VALUTAZIONE IMDb
8,0/10
46.969
LA TUA VALUTAZIONE
Incontrando uno sconosciuto in una stazione ferroviaria, una donna è tentata di tradire suo marito.Incontrando uno sconosciuto in una stazione ferroviaria, una donna è tentata di tradire suo marito.Incontrando uno sconosciuto in una stazione ferroviaria, una donna è tentata di tradire suo marito.
- Regia
- Sceneggiatura
- Star
- Candidato a 3 Oscar
- 4 vittorie e 3 candidature totali
Wilfred Babbage
- Policeman at War Memorial
- (non citato nei titoli originali)
Alfie Bass
- Waiter at the Royal
- (non citato nei titoli originali)
Wallace Bosco
- Doctor at Bobbie's Accident
- (non citato nei titoli originali)
Sydney Bromley
- Johnnie - Second Soldier
- (non citato nei titoli originali)
Noël Coward
- Train Station Announcer
- (non citato nei titoli originali)
Nuna Davey
- Herminie Rolandson - Mary's Cousin
- (non citato nei titoli originali)
Valentine Dyall
- Stephen Lynn - Alec's 'Friend'
- (non citato nei titoli originali)
Irene Handl
- Cellist and Organist
- (non citato nei titoli originali)
Dennis Harkin
- Stanley - Beryl's Man
- (non citato nei titoli originali)
Edward Hodge
- Bill - First Soldier
- (non citato nei titoli originali)
Recensioni in evidenza
There's not a lot to say. Like many classics this film is simply constructed with all the elements in balance so that none stands out. Everything in it contributes something essential; the lighting, the unromantic railway station sets, the minor characters and of course the music, the ultra-romantic Rachmaninov Piano Concerto no 2. The emotional rollercoaster of the illicit affair has seldom been better portrayed. Perhaps it is a little understated for transatlantic tastes but no-one viewing this movie would not appreciate that the English can be as passionate as the rest of us.
Celia Johnson as Laura and Trevor Howard as Alec are perfect together. It being 1945, they do not get to bed that would have ruined the audience's sympathy for them in those rather more censorious times. It's all in their minds but their faces give the game away to each other and to the bystanders. Nothing happens to drag anyone near the awful divorce courts, but you are left wondering whether Celia will ever feel quite the same about her dull, comfortable, patronising and boring husband. As for Alec, he professes he will love her forever but then, he's a man.
Noel Coward produced this film from a short play of his from 1935 (the war and post-war shortages are absent), and his dulcet tones may be recognised in the railway station announcements. David Lean directed, and it is a remarkable collaboration. The action is opened out a little a row on the lake, a drive in the country - but the scenes from the play set entirely in the railway refreshment rooms still remain the centre of the story. The parallel relationship between Albert the station guard (Stanley Holloway), and Myrtle the refreshment room attendant (Joyce Carey), is an interesting counterpoint to the angst-ridden middle class would-be adulterers. Surely Noel old boy you weren't suggesting that the working class handles this sort of thing better? We see things largely from Laura's point of view and perhaps Alec didn't feel quite so guilty, but their consciences are going to make them pay. A gem of a movie.
Celia Johnson as Laura and Trevor Howard as Alec are perfect together. It being 1945, they do not get to bed that would have ruined the audience's sympathy for them in those rather more censorious times. It's all in their minds but their faces give the game away to each other and to the bystanders. Nothing happens to drag anyone near the awful divorce courts, but you are left wondering whether Celia will ever feel quite the same about her dull, comfortable, patronising and boring husband. As for Alec, he professes he will love her forever but then, he's a man.
Noel Coward produced this film from a short play of his from 1935 (the war and post-war shortages are absent), and his dulcet tones may be recognised in the railway station announcements. David Lean directed, and it is a remarkable collaboration. The action is opened out a little a row on the lake, a drive in the country - but the scenes from the play set entirely in the railway refreshment rooms still remain the centre of the story. The parallel relationship between Albert the station guard (Stanley Holloway), and Myrtle the refreshment room attendant (Joyce Carey), is an interesting counterpoint to the angst-ridden middle class would-be adulterers. Surely Noel old boy you weren't suggesting that the working class handles this sort of thing better? We see things largely from Laura's point of view and perhaps Alec didn't feel quite so guilty, but their consciences are going to make them pay. A gem of a movie.
**SPOILERS** Meeting quite by accident at the Milford train station British housewife Laura Jesson, Celi Johnson, got a speck of grit stuck in her eye that fellow passenger Dr. Alec Harvey,Trevor Howard, quickly came to her aid and washed out. Alec then slowly starts to get these strong feeling about the sweet and somewhat shy, as well as married, middle-age woman that in no time at all turns into an uncontrollable, by both Laura as well as Alec, love affair that in the end if not checked my well break up both of their marriage's.
Even though both Alec and Laura are married, not to each other, we only get to see Laura's husband and family in the movie which is shown in a long flashback, that takes up almost the entire film, from only Laura's point of view. After that innocent meeting at the train station the two always end up meeting on a Thursday when Laura travels to Milford to buy groceries and Alec has the afternoon off from work. Alec a doctor at the Milford hospital has a wife and family who we never get to see but sense are very much in love with him. Alec's life starts to take a sudden turn away from them as he starts to slowly fall in love with Laura.
You never once get the impression that Alec and Laura are willing to leave their wife and husband so that they can get married to each other. The two star-struck lovers only want to keep their affair secret and live double-lives but the guilt of the affair consumes Laura. For the first time in her marriage Laura lied to her husband Fred, Cyril Raymond, about her being in love with another man. Even though she admitted it to Fred in an almost whimsical way, that Fred took as a joke, Laura also realized that no matter how much she was in love with Alec, and he with her, in the end it would only lead to nothing but heartbreak for her as well as everyone, Alec together with her and his families, involved.
It was later when Alec got a job at his brothers new hospital in Johannesburg South Africa that both he and Laura could finally break up their affair by the two never having to as much as cross their paths again. Even saying goodbye to each other for the last time was never to happen when the two were interrupted at the train station by Laura's chatter-house friend Dolly Mesitter, Everly Gregg. Dolly's non-stop talking prevented the two from having the last few minutes together with each other but at the same time also prevented Laura from throwing herself on the tracks, by momentarily keeping her mind off the fact that Alec was about to leave her, as Alec's train left the station.
Extremely moving adult drama about two persons who find out only too late in life that they were meant for each other but missed the boat, or train, when it came into the station and have to do with what they have: try to forget they ever met no matter how much sorrow and grief it would bring them. Both Celia Johnson and Trevor Howard were touchingly effective as the star-struck lovers Laura and Alec who knew that their affair was doomed from the start and just had to accept what fate had handed them: try to forget that brief encounter they had one fateful evening in the railroad station outside of Milford.
Even though both Alec and Laura are married, not to each other, we only get to see Laura's husband and family in the movie which is shown in a long flashback, that takes up almost the entire film, from only Laura's point of view. After that innocent meeting at the train station the two always end up meeting on a Thursday when Laura travels to Milford to buy groceries and Alec has the afternoon off from work. Alec a doctor at the Milford hospital has a wife and family who we never get to see but sense are very much in love with him. Alec's life starts to take a sudden turn away from them as he starts to slowly fall in love with Laura.
You never once get the impression that Alec and Laura are willing to leave their wife and husband so that they can get married to each other. The two star-struck lovers only want to keep their affair secret and live double-lives but the guilt of the affair consumes Laura. For the first time in her marriage Laura lied to her husband Fred, Cyril Raymond, about her being in love with another man. Even though she admitted it to Fred in an almost whimsical way, that Fred took as a joke, Laura also realized that no matter how much she was in love with Alec, and he with her, in the end it would only lead to nothing but heartbreak for her as well as everyone, Alec together with her and his families, involved.
It was later when Alec got a job at his brothers new hospital in Johannesburg South Africa that both he and Laura could finally break up their affair by the two never having to as much as cross their paths again. Even saying goodbye to each other for the last time was never to happen when the two were interrupted at the train station by Laura's chatter-house friend Dolly Mesitter, Everly Gregg. Dolly's non-stop talking prevented the two from having the last few minutes together with each other but at the same time also prevented Laura from throwing herself on the tracks, by momentarily keeping her mind off the fact that Alec was about to leave her, as Alec's train left the station.
Extremely moving adult drama about two persons who find out only too late in life that they were meant for each other but missed the boat, or train, when it came into the station and have to do with what they have: try to forget they ever met no matter how much sorrow and grief it would bring them. Both Celia Johnson and Trevor Howard were touchingly effective as the star-struck lovers Laura and Alec who knew that their affair was doomed from the start and just had to accept what fate had handed them: try to forget that brief encounter they had one fateful evening in the railroad station outside of Milford.
It is not the right word. but it defines a precious last impression about this little gem who seems perfect. for music, details. and, sure, for a great couple. the love story between Laura Jesson and Alec Harvey is so ordinary that it becomes special. for suggestion. and for the impecable performances. for atmosphere. and for the feelings of viewer about an imposible love affair. for delicacy and sensitivity and humor. and for the meet between David Lean and Noel Coward. sure, it is a familiar story between ordinary people. but the genius of this film is represented by chemistry between Celia Johnson and Trevor Howard and for the art to give a perfect story, mixing nostalgia, a meeting in station the portrait of Myrtle Bagot by Joyce Carey and the sensation to be a story about yourself. so, a magnificent gem trminding a sort of romanticism who, today, remains a so useful refuge.
Steam ... cut-glass accents ... Rachmaninov's 2nd Piano Concerto ... the refreshment room at Milford Junction ... "the shame of the whole thing - the guiltiness, the fear ..." - it all adds up to David Lean's famous film treatment of the Noel Coward tale of love blossoming and withering at a suburban railway station. Laura Jesson is a complacent middle-class housewife who gets a piece of grit in her eye one day and is helped by Doctor Alec Harvey, and the romance begins.
Coward's screenplay is characteristic of his oeuvre. There is the neat precision of the circular plot, beginning and ending with the brainless intrusion of Dolly Messiter, and the matching sub-plot of the Albert-Mrs. Bagot courtship. There are tongue-in-cheek self-references (on the cinema screen, "Flames Of Passion" coming shortly) and the trademark Cowardian grounding in exaggerated Englishness ("One has one's roots, after all"). Most typical of all is that overwrought cascade of middle-class vocabulary (" ...so utterly humiliated and defeated, and so dreadfully, dreadfully ashamed"). Coward patronises working-class people abominably. Albert and Mrs. Bagot amble effortlessly through their romance because, bless them, they are simple folk. Alec and Laura suffer torments, having so much more sensitivity, and, you see, they have reputations to lose ("the furtiveness and the lying outweigh the happiness").
Having made the transition from editor to director in 1942, Lean was at the helm for the fourth time for "Brief Encounter", all four films being Coward projects - and a highly creditable job he made of this one. The scene in which Alec explains coal-dust inhalation and Laura falls in love is a model of sensitive direction. Reflections of Laura's face in the train window and the make-up mirror suggest in visual terms the existence of her 'other self', the id to her ego. Thundering steam trains and Rachmaninov stand for the irrepressible sexual urge. Stephen Lynn's flat, with its bachelor urbanity, contrasts cleverly with Laura's safe, staid home and safe, staid husband Fred ("I don't understand!") Alec's silent hand on Laura's shoulder is wonderfully poignant, the suppressed emotion eclipsed by stupid Dolly Messiter, her face filling the screen and 'wiping out' the great moment.
Sex has to be dealt with obliquely, but it is very much the driving-force of the film. "If we control ourselves, and behave like sensible human beings ..." offers Laura hopefully but hollowly. Neither man nor woman is capable of restraint, at least until after the climax in Stephen's flat. The boathouse and the little bridge hint furtively at sexual union. Other reviewers have declared the liaison to be 'unrequited' or 'unconsummated', but I am not so sure. In the grammar of 1940's cinema, the return to the love-nest of tousle-haired, hatless Laura is the equivalent, I would suggest, of our modern bedroom scene. Isn't that why Alec suddenly decides to take the job offer?
Coward's screenplay is characteristic of his oeuvre. There is the neat precision of the circular plot, beginning and ending with the brainless intrusion of Dolly Messiter, and the matching sub-plot of the Albert-Mrs. Bagot courtship. There are tongue-in-cheek self-references (on the cinema screen, "Flames Of Passion" coming shortly) and the trademark Cowardian grounding in exaggerated Englishness ("One has one's roots, after all"). Most typical of all is that overwrought cascade of middle-class vocabulary (" ...so utterly humiliated and defeated, and so dreadfully, dreadfully ashamed"). Coward patronises working-class people abominably. Albert and Mrs. Bagot amble effortlessly through their romance because, bless them, they are simple folk. Alec and Laura suffer torments, having so much more sensitivity, and, you see, they have reputations to lose ("the furtiveness and the lying outweigh the happiness").
Having made the transition from editor to director in 1942, Lean was at the helm for the fourth time for "Brief Encounter", all four films being Coward projects - and a highly creditable job he made of this one. The scene in which Alec explains coal-dust inhalation and Laura falls in love is a model of sensitive direction. Reflections of Laura's face in the train window and the make-up mirror suggest in visual terms the existence of her 'other self', the id to her ego. Thundering steam trains and Rachmaninov stand for the irrepressible sexual urge. Stephen Lynn's flat, with its bachelor urbanity, contrasts cleverly with Laura's safe, staid home and safe, staid husband Fred ("I don't understand!") Alec's silent hand on Laura's shoulder is wonderfully poignant, the suppressed emotion eclipsed by stupid Dolly Messiter, her face filling the screen and 'wiping out' the great moment.
Sex has to be dealt with obliquely, but it is very much the driving-force of the film. "If we control ourselves, and behave like sensible human beings ..." offers Laura hopefully but hollowly. Neither man nor woman is capable of restraint, at least until after the climax in Stephen's flat. The boathouse and the little bridge hint furtively at sexual union. Other reviewers have declared the liaison to be 'unrequited' or 'unconsummated', but I am not so sure. In the grammar of 1940's cinema, the return to the love-nest of tousle-haired, hatless Laura is the equivalent, I would suggest, of our modern bedroom scene. Isn't that why Alec suddenly decides to take the job offer?
I found this David Lean version of BRIEF ENCOUNTER to be a simply enchanting and entrancing film. Part of the enjoyment was the style of writing and acting that is purposely theatrical in order for the 1940s British subject matter to be handled in the fairly explicit way that it was. For those who 'don't get it' or find it boring well what can those who do 'get it' say? How sad perhaps that something so lovely and so humane and so complex in its dialogue and beautifully formal in its British tone cannot be enjoyed by a few who demand ..DEMAND.. it suit them in 2009. Hilarious! Maybe the multiplex mind thought BRIEF ENCOUNTER was about colliding underpants, which just might be right for them. CLASH OF THE TIGHT'UNS anyone? Maybe a remake with Adam Sandler and Drew Barrymore called HERE/NOW might be the right update. This gloriously stuffy and furtive Noel Coward play is transformed in this film to be the black and white smoky British damp equivalent of HUMORESQUE or NOW VOYAGER.. and if you love those films (so easy!) you will love this.
Lo sapevi?
- QuizThis movie was shot during the final days of World War II, going into production in January 1945. Filming was completed in May, with an interruption on May 8 to celebrate Germany's surrender.
- BlooperCarnforth Station has had its name board covered and replaced with a big sign reading Milford Junction, but the smaller platform notices (behind Laura when Alec tells her about the job in South Africa) still show the next train's destinations as Hellifield, Skipton, Bradford and Leeds.
- Citazioni
Laura Jesson: It's awfully easy to lie when you know that you're trusted implicitly. So very easy, and so very degrading.
- ConnessioniFeatured in Un tocco di classe (1973)
- Colonne sonoreRachmaninoff Piano Concerto No.2.
Written by Sergei Rachmaninoff (uncredited)
Played by Eileen Joyce with The National Symphony Orchestra
Conducted by Muir Mathieson
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Dettagli
- Data di uscita
- Paese di origine
- Lingue
- Celebre anche come
- Brief Encounter
- Luoghi delle riprese
- Carnforth Station, Carnforth, Lancashire, Inghilterra, Regno Unito(exterior of Milford Junction Station)
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 170.000 £ (previsto)
- Lordo in tutto il mondo
- 119.447 USD
- Tempo di esecuzione1 ora 26 minuti
- Colore
- Proporzioni
- 1.37 : 1
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