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IMDbPro

Uno strano detective

Titolo originale: Father Brown
  • 1954
  • Approved
  • 1h 31min
VALUTAZIONE IMDb
6,7/10
1822
LA TUA VALUTAZIONE
Alec Guinness in Uno strano detective (1954)
ComedyCrimeDramaMysteryThriller

Aggiungi una trama nella tua linguaWorks of art are disappearing, stolen by a master thief, a master of disguise. Father Brown has two goals: to catch the thief and to save his soul.Works of art are disappearing, stolen by a master thief, a master of disguise. Father Brown has two goals: to catch the thief and to save his soul.Works of art are disappearing, stolen by a master thief, a master of disguise. Father Brown has two goals: to catch the thief and to save his soul.

  • Regia
    • Robert Hamer
  • Sceneggiatura
    • G.K. Chesterton
    • Thelma Schnee
    • Robert Hamer
  • Star
    • Alec Guinness
    • Joan Greenwood
    • Peter Finch
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,7/10
    1822
    LA TUA VALUTAZIONE
    • Regia
      • Robert Hamer
    • Sceneggiatura
      • G.K. Chesterton
      • Thelma Schnee
      • Robert Hamer
    • Star
      • Alec Guinness
      • Joan Greenwood
      • Peter Finch
    • 38Recensioni degli utenti
    • 5Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria e 1 candidatura in totale

    Foto16

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    Interpreti principali46

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    Alec Guinness
    Alec Guinness
    • Father Brown
    Joan Greenwood
    Joan Greenwood
    • Lady Warren
    Peter Finch
    Peter Finch
    • Flambeau
    Cecil Parker
    Cecil Parker
    • The Bishop
    Bernard Lee
    Bernard Lee
    • Inspector Valentine
    Sidney James
    Sidney James
    • Parkinson
    Gérard Oury
    Gérard Oury
    • Inspector Dubois
    • (as Gerard Oury)
    Ernest Clark
    Ernest Clark
    • Bishop's Secretary
    Aubrey Woods
    • Charlie
    John Salew
    John Salew
    • Station Sergeant
    Sam Kydd
    Sam Kydd
    • Scotland Yard Sergeant
    John Horsley
    John Horsley
    • Inspector Wilkins
    Jack McNaughton
    • Railway Guard
    Hugh Dempster
    • Man in Bowler Hat
    Eugene Deckers
    Eugene Deckers
    • French Cavalry Officer
    Betty Baskcomb
    • French Widow
    Diana Van Proosdy
    • Waitress
    Dino Galvani
    Dino Galvani
    • Italian Professor
    • Regia
      • Robert Hamer
    • Sceneggiatura
      • G.K. Chesterton
      • Thelma Schnee
      • Robert Hamer
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti38

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    Recensioni in evidenza

    6theowinthrop

    Mr. C. - Champion of Paradox

    Gilbert Keith Chesterton has never been ignored or forgotten since his death in 1936. Yet his contemporary, Rudyard Kipling, was as controversial as he was and is better remembered and read to this day. I am not sure if the reason is that Chesterton's twin attractions, his love of paradox (almost to a questionable mania) and his vigorous championing of Catholicism are the reasons for this. He is, in the latter aspect, a strong predecessor of Evelyn Waugh and Graham Greene, but both of those writers seem to have more of a readership today. But then they didn't adopt paradox.

    In his novel "Manalive" there is a moment when the appeal of his paradox reaches a point that is both understandable and questionable. The hero explains that the phrase "All that glitters is not gold" is false - all that glitters is gold. He starts pontificating on how many rarer elements (platinum?) exist that don't glitter as much, so that it is the attraction of the glitter of gold that makes it matter. One reads this discussion hoping that Chesterton is pulling our leg (a hope I still have, but it is very faint). The point of the phrase is that there are more valuable things in the universe than wealth producing items like gold - things like kindness, generosity, love. If Mr. C. was fooling us, I congratulate him on the still hit-on-the-head blow of the paradox. But if he meant it I really pity him.

    I leave it to his fans to explain it to me (if they wish). "The Detective" is one of the few movies based on Chesterton's huge output. It is based on the first story of his tales of the Roman Catholic priest and detective, Father Brown: "The Blue Cross". The story is a good one (the first of the first series of "Father Brown" tales), and introduces us to Flambeau, the master thief that Brown eventually saves. But for it to be done properly (not the way the movie quite does it) several of the stories have to be put together. The first three stories of the series deal with Brown, Flambeau, and the head of the Paris police. The last commits a murder in the second story, and commits suicide before Brown exposes him. So much for a guardian of the law. Flambeau is stopped by Brown reasoning with him that he is not a bad man but a man who is on the verge of becoming one if he lets an innocent man take the blame for a theft he committed. Flambeau does repent, and subsequently becomes a detective (and an assistant to Brown).

    This is a film which could have been reduced in length. Parts of the movie are quite amusing (the scene of Ernst Theisinger and Guiness breaking each other's eyeglasses is cute). The acting is also good (especially Guiness and Peter Finch as Flambeau). But the moments that move the viewer (and approach Chesterton's Catholicism) are when Guiness gives parables to explain behavior and human weakness. Witness his tale of the bad woman who fails to get pulled out of hell.

    I wish the film was not so dull in so many spots, but it is definitely worth a look.
    8blanche-2

    Alec Guinness has a go at Father Brown

    I really enjoyed this film, "Father Brown" or "The Detective" from 1954 starring Alec Guinness, Joan Greenwood, Peter Finch, and Cecil Parker.

    Based on the G. K. Chesterton character, Guinness playss Father Brown as somewhat dotty, the owner of a St. Augustine cross which is traveling to a religious convention. However, there are fears that the great criminal Flambeau (Finch) will try to steal it.

    Brown wraps up several packages to bring along so no one will know which is the cross. Alas, the cross is stolen by Flambeau, whom Brown spots although he is in disguise. He decides that he wants the cross back but that he also wants to save Flambeau's soul and encourage him to return everything he's stolen.

    He enlists the help of lovely Joan Greenwood to put a beautiful chess set for auction, hoping to entice Flambeau to steal it. Things take a turn from there.

    Very enjoyable, with a very sweet ending.
    7SnoopyStyle

    Alec Guinness great as Father Brown

    The police find a man dressed as a priest with his hands in a safe. They arrest him but he turns out to be Father Brown (Alec Guinness) who was returning the money stolen by a parishioner. The church is sending the Holy Cross of Saint Augustine to the Eucharistic Congress in Rome. The police tell them that elusive thief Flambeau is after the priceless artifact like the many treasures he has stolen in the last 10 years. Nobody knows what the master of disguise actually looks like. Father Brown determines that the police would be easy targets for Flambeau and transports the Cross himself. Eventually he is alone with Flambeau as intended and he tries to reform him. Flambeau refuses and escapes with the Cross. Despite the disappointment, he tries to entice Flambeau again with the help of Lady Warren.

    Alec Guinness is great as Father Brown. It's a great character and Guinness is magnificent playing him. It's a fun mystery for awhile until Flambeau is revealed. Then it repeats again and again for Father Brown. It's fun to watch him in a caper to catch Flambeau. It's less fun to watch him try to convert Flambeau. Guinness always tries to keep his character light and fun.
    9Bunuel1976

    FATHER BROWN (Robert Hamer, 1954) ***1/2

    I had always wanted to catch this classic British film, but it hasn't been shown in my neck of the woods since the early 1980s! As a matter of fact, some time ago I purchased "The Complete Father Brown" volume - collecting all the stories of the sleuthing cleric by G.K. Chesterton, just because I didn't think I was ever going to watch it! Though the character has been featured in at least one other film (in 1934) and several TV adaptations (one starring Kenneth More and another, made in Italy, directed by Vittorio Cottafavi and featuring Renato Rascel), Hamer's version remains the most substantial outing of Chesterton's creation.

    The film itself, featuring a superbly witty script and deft direction, is a thoroughly delightful and occasionally hilarious gem - made by and with several exponents of the famed Ealing style, it's admirably served by a splendid cast. Alec Guinness is at somewhere near his best in the title role (unassuming, accident-prone but uncommonly shrewd and entirely amiable, his influence on future Peter Sellers characterizations - such as the priest in HEAVENS ABOVE! (1963) and Inspector Clouseau - is very evident); Joan Greenwood is somewhat underused here, but she's quite good as an aristocratic widow and Father Brown's confidante; a young Peter Finch impresses as the gentleman thief Flambeau, engaged in a battle-of-wits with Guinness throughout in which the two clearly respect and admire one another - but the rogue is averse to the priest's attempts to redeem him! Other familiar - and welcome - British faces grace the supporting line-up: Bernard Lee as a cop; Sid James as a ne'er-do-well small-time crook; Cecil Parker as Guinness' flustered superior, a bishop; and Ernest Thesiger as a dotty ancient librarian who appears in only one scene, but it turns out to be one of the film's comic highlights. Other memorable moments involve the various disguises Flambeau adopts in his attempts to outwit Guinness, such as in the lengthy catacombs and auction sequences.

    Despite Hamer's reputation, this particular film seems to have been somewhat neglected - or, at least, has had its importance downplayed - over the years; in my opinion, along with KIND HEARTS AND CORONETS (1949; undeniably his masterpiece) and IT ALWAYS RAINS ON Sunday (1947; which I only first watched a couple of months back), it stands as the director's finest work. At the time, it was deemed worthy of representing Britain at that year's Venice Film Festival, where it competed against such cinematic heavyweights as Federico Fellini's LA STRADA, Elia Kazan's ON THE WATERFRONT, Akira Kurosawa's SEVEN SAMURAI, Kenji Mizoguchi's SANSHO THE BAILIFF and Luchino Visconti's SENSO - except that Renato Castellani's little-seen version of ROMEO AND JULIET (featuring Laurence Harvey) emerged the overall winner!!

    FATHER BROWN was also Robert Hamer's second of four collaborations with star Alec Guinness: I own THE SCAPEGOAT (1959), an interesting film co-starring Bette Davis, on VHS and had watched it many years ago; however, I missed out on TO Paris, WITH LOVE (1954) - which, by all accounts, is a disappointing trifle and easily the least of their films together. A side-note regarding Guinness: according to the IMDb, he actually converted to Roman Catholicism soon after the release of FATHER BROWN!
    7PolitiCom

    An Underrated Guinness Gem

    This is another of the often ignored 'small' Guinness films from the early and mid-50's that rarely get the attention they deserve. While it had a brief revival last fall at Britain's National Film Theatre, it doesn't seem to show up that often in Guinness retrospectives.

    A number of elements in this gently comic film that are worthy of notice: Sir AlecÕs performance is deft, subtle and delightfully wry whether he is playing the sleuth or spouting philosophy to the villain Flambeau.

    An added treat is a cast that includes Peter Finch, who won an Oscar for Network, Joan Greenwood, who was Lady Balleston in Tom Jones and Bernard Lee who portrayed M in the James Bond series. Guinness, Greenwood and Cecil Parker (The Bishop) also appeared together in the Ealing Studio comedy, The Man in the White Suit.

    Another interesting aspect is that a large part of the film was shot on location in Paris and rural France, apparently a rarity for the British films of that era.

    Finally a bit of trivia: After his portrayal of Father Brown, Guinness converted to Catholicism

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    Trama

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    Lo sapevi?

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    • Quiz
      Sir Alec Guinness was spotted in costume while walking home through the French countryside. A young boy ran up to him, yelling "Mon père! Mon père!" ("My father! My father!") Guinness did not speak French, so he could not correct his mistake, but was touched that the boy apparently immediately bonded to him on the assumption that he was a priest. Soon after this movie was released, Guinness converted to Catholicism.
    • Blooper
      In the stained-glass window behind the (catholic) bishop, there is a portrait of Henry VIII (second from left). Given that Henry was the first king to oppose the pope and separate the Church of England from the catholic church, his face would never be tolerated in this place.
    • Citazioni

      Father Brown: Perhaps you think a crime horrible because you cannot imagine yourselves committing it. That isn't true, you know. What really horrifies you is the secret and shameful knowledge that you are capable of committing it. We all are, I no less than you. We were not made good people or bad people. We were made people.

    • Connessioni
      Remake of Father Brown, Detective (1934)

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    Dettagli

    Modifica
    • Data di uscita
      • 8 giugno 1954 (Regno Unito)
    • Paese di origine
      • Regno Unito
    • Lingue
      • Inglese
      • Francese
    • Celebre anche come
      • Padre Brown
    • Luoghi delle riprese
      • Strand-on-the-Green, Chiswick, Londra, Inghilterra, Regno Unito(The walk after Father Brown's release from the Police Station)
    • Azienda produttrice
      • Facet Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 31 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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