[go: up one dir, main page]

    कैलेंडर रिलीज़ करेंटॉप 250 फ़िल्मेंसबसे लोकप्रिय फ़िल्मेंज़ोनर के आधार पर फ़िल्में ब्राउज़ करेंटॉप बॉक्स ऑफ़िसशोटाइम और टिकटफ़िल्मी समाचारइंडिया मूवी स्पॉटलाइट
    TV और स्ट्रीमिंग पर क्या हैटॉप 250 टीवी शोसबसे लोकप्रिय TV शोशैली के अनुसार टीवी शो ब्राउज़ करेंTV की खबरें
    देखने के लिए क्या हैसबसे नए ट्रेलरIMDb ओरिजिनलIMDb की पसंदIMDb स्पॉटलाइटफैमिली एंटरटेनमेंट गाइडIMDb पॉडकास्ट
    EmmysSuperheroes GuideSan Diego Comic-ConSummer Watch GuideBest Of 2025 So FarDisability Pride MonthSTARmeter पुरस्कारअवार्ड्स सेंट्रलफ़ेस्टिवल सेंट्रलसभी इवेंट
    जिनका जन्म आज के दिन हुआ सबसे लोकप्रिय सेलिब्रिटीसेलिब्रिटी से जुड़ी खबरें
    मदद केंद्रयोगदानकर्ता क्षेत्रपॉल
उद्योग के पेशेवरों के लिए
  • भाषा
  • पूरी तरह से सपोर्टेड
  • English (United States)
    आंशिक रूप से सपोर्टेड
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
वॉचलिस्ट
साइन इन करें
  • पूरी तरह से सपोर्टेड
  • English (United States)
    आंशिक रूप से सपोर्टेड
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
ऐप का इस्तेमाल करें
  • कास्ट और क्रू
  • उपयोगकर्ता समीक्षाएं
  • ट्रिविया
IMDbPro

Ménilmontant

  • 1926
  • 38 मि
IMDb रेटिंग
7.8/10
2.9 हज़ार
आपकी रेटिंग
Nadia Sibirskaïa in Ménilmontant (1926)
TragedyDramaShort

अपनी भाषा में प्लॉट जोड़ेंA couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to ... सभी पढ़ेंA couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.

  • निर्देशक
    • Dimitri Kirsanoff
  • लेखक
    • Dimitri Kirsanoff
  • स्टार
    • Nadia Sibirskaïa
    • Yolande Beaulieu
    • Guy Belmont
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.8/10
    2.9 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Dimitri Kirsanoff
    • लेखक
      • Dimitri Kirsanoff
    • स्टार
      • Nadia Sibirskaïa
      • Yolande Beaulieu
      • Guy Belmont
    • 24यूज़र समीक्षाएं
    • 10आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • फ़ोटो5

    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें
    पोस्टर देखें

    टॉप कलाकार6

    बदलाव करें
    Nadia Sibirskaïa
    • Younger Sister
    Yolande Beaulieu
    • Older Sister
    Guy Belmont
    • Young Man
    Jean Pasquier
    • The father
    M. Ardouin
    • The mother
    Maurice Ronsard
    • The lover
    • निर्देशक
      • Dimitri Kirsanoff
    • लेखक
      • Dimitri Kirsanoff
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं24

    7.82.8K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    फ़ीचर्ड समीक्षाएं

    10sandover

    The way she nodded was grace

    Poverty, disillusion, and yet grace graces the screen when Nadia Sibirskaya nods to the old man who offers her some food to chew. That scene, that means her social grace, brought me tears and elated me at once - miracles, oh yes, do and do happen and move.

    One should note that the old man does not reciprocate, in fact does not look at her at all, and this marks Kirsanoff's extraordinary finesse: if there was some kind of "communication" between the two, THIS would be melodramatic; for I do not think this film is a melodrama, at least the way we have come to mean one. To deny that the story is something that could have "happened", is to deny the film's class and émigré conscience.

    On the other hand I am not sure I would claim, as another reviewer did, that this is Zola-like; we would then be a bit far from "Menilmontant"'s drastic, dislocated lyricism.

    Watch the cutting close-ups the two times Sibirskaya's eloquent face witnesses a violent scene: the camera, a bit dislocated each time, and unafraid to jump and shut transitive seconds.

    Watch the scene where she strongly contemplates something and starts descending the steps to the river: there is a sense of menace and imminent loss, I am not sure I ever witnessed before in a film: this is film-making on the heights; as is the camera work which frames hesitant feet on the steps, and hushes astonishingly their turning round.

    Watch the protagonist's face after she arguably loses her virginity: inscrutable and fascinating, not allowing us truly tell if the vision of her wandering in the woods is one of innocence lost or burgeoning sexuality. But there is, that is a visceral sense of feminine enjoyment, perhaps close to a Balthus painting mood.

    At the end one is left with a sense of bifurcation: with sisters reconciled, we are left with a confusing and not redeeming crime. We don't know who or why exactly and if the girl involves herself out of vengeance, private reasons or what you will; that makes it all the more unsavory and artistically right.

    Then the camera looks disjointedly up into the Parisian sky, and hands resume their work of artificial bouquets; yes, the film seems to suggest, this is all what one is left with, artificial bouquets and handiwork.

    Two sisters, two deflorations, two crimes, twice the work of flowers: the work of the two Kirsanoffs genial, amazing sensibilities.
    10Ziggy5446

    Menilmontant constitutes a forceful avant-garde re-cutting of the melodrama. Cuts are central. Violence is visceral!

    Menilmontant (1926) was, in the modest context of the alternative cinema circuit, a smash hit. It's great success allowed filmmaker Dimitri Kirsanov to go on making films, and also helped Jean Tedesco to stay in business as an exhibitor.

    Like Kirsanov's first film, Menilmontant (again starring Kirsanoff's first wife, the beautiful Nadia Sibirskaia) tells a story without the use of inter-titles. It is often said that the filmmakers cinema is poetic, but one must add that in his second film he explored the poetics of violence and degradation.

    The story begins and ends with two unrelated, but similarly filmed and edited murders. In each case, the grisly event does not grow organically out of the plot, but seems to surge out of a world welling with violent impulses.

    Menilmontant uses practically all of the typical stylistic devices of cinematic impressionism, but it is hard to consider it as in any way representative of the movement. It's overwhelming, virtually unrelieved violence and despair seem to infect its own storytelling agency, upsetting what in other filmmakers' works would be clearly delineated relations of parts to the whole.

    The film contains several bursts of rapid editing, for example, but they are not rhythmic in any simple, narratively justified way (in the manner of Abel Gance, for example); their meter is complicated and unsettling, worthy of an Igor Stravinsky. The film offers several notable examples of subjective camera work, but typically these become slightly unhinged, with no absolute certainty as to which character's experience in being rendered.

    Menilmontant is, quite deliberately, a film in which the formal center cannot hold, because it is about a world in which this is also true. Although certainly not a Surrealist work, it shares with Surrealism no only a fascination with violence and sexuality, but also a display of forces and transcend, and question the boundaries of, individual human consciousness.

    Kirsanov concluded his Menilmontant with a shot of impoverished and exploited young women fashioning artificial flowers in the poorest district of Paris, he provided us the most comprehensive image, aesthetic and social, of this form of cinema. Through a panoply of stylistic experiments and through glorious close-ups of the incomparably fragile face of Sibirskaia, Kirsanov thought he had shaped a harsh milieu into an exquisite flower. But a flower for whom? Menilmontant would become a major film on the cine-club and specialized cinema circuit, but never played to the people of the working class quatier that gave it its title. This was not Kirsanov's public anyway, for he came from the Russian aristocracy. In 1919, having fled the Revolution, he was reduced to playing his beloved cello in movie houses just to be able to eat. He must have been tempted to imagine himself and his music as an unappreciated flower in the crude milieu of mass art.

    Seen this way, Menilmontant becomes a personal triumph of art over industry, of the icon of Sibirskaia over the brutal world of plot and spectacle that constitutes ordinary cinema. That triumph is signaled in the miracle of the film's narration, the first French film without titles, a tale told completely through the eloquence of its images. The dark alleys of the nineteenth arrondissment, the streetlights listening on the Seine, and the pathetic decor of shabby apartments are all redeemed by art. No silent film more clearly bewails the fate of art in our century, more obviously appeals to connoisseurs of the emotions roused by artificial flowers.
    9FerdinandVonGalitzien

    A Striking, Disturbing Masterpiece.

    There is an old German proverb that says that size doesn't matter ( well, size does count for this count having in mind the perimeter of his Teutonic heiresses… ) and the saying rings true with "Ménilmontant" a medium-length silent film directed by Herr Dimitri Kirsanoff, and a striking, disturbing masterpiece.

    Herr Kirsanoff's direction is astonishing in every aspect of the film, particularly in its technique. It's a mixture of drama, avant-garde, experimental film and hyper realism. The story depicted in the film ( the terrible life of two orphan sisters ) doesn't allow any concession to the audience; to watch "Ménilmontant" today still invokes amazement, distress and an infinite sadness.

    From the very start of the film ( superb, striking and masterful editing by Herr Kirsanoff himself ) the director shows power and imagination and a strong control of film narrative ( there is no need of intertitles ). Kiransoff's use of imagery is thrilling and brilliant. Images emphasize a ruined happy childhood and the duality and dangers of a big city ( flashbacks, imaginative camera angles, dreamy and poetic shots ) not to mention the sorrowful life of the two orphans, an existence of loneliness, abandonment and despair that broke the heart of a heartless German aristocrat, especially the superb scene in which the younger sister ( touching Dame Nadia Sibirskaia ) ,alone and hungry on a bench park with her baby, accepts some bread from an old man, a moving and lyrical scene, that summarizes the spirit and achievement of this oeuvre.

    "Ménilmontant" is a work of art, a striking experimental style in the service of a tragic and sad story, brilliantly and disturbingly balanced.

    And now, if you'll allow me, I must temporarily take my leave because this German Count must become a little livelier.

    Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/
    10oOgiandujaOo_and_Eddy_Merckx

    Virtuosic, Zolaesque - UNFETTERED CINEMA !

    Watched Dimitri Kirsanoff's Ménilmontant last night. It's right out of the top drawer. Filmed in 1926 when the rubric for making a film was not yet set, the rules not there to be broken. You can sense the sheer vitality that the filmmaker is enabled with because of this. It feels like a Zola novel, a great portrait of urban life, and also a valuable document of the way Paris looked at the time. Kirsanoff is not weighed down by cinematic antecedents, there are no Hitchockian homages, no cinematic in-jokes, no nods to popular culture, no product placement. This makes the film alive with atmosphere, almost overflowing with it. Somehow Mr Kirsanoff places you in the film, makes you an insider to the innocence of childhood, the loneliness of the big city, the despair of poverty, the shock of betrayal.

    His camera is like the Kino-Eye, and it looks at things the way real people look at them, making it the least phallic use of a camera that I have seen. The shots of the Seine, of the countryside, of Ménilmontant, and the roving, lingering, pace of the camera were quite literally breath-taking. There are no intertitles in this silent movie, and the plot is a little opaque, but really this is not taking the movie on its own terms, it is a masterpiece of camera-work and editing and provides the most atmosphere of any movie I have ever seen. It is ESSENTIAL to watch this movie at its 38 minute pace. I saw it on the double-disc Kino edition of Avant-garde: Experimental Cinema of the 1920s and 30s. This is the best value for money DVD on the market full stop.

    Recently I watched Lang's The Testament of Dr Mabuse and became aware through his virtuosic use of sound, how taken for granted sound is in movies these days. Watching Ménilmontant makes you realise how taken for granted image is, most of modern cinema is simply about dubious storytelling to quote something I heard on TV, "…it's a cultural wasteland filled with inappropriate metaphors and an unrealistic portrayal of life created by the liberal media elite". I recommend this movie to all lovers of cinema, it really is a movie that can make you once again enthuse about the moving image.
    7ackstasis

    Disorientating visual poetry

    Dimitri Kirsanoff, born in Estonia but operating mostly in Paris, was heavily influenced by the theories of Soviet Montage. In his most famous short film, 'Ménilmontant (1926)' – still frightfully obscure in most circles – he adheres to this style strictly, almost obsessively. His preference towards a brisk editing pace carries a unique vitality that is also seen in the work of Soviet masters Eisenstein and Vertov, who pioneered and perfected the technique of montage in the mid-to-late 1920s. But, nevertheless, I don't think it works quite as well here. 'The Battleship Potemkin (1925)' and 'The Man with the Movie Camera (1929) – perhaps the two most recognised works of Soviet montage – utilise their chosen editing style to full effect precisely because they place greater emphasis on the collective over the individual, in accordance with traditional Communist ideology. There is deliberately no emotional connection attempted nor made between the viewer and any individual movie character, for that would be contrary to the filmmaker's intentions (interestingly, however, the montage fell out of preference from the 1930s in favour of Soviet realism).

    'Ménilmontant' falters because it strives to create an emotional connection with the characters (particularly the younger sister, played by Nadia Sibirskaïa), but Kirsanoff's chosen editing style continually keeps the audience at an arm's length. The closest he comes to true pathos is with the park-bench sequence, when an old man offers some bread and meat to the famished woman, delicately avoiding eye contact to preserve her dignity. Even in this scene, the montage style intrudes. A director like Chaplin (and I'm a romantic at heart, so he's naturally one of favourite filmmakers) would have placed the camera at a distance, framing the profiles of both the woman and the old man within the same shot, thus capturing the subtle emotions and inflections of both parties simultaneously. Kirsanoff somewhat confuses the scene, cutting sequentially between the woman, the man and the food in a manner that reduces a simple, poignant act of kindness into a technical exercise in film editing. It works adequately, of course, a precise demonstration of the Kuleshov Effect, but there's relatively little heart in it.

    But we'll cease with my complaints hereafter. I know my own film tastes well enough to recognise that what I disliked about the film – its emotional distance, for example – represents precisely what others love about it. There's no doubting that the photography (when it's kept on screen long enough) is breathtakingly spectacular, making accomplished use of lighting, shadows and in-camera optical effects such as dissolves, irises and superimpositions. There are touches of the surreal. Kirsanoff cuts non-discriminately forwards in time, backwards and into his characters' dreams, fragmenting time and reality into a series of shattered images, their individual meanings obscure until considered sequentially as in the pieces of a puzzle. Most impressive, I thought, was how several shots captured the linear perspective of roads and alleys, watching his characters gradually depart into the distance as though merely following the predetermined pathways of their future. The film ends exactly as it begins – with a bloody and unexplained murder – suggesting the inevitable cycle of human suffering, its causes unknown and forever incomprehensible.

    इस तरह के और

    Entr'acte
    7.3
    Entr'acte
    Brumes d'automne
    6.9
    Brumes d'automne
    Ballet mécanique
    6.7
    Ballet mécanique
    La coquille et le clergyman
    7.0
    La coquille et le clergyman
    Mat
    7.4
    Mat
    La chute de la maison Usher
    7.2
    La chute de la maison Usher
    At Land
    7.5
    At Land
    Mest kinematograficheskogo operatora
    7.7
    Mest kinematograficheskogo operatora
    Coeur fidèle
    7.4
    Coeur fidèle
    L'étoile de mer
    7.0
    L'étoile de mer
    La souriante Madame Beudet
    6.6
    La souriante Madame Beudet
    Regen
    7.2
    Regen

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Pauline Kael said this was her favorite film of all time.
    • इसके अलावा अन्य वर्जन
      This film was published in Italy in an DVD anthology entitled "Avanguardia: Cinema sperimentale degli anni '20 e '30", distributed by DNA Srl. The film has been re-edited with the contribution of the film history scholar Riccardo Cusin . This version is also available in streaming on some platforms.
    • कनेक्शन
      Featured in The language of the silent cinema 1895-1929 - Part II: 1926-1929 (1973)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 26 नवंबर 1926 (फ़्रांस)
    • कंट्री ऑफ़ ओरिजिन
      • फ़्रांस
    • भाषा
      • नोने
    • इस रूप में भी जाना जाता है
      • Менильмонтан
    • फ़िल्माने की जगहें
      • पेरिस, फ़्रांस
    • IMDbPro पर और कंपनी क्रेडिट देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      38 मिनट
    • रंग
      • Black and White
    • ध्वनि मिश्रण
      • Silent
    • पक्ष अनुपात
      • 1.33 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Nadia Sibirskaïa in Ménilmontant (1926)
    टॉप गैप
    By what name was Ménilmontant (1926) officially released in Canada in English?
    जवाब
    • और अंतराल देखें
    • योगदान करने के बारे में और जानें
    पेज में बदलाव करें

    एक्सप्लोर करने के लिए और भी बहुत कुछ

    हाल ही में देखे गए

    कृपया इस फ़ीचर का इस्तेमाल करने के लिए ब्राउज़र कुकीज़ चालू करें. और जानें.
    IMDb ऐप पाएँ
    ज़्यादा एक्सेस के लिए साइन इन करेंज़्यादा एक्सेस के लिए साइन इन करें
    सोशल पर IMDb को फॉलो करें
    IMDb ऐप पाएँ
    Android और iOS के लिए
    IMDb ऐप पाएँ
    • सहायता
    • साइट इंडेक्स
    • IMDbPro
    • Box Office Mojo
    • IMDb डेटा लाइसेंस
    • प्रेस रूम
    • विज्ञापन
    • नौकरियाँ
    • उपयोग की शर्तें
    • गोपनीयता नीति
    • Your Ads Privacy Choices
    IMDb, एक Amazon कंपनी

    © 1990-2025 by IMDb.com, Inc.