzard
    • Jerry Devine
    Emily Woof
    Emily Woof
    • Shannon
    Michael Feast
    Michael Feast
    • Cecil
    Janet McTeer
    Janet McTeer
    • Female Narrator
    • (voix)
    Mairead McKinley
    • Wilde Housemaid
    • (as Maraid McKinley)
    Luke Morgan Oliver
    • Oscar Wilde (8)
    Osheen Jones
    • Jack Fairy (7)
    Micko Westmoreland
    • Jack Fairy
    Damian Suchet
    • BBC Reporter
    Danny Nutt
    • Kissing Sailor
    Wash Westmoreland
    Wash Westmoreland
    • Young Man
    Don Fellows
    Don Fellows
    • Lou
    Ganiat Kasumu
    • Mary
    Ray Shell
    Ray Shell
    • Murray
    • Réalisation
      • Todd Haynes
    • Scénario
      • James Lyons
      • Todd Haynes
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs338

    6,939.5K
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    Avis à la une

    9great_sphinx_42

    Stardust Memories

    I don't think I've ever seen a movie that has polarized people as much as this one, or at least very few. Some people have put down every single thing about it. As for me, when my roommate (who had already seen it) asked me what I'd thought of it I replied in all honesty, "I loved every single frame of it." She concurred, and we've both seen it again since. I plan to buy it as soon as I can find it for sale. It's heavy on metaphors, which seems to have annoyed a lot of people. As for it's structural resemblance to 'Citizen Kane', that was one of the points. Glam rock was in part about copying others for copying's sake, like Brian Slade copied from Curt Wild, and everyone copied from Jack Fairy. The performances are all great. Some may nitpick about how the characters were portrayed, but I think they were all apt. Ewan McGregor has gotten plenty of slobbering, ecstatic praise from me in the past, and this only encouraged the worship. Toni Collette, so mired in ugly duckling roles since 'Muriel's Wedding', is wonderful, as is Christian Bale's brittle, disillusioned reporter role. Jonathan Rhys-Meyers is, as Brian Slade, a glittering void, as cloaked in mystery at the end as he was at the beginning. Some of have criticized his role, but I think he did it just right, with a grand coldness. One believes that only such a creature could be the idol of an era that was, in the end, about glittering emotional voids and icy hipness. Why did he do what he did? We never know. That's one of the best parts. (I must embarrass myself here by noting, also, that Rhys-Meyers is so shockingly beautiful it's disgusting, like eating too much honey. Kinda makes you wanna puke on his shoes, doesn't it?) I suppose that not everyone can be expected to love this movie as much as I did, but I'm still a little surprised at some of the venom that's been spit at it. Then again, it is a truly enigmatic film, delicious for those who can appreciate a glorious feast of sight and sound, but just plain confusing and annoying for those who lack the imagination to appreciate it.
    swinging_rose_hips

    Velvet Goldmine and Dorian Gray

    Even if I didn't think this movie was fantastic (which I do), I would have to be impressed with the incorporation of Oscar Wilde, his fascination with the decadence of pop culture, and his brilliant philosophies concerning art.

    At the end of the film, when Arthur Stuart sits to have a drink with Curt Wylde (Oh look! A play on Oscar!, Wylde looks up and tells him that, "The true artist creates beautiful things, and puts none of his own life into them". This is one of the several scenes in which Oscar Wilde is referenced subtly, seamlessly and beautifully.

    Curt is not simply Iggy Pop. He is Oscar Wilde. He is the true artist of the crowd, because he creates music without using the art as a form of autobiography.

    Brian Slade is Dorian Gray. He invests all of his persona into the public, and into his songs, trapping himself in an expectation. The alter-ego Maxwell Demon is eternal youth. It is the embodiment of Slade in a single moment. Unfortunately, he traps himself, and leaves no room for growth. The shooting accomplishes two things. Slade arranging this pseudo-murder is Dorian gray destroying his portrait. At first Dorian was intrigued, even excited by the changes he saw in the painting. Then it began to wear on him. So with Slade/ Demon. The hoax liberates Slade the way death does Gray. Also, This secures Maxwell Demon a place in history. Brian Slade was a pop-star who was too controversial and too personally naked in his work to have any real longevity. The hype would have faded, and if he changed or grew as a person, that would have meant changing everything about his art (as they were so interlocked) and would have led to cries of "sell out". Either way, he would have faded out and been likely forgotten (the way Britney Spears will hopefully do one day). By enacting this faux death, Slade guarantees Maxwell Demon some form of eternal youth, trading in his career to do so (selling his soul).

    There's more, as well. Jerry Devine, for instance, is Lord Henry. Mandy is Sybil Vane. They aren't exact, of course, and there are other veins running through them that make them unique, but one can see the influence.

    Beautifully done, and a well paid tribute to the genius of Oscar Wilde!
    Infofreak

    A confused, self-indulgent mess of a movie.

    After watching 'Velvet Goldmine' for a second time I still have absolutely no idea what Todd Haynes was trying to achieve. He could have approached it as a straightforward biopic of Bowie and 70s glam (with the names changed to protect the "innocent" if need be), OR as a surreal, camp fantasy equal parts Ken Russell, Russ Meyer and Grant Morrison (Zenith, Doom Patrol, The Invisibles). But by doing both, or rather, neither, it's ends up a confused bore that pleases nobody. As an Eno fan I was happy to hear quite a lot of his (and Roxy Music's) songs used on the soundtrack, and some of the Bowie pastiches were very good also, but I find 'Velvet Goldmine' to be overlong and ultimately unsatisfying. I also think Haynes not entirely accurate equation of glam rock equaling homosexuality sheds more light on him than the actual era. The movie is more a post-Morrissey look at glam than a truthful document of an exciting and innovative musical period. 'Velvet Goldmine' contains a few enjoyable moments but not enough to recommend it. A great movie could be made about Bowie but this isn't it.
    9arichmondfwc

    Put The Blame On Wilde

    It is quite an extraordinary experience to sit through this film years after its controversial outing back in the distant 1998. Like many of the great pieces of art, or wine for that matter, time gives it that extra something that evolves its taste into something that you crave. The erotic innocence of the story is very much Oscar Wilde territory. Innocence, yes. - I've been arguing about it with some people about the inclusion of the word, if not the feeling, innocence in this context. I insist the word is perfectly fitting because at the end of this rainbow there is the longing for love. Ewan McGregor's cock is already famous the world over - and with reason - here it dangles across his frame like a child, unaware of his own nakedness. Jonathan Rhys Mayer is a delight. Strange to see him in feathers after "Match Point" and yet it makes a lot of sense. Christian Bale one day, will leave behind the pouting arrogance that is rapidly becoming his trademark - even as Batman - and come back to the glorious promise he insinuated here. All in all a triumph, Todd Haynes style.
    6moonspinner55

    "Do you wanna touch me...oh yeah!"

    Todd Haynes' fantasy rethinking of an era in rock history, as a David Bowie-like singer in the early '70s burns out and disappears, and one of his most ardent young fans--now a music journalist--interviews friends and colleagues hoping to get at the truth. Past-and-present collage isn't given a very pointed treatment (once the narrative has gone a certain distance, a flashback dating back even further in time drains the immediacy out of the proceedings), though the design of the picture and the personalities involved are very colorful, as is the soundtrack, a mix of newly written tunes and classics. The U.K. truly got a colorful slice of the glam-rock era (as opposed to the U.S., which pretty much missed the boat--and the musical point), and the film, mostly set in England, nails that distinctive time and place with embracing accuracy. Haynes is also shrewd enough to remember the particular talents impersonated here were not the originators of the scene--that all musical trends date back, and nothing is ever truly original or lasts forever. The cast is uniformly excellent: sexy, decadent, kinetic, nervy. Haynes isn't a master of the outré (like, say, Ken Russell), but neither is he a junky or disrespectful filmmaker, and even in the lowest moments of their lives, this crazy collection of hedonists still look and sound pretty great. **1/2 from ****

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      The film was originally supposed to feature some of David Bowie's music, hence the title, which was a Bowie song from the 1970s; however, when Bowie learned that the script for the film was partially based on the unauthorized biographies "Stardust: The David Bowie Story" written by Henry Edwards and Tony Zanetta and "Backstage Passes" written by Bowie's ex-wife Angie Bowie, he threatened the producers with a lawsuit. Bowie's songs were, therefore, not used, and the script was partially re-written to avoid unnecessary resemblance between Bowie and the Bowie-style character Brian Slade.
    • Gaffes
      Arthur figures out the mystery of what happened to Brian Slade by seeing Shannon on TV. He however had no idea what she looked like so seeing her on TV a decade after the events that led to Brian's "death" could not have happened.
    • Citations

      Brian Slade: Man is least himself when he talks in his own person... Give him a mask and he'll tell you the truth.

    • Crédits fous
      The solid background color behind the credits changes several times as they play.
    • Connexions
      Featured in Siskel & Ebert & the Movies: Meet Joe Black/I'll Be Home for Christmas/Dancing at Lughnasa/I Still Know What You Did Last Summer/Velvet Goldmine (1998)
    • Bandes originales
      Needle in the Camel's Eye
      Written by Brian Eno and Phil Manzanera

      Performed by Brian Eno

      Courtesy of Caroline Records, Inc.

    Meilleurs choix

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    FAQ

    • How long is Velvet Goldmine?
      Alimenté par Alexa
    • Did David Bowie really threaten legal action?
    • What does Brian mouth to Curt in the recording studio that makes Curt so angry?

    Détails

    Modifier
    • Date de sortie
      • 9 décembre 1998 (France)
    • Pays d’origine
      • Royaume-Uni
      • États-Unis
    • Site officiel
      • Official Facebook
    • Langues
      • Anglais
      • Français
    • Aussi connu sous le nom de
      • Glitter Kids
    • Lieux de tournage
      • Lyceum Theatre, Wellington Street, Covent Garden, Londres, Angleterre, Royaume-Uni(Reporting outside at about 6 mins 40 secs in)
    • Sociétés de production
      • Channel Four Films
      • Goldwyn Films
      • Killer Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 1 053 788 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 301 787 $US
      • 8 nov. 1998
    • Montant brut mondial
      • 1 054 291 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 3 minutes
    • Couleur
      • Color
    • Mixage
      • Dolby Digital
    • Rapport de forme
      • 1.85 : 1

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