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À l'ombre de la haine

Titre original : Monster's Ball
  • 2001
  • 12
  • 1h 51min
NOTE IMDb
7,0/10
97 k
MA NOTE
POPULARITÉ
3 265
184
Billy Bob Thornton and Halle Berry in À l'ombre de la haine (2001)
Trailer
Lire trailer1:32
4 Videos
99+ photos
DrameRomanceDrame psychologiqueRomance tragique

Après un drame familial, un gardien de prison raciste réexamine ses attitudes en tombant amoureux de l'épouse afro-américaine du dernier prisonnier qu'il a exécuté.Après un drame familial, un gardien de prison raciste réexamine ses attitudes en tombant amoureux de l'épouse afro-américaine du dernier prisonnier qu'il a exécuté.Après un drame familial, un gardien de prison raciste réexamine ses attitudes en tombant amoureux de l'épouse afro-américaine du dernier prisonnier qu'il a exécuté.

  • Réalisation
    • Marc Forster
  • Scénario
    • Milo Addica
    • Will Rokos
  • Casting principal
    • Billy Bob Thornton
    • Halle Berry
    • Taylor Simpson
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,0/10
    97 k
    MA NOTE
    POPULARITÉ
    3 265
    184
    • Réalisation
      • Marc Forster
    • Scénario
      • Milo Addica
      • Will Rokos
    • Casting principal
      • Billy Bob Thornton
      • Halle Berry
      • Taylor Simpson
    • 552avis d'utilisateurs
    • 109avis des critiques
    • 69Métascore
  • Voir les informations de production sur IMDbPro
    • Récompensé par 1 Oscar
      • 15 victoires et 23 nominations au total

    Vidéos4

    Monster's Ball
    Trailer 1:32
    Monster's Ball
    Monster's Ball
    Trailer 2:04
    Monster's Ball
    Monster's Ball
    Trailer 2:04
    Monster's Ball
    The Rise of Halle Berry
    Clip 4:08
    The Rise of Halle Berry
    What Roles Has Halle Berry Turned Down?
    Video 4:04
    What Roles Has Halle Berry Turned Down?

    Photos109

    Voir l'affiche
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    + 104
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    Rôles principaux36

    Modifier
    Billy Bob Thornton
    Billy Bob Thornton
    • Hank Grotowski
    Halle Berry
    Halle Berry
    • Leticia Musgrove
    Taylor Simpson
    • Lucille
    Gabrielle Witcher
    • Betty
    Heath Ledger
    Heath Ledger
    • Sonny Grotowski
    Amber Rules
    • Vera
    Peter Boyle
    Peter Boyle
    • Buck Grotowski
    Charles Cowan Jr.
    • Willie Cooper
    Taylor LaGrange
    • Darryl Cooper
    Yasiin Bey
    Yasiin Bey
    • Ryrus Cooper
    • (as Mos Def)
    Anthony Bean
    • Dappa Smith
    Francine Segal
    Francine Segal
    • Georgia Ann Paynes
    John McConnell
    John McConnell
    • Harvey Shoonmaker
    Marcus Lyle Brown
    Marcus Lyle Brown
    • Phil Huggins
    Milo Addica
    Milo Addica
    • Tommy Roulaine
    Leah Loftin
    Leah Loftin
    • Booter
    Coronji Calhoun
    • Tyrell Musgrove
    Sean 'Diddy' Combs
    Sean 'Diddy' Combs
    • Lawrence Musgrove
    • (as Sean Combs)
    • Réalisation
      • Marc Forster
    • Scénario
      • Milo Addica
      • Will Rokos
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs552

    7,096.9K
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    Avis à la une

    9FlickJunkie-2

    Halle Berry's shining moment

    Independent filmmaking is alive and well and evident in Monster's Ball. This film had a minuscule $4 million budget, a terrific script and a director not afraid to take some risks. Billy Bob Thornton and Halle Berry practically donated their time they were paid so little. The result is a powerful and disturbing film that walked off with a boatload of awards, not the least of which was a best actress Oscar for Berry.

    Director Marc Forster conjures a forceful presentation with stark sets, next to nothing in the way of props and other set decoration, and a non existent soundtrack. Forster does it with innovative use of the camera, sharp editing and most importantly excellent actor direction. Forster could have done better at character development and the ending is nebulous and unsatisfying, but these shortcomings can be partially forgiven for the films many assets.

    This is an actors' showcase, with outstanding performances all around. Heath Ledger makes a short but intense appearance as the son that Hank (Billy Bob Thornton) despises. Ledger pumps the character full of repressed anger and disappointment, simultaneously resenting him and seeking his father's approval. Peter Boyle is despicable as Hank's bigoted and self centered father. Billy Bob Thornton delivers his best performance since `Sling Blade' with a complex character torn between his prejudices and his attraction to Leticia (Halle Berry).

    Of course the big story here is Halle Berry. Berry shows once again that she is not just another pretty face. I first took serious notice of her after seeing her performance in `Introducing Dorothy Dandridge', a little seen TV movie in which she won both a Golden Globe and an Emmy. After that marvelous dramatic performance, I was surprised that she couldn't land roles any better than `Swordfish' and `X-Men', which tapped nothing more substantial than her looks.

    In this film, Berry is sexy and alluring, but these are only incidental attributes. She displays a full range of emotions from vibrant elation and unbridled passion, to utter despondency. She practically rips her heart out and throws it at the camera. She can convey volumes with a single look, or come completely unglued with equal impact. Her Oscar for this performance was richly deserved and had nothing to do with her race as so many have rationalized. She just flat out won it going away. As good as Nicole Kidman was in `Moulin Rouge', it wasn't even close.

    This is an excellent film that is worth seeing for the acting alone. I rated it a 9/10. It is a compelling and deeply disturbing drama that serious film lovers will surely enjoy.
    8dfranzen70

    Excellent job of peeling away the layers of racism

    Hank Grotowski (Billy Bob Thornton) is the middle generation of three generations of prison guards. His father Buck (Peter Boyle) is long retired and a near-invalid, using a walker and leaning on an iron lung. His son Sonny (Heath Ledger) is a novice guard. Hank and Sonny work together on Death Row and are among the guards responsible for the executions (Hank's in charge).

    The first thing that strikes one about this particular group of men is the level of racism that's apparent in each one. Buck's the worst - he screams at young black kids who happen to wander onto "his" property (all three Grotowskis live together) and is liable to spout off some hateful rhetoric at any time. Hank's not a lot better, but his feelings seem tempered in contrast to Buck; he seems more weary than angry. And Sonny is actually friends with that same neighboring black family whose kids come over every now and then.

    Thus the line of racism is significantly watered down as the generations progress. This is not to suggest that Sonny is an angel, or that Buck is the absolute devil. Sonny and Hank share the same hooker (though not at the same time); all three men drink, smoke, and cuss like sailors. In short, they're simply not nice folk.

    While Hank and Sonny are transporting a prisoner to the electric chair, Sonny takes ill and can't continue. Because of this, the prisoner (who had bonded a little with the compassionate Sonny earlier) suffers a little during his execution. Enraged, Hank attacks his son in the locker room after the execution, and the other guards have to separate them.

    That's one relationship being examined - that of Hank and Sonny. The other is the more important one, however. The widow of the executed prisoner, Leticia Musgrove (Halle Berry), is trying to make ends meet as a waitress. But her car constantly dies on her, and after being late to work repeatedly, she's fired - shortly after her husband is executed. She has one overeating kid to feed, too. She does get another job as a waitress, but has to ditch the car when it dies a final time. Walking home in the rain, her son (who has to come with her; can't leave him home to binge) his hit by a car. Hank happens to be passing by, and with some reluctance (remember, he is racist, if not as bad as his father), he stops to help.

    There's a wonderful dichotomy between the relationship between Leticia and her son and that between Hank and his son. Milo Addica and Will Rokos, who wrote the screenplay, weave a very effective tale that manages to keep all of the characters interesting and relevant. What makes Hank act the way he does? What are Leticia's motivations? And it would be very easy for the actors to portray the characters as nothing more than stereotypes - Hank the nasty, racist white male, and Leticia the vulnerable, victimized African American woman. But both Thornton and Berry rise above their characters' limitations - Hank's not the devil he might think he is, and Leticia isn't the angel that a lesser actress might make her out to be.

    It's also worth mentioning that each of the two leads has something shocking and powerful happen to them near the beginning of the film, before they really meet. These two events have a huge impact on the characters - you might call the events "life-altering". The events allow us to see actual change in the character. Not sudden change, which can be jarring and unrealistic, but gradual, authentic, eminently believable change.

    The performances by the leads are nothing short of sensational. Berry won the Oscar for Best Actress for her work here. Yes, you read right - Halle Berry. She of The Flintstones, Swordfish, and being married to David Justice fame. See, this is what happens when you give a good actress a great role. The best actresses will rise to the level of the role; the mediocre actresses will sink below it, collapsing under its weight.

    Thornton has a tendency to pick offbeat, idiosyncratic roles, albeit usually with a Southern twist. His Hank is not a carbon copy of your stereotypical Dirty White Boy; he's a multilayered character with charm and evil mixed in. The film doesn't make him out to be a complete hero; just a flawed one. By the movie's end, he has come to grips (a little) with his failures and his shortcomings.

    Berry and Thornton have a great supporting cast in Boyle and Ledger. When you think of a hateful, misanthropic, misogynistic demon, you don't think of Peter Boyle, who's turning in great comedic work on the TV show "Everybody Loves Raymond". But after this movie, you sure do. Great job. And Ledger - well, I know him best from The Patriot, as Mel Gibson's oldest son. In that movie, he was tough, but he was still a boy in a world of adults. That boy's grown up, and Ledger proves his mettle as an actor in this role.

    There will be some who find this movie too slow; granted, if you're looking for action, this won't appeal to you. But it's an excellent story, and not as simplistic as it may seem on the outside. It's very well written (meaning that there are few plot holes), and ably directed. You may be fascinated, as I was, with the character development from beginning to end. Things are not - pardon the expression - treated as black-and-white issues; there are varying grays that are resolved and not resolved by movie's end.
    ccthemovieman-1

    Far More Than Just That Sex Scene

    This movie was not a big favorite with audiences and I figured I would be among the majority on this one......but I wasn't - I like this film. In fact, I liked it even better on the second viewing.

    I found it to be one of those rare movies that deals with racism that doesn't come on too heavy-handed with all the political correctness nonsense. It handled the problem intelligently, I thought.

    The cinematographer, Robert Schaefer, did a terrific job with this, too, and that is another reason I have come to really enjoy this film. The visuals - and the audio - are outstanding.

    None of the characters are particularly likable but I thought Billy Bob Thornton's "Hank Grotowski" was so interesting a character that I concentrated more on that than whether I liked him or not. However, I wound up liking him, anyway, and boy, did his character change in this film. There is a steamy sex scene in here with Billy Bob and Halle Barry that was quite the talk when the film was released. I didn't think it was all that it was made out to be. I've seen steamier moments such as Alec Baldwin and Kim Bassinger going at it in the non-rated version of "The Getaway."

    Overall, this a rough film in spots but I think it is a solid, underrated drama that offers far more than the "celebrated" sex scene. This is a well-made movie.
    benier

    White Man's Burden Redux

    What are you repulsed by? Perhaps it's having sex with women of African origin inspite of the fact that you are a White male raised in a racist culture that dehmanises them. Add to this predicament, that you are a retired, widowed prison corrections officer who's only son kills himself because he feels he's failed you because he is not racist enough. Even worse, you become enligthtened enough to realise that .. you were ALWAYS wrong.

    This is a brilliant story told from the rather selfish perspective of the White male. Mark Forster has directed a tour de force so intricate and psychologically honest that the story literally TELLS itself. Indeed, I'd bet this story organically spewed from souls of screenwirters Milo Addica & Will Rokos. They won't top this fete anytime soon. Such a gateway of insight only comes around once in a lifetime.

    As a huge fan of David Mamet and Sam Shepard I am biased to appreciate a well balanced story, illustrated with terse dialogue, structured acting and effective filmic devices (i.e., the use of "white" paint", "black" coffee and "chocolate" ice cream in the film).

    Any film student will also appreciate the poetic use of foreshadowing and irony in this film. This truly is SOLID filmaking that takes real chances with provocative subject matter.

    The acting is superb more because of the Direction. To be certain: this is a Director's Film. Every aspect of Thorton's and Berry's performances is the result of very savvy Direction and attention to dramatic detail.

    Kudos to Mr. Forster. I look forward his upcoming film "Neverland" with great anticipation.
    Uqbar

    Disturbing, engaging work

    This is the kind of gritty, fuzz-free reality drama that keeps you musing about it long past the ending credits. It is unsparing in its depiction of all the light and dark sides of the human psyche, from racism to passion to insularity and even corpulence, mounting these on a platform so stark and unambiguous that the audience is not left with many choices - the reactions evoked are exactly the ones intended to be evoked, oscillating between disgust, outrage, sympathy, tenderness and occasionally, even a surreptitious smile.

    Most of the characters in the movie suffer somewhat from a lack of complexity, which is compensated for by casting them into circumstantial conflict to create the dramatic tension (a husband is electrocuted, a child dies, another child sends a bullet through his heart and into the couch behind, and so on). This is not necessarily a bad thing, especially because the remarkable performances (particularly from Halle Berry) validate this ploy. The exception to this, however, is the character of Hank Grotowski, played by Billy Bob Thornton. Billy Bob succeeds in imparting a subtle gray shade to this seemingly cardboard-cutout poster-boy-for-the-old-bigoted-south character that makes you hesitate from accepting him at face value. Is this simply about a saturnine, jaded racist being transformed by true love? Well, yes, that's part of it - the obvious part. But something keeps nagging you, preventing you from accepting this linear, justifiable inference, making you want to probe deeper, discover the reasons he has turned out this way, and even, in a perverse way, rationalize them. Is it just the provincial social climate? Is it the long proximity to his bigoted dotard of a father (played admirably by Peter Boyle)? Is he really that way or is he simply going with the flow? No simple explanation seems satisfactory - and the credit for this questioning, this need for deconstruction, goes to Billy Bob's nuanced performance.

    All in all, beside the fact that some of the scenes may unsettle the squeamish, and that some promising characters like that of Grotowski's dispirited, conflicted son Sonny (played by Heath Ledger) were knocked off too early, the picture satisfies most norms for a good cinema experience - it makes you think, weep, squirm, analyze, rationalize, everything but walk out before it is over. In other words, it is what good cinema is about.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Billy Bob Thornton says filming sex scenes made his marriage to Angelina Jolie tough. The actor was wed to Jolie from 2000 to 2003, during which time he filmed this movie - featuring explicit scenes with Halle Berry - which put pressure on them both. He told The Sun newspaper: "If you are an actor, even doing a Disney movie or cartoon voices, you could still be away from each other for six months. Look how it applied to me. I go away and do a film like Monster's Ball with a very explicit sex scene with Halle Berry. She is one of the most beautiful women in the world and I am talking on the phone to my wife, and she says, 'What have you been doing today?' And I say, 'Oh, I did that sex scene with Halle Berry.' You are then asked if you actually touch her. I say, 'I had to - it's in the scene'. Other people's situations are hard, with areas of doubt. But if you are a thousand miles from home on a film set simulating sex with a beautiful woman, it's even tougher."
    • Gaffes
      Throughout the movie there are conflicting references to its being set in Louisiana, Mississippi, or Georgia although the movie was filmed entirely in Louisiana.
    • Citations

      Sonny Grotowski: You hate me. You hate me, don't you? Answer me!

      [angrily]

      Sonny Grotowski: You hate me don't you?

      Hank Grotowski: Yeah, I hate you. I always did.

      Sonny Grotowski: Well I've always loved you.

    • Crédits fous
      Thanks to Sam, Austin, Gabrielle. Scott Lambert is thanked twice.
    • Versions alternatives
      The initial cut of the picture included more explicit footage during the sex scene between Halle Berry and Billy Bob Thornton, which was trimmed down after the MPAA threatened to give the film a NC-17 rating. The uncut version premiered at the Berlin Film Festival on February 8, 2001. The R-rated US theatrical release is the cut version; the version released theatrically in Canada and most other countries is the uncut version.
    • Connexions
      Featured in Siskel & Ebert & the Movies: The Lord of the Rings: The Fellowship of the Ring/Monster's Ball/Joe Somebody/Ali (2001)
    • Bandes originales
      Broken Up and Blue
      (1998)

      Performed by Red Meat

      Written by Jill Olson

      Published by Olson Girl Publishing (ASCAP)

      Administered by Bug Music, Inc.

      Courtesy of Ranchero Records

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    FAQ21

    • How long is Monster's Ball?Alimenté par Alexa
    • What are the differences between the R-Rated version and the Unrated Version?

    Détails

    Modifier
    • Date de sortie
      • 20 mars 2002 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • Official Facebook
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • El pasado nos condena
    • Lieux de tournage
      • Laplace, Louisiane, États-Unis
    • Sociétés de production
      • Lionsgate
      • Lee Daniels Entertainment
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 4 000 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 31 273 922 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 110 552 $US
      • 30 déc. 2001
    • Montant brut mondial
      • 45 011 434 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 51min(111 min)
    • Couleur
      • Color
    • Mixage
      • DTS
      • Dolby Digital
      • SDDS
    • Rapport de forme
      • 2.39 : 1

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