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La via del rimorso

Titolo originale: Une si jolie petite plage
  • 1949
  • 1h 31min
VALUTAZIONE IMDb
7,4/10
969
LA TUA VALUTAZIONE
La via del rimorso (1949)
Dramma

Aggiungi una trama nella tua linguaDuring the cold and rainy off-season a man arrives in a seaside town and, giving his name only as Pierre, checks into the only hotel which remains open. His arrival arouses curiosity and a d... Leggi tuttoDuring the cold and rainy off-season a man arrives in a seaside town and, giving his name only as Pierre, checks into the only hotel which remains open. His arrival arouses curiosity and a degree of suspicion, as people note that he appears to know the area, yet gives no explanat... Leggi tuttoDuring the cold and rainy off-season a man arrives in a seaside town and, giving his name only as Pierre, checks into the only hotel which remains open. His arrival arouses curiosity and a degree of suspicion, as people note that he appears to know the area, yet gives no explanation for his presence at that bleak time of year in the dead-end town.

  • Regia
    • Yves Allégret
  • Sceneggiatura
    • Jacques Sigurd
  • Star
    • Madeleine Robinson
    • Gérard Philipe
    • Jean Servais
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,4/10
    969
    LA TUA VALUTAZIONE
    • Regia
      • Yves Allégret
    • Sceneggiatura
      • Jacques Sigurd
    • Star
      • Madeleine Robinson
      • Gérard Philipe
      • Jean Servais
    • 13Recensioni degli utenti
    • 11Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto8

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    Interpreti principali14

    Modifica
    Madeleine Robinson
    Madeleine Robinson
    • Marthe
    Gérard Philipe
    Gérard Philipe
    • Pierre
    Jean Servais
    Jean Servais
    • Fred
    André Valmy
    • Georges
    Jane Marken
    Jane Marken
    • Madame Mahieu
    • (as Jeanne Marken)
    Paul Villé
    Paul Villé
    • Monsieur Curlier
    Christian Ferry
    • Le pupille
    Yves Martel
    • Arthur
    Gabrielle Fontan
    • La vieille dans le car
    Gabriel Gobin
    Gabriel Gobin
    • Arthur
    Mona Dol
    • Madame Curlier
    Julien Carette
    Julien Carette
    • Le voyageur de commerce
    • (as Carette)
    Robert Le Fort
    • Le commissaire
    Charles Vissières
    • Le vieux
    • (non citato nei titoli originali)
    • Regia
      • Yves Allégret
    • Sceneggiatura
      • Jacques Sigurd
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti13

    7,4969
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    7
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    9
    10

    Recensioni in evidenza

    taylor9885

    Noir?...yes, but

    The text we read at the beginning indicates the direction of the film; we are asked to sympathize with and not to condemn the orphans and abandoned children brought up in state-run facilities. We are told that these children often grew up to become the "elite" of society. The Gabin character in Carne's Le jour se leve also grew up on the "assistance publique," but he is a fighter for justice, unlike the passive, tormented Pierre. Yves Allegret has filmed Gerard Philipe as a sort of Christ-figure walking through the muddy streets of this third-rate resort town. There is a scene with Madeleine Robinson cuddling Philipe that is very much like the Pieta.

    Jean Servais as the slimy Fred has some effective scenes; he reminds us of Jules Berry driving Gabin to murder in Le jour. If the script had focussed more on the conflict between Pierre, the killer of the club singer and Fred, the dead woman's old boyfriend, instead of devoting reams of script pages to the social and political aspects of homeless children (no matter how moving their plight may be) the noir tradition would have been much better served.

    I'll finish by praising the actors: Servais is great, Jane Marken as the proprietress of the hotel is a model of petit-bourgeois intolerance, Carette's salesman is boring and right. Only Gerard Philipe fails to give a rounded performance because the script won't let him.
    8gbill-74877

    Fantastic

    Desolate, melancholy feelings pervade this film, set in a small beach town in the off-season, with rain pouring down incessantly. A man arrives in the middle of the night appearing to want a respite to calm his nerves, but gradually we discover there's more to him than that. There may be no better image for trying to process childhood trauma than walking off into the distance on a deserted beach in the rain, and I loved the artistry with which Yves Allégret told this story. There is a theme of being preyed upon sexually, obviously with the war orphans, but also in the servant in the inn when she describes her time as a miner in Belgium. Meanwhile, the bourgeoise skate by without a care in the world, captured brilliantly in that final shot on the beach which pulls back from them rapidly. If you're wondering how they got that without the camera truck leaving tracks in the sand, look carefully at the small waves in the distance, going out instead of in.
    Kirpianuscus

    the rain

    It seems be the lead character of this bitter film. A film about past. Remembering the play by Albert Camus. All seems a blank confession. A man. A place. The tension. And an ally . And the rain . Far by every escape.
    10robert-temple-1

    A magnificent French classic but not a cheerful one

    This title of this film, SUCH A PRETTY LITTLE BEACH (in the original, UNE SI JOLIE PETITE PLAGE) is ironic. The story is a very sad one. The film is an intensely moody and profoundly atmospheric French film noir. It is set in 1949 (the year of its release), and a young man returns to a tiny seaside French town on the Atlantic coast, near the town of Berck (which is mentioned in the dialogue as being nearby, and the location may thus be Cayeux sur Mer). In summer time it has 'a pretty beach', though not such a little one, as it stretches a long way. But it is winter, it is pouring with heavy rain day after day, and the weather is non-stop gloom. There are still defence fortifications along the beach, and a decaying blockhouse for machine guns, called a cabin, which is a hideaway of another young man who works in the small hotel in the town. The star of the film is the 27 year-old Gérard Philipe. He is silent, thoughtful, and preoccupied. He takes a room in the hotel. An old man is sitting in the hotel's bar and restaurant paralyzed by a stroke and unable to speak. He is the now disabled owner of the hotel. It is plain that he is startled and recognises Philipe, but he can say nothing, and Philipe tries to ignore him. A prolonged air of mystery pervades this film, as we wonder who Philipe is, why he has come to this strange out of the way place in such horrid weather, and why he wishes to say so little. It becomes obvious that he has been there before and knows the place well, but only the man with the stroke knows who he is. Philipe strolls along the beach, remembering his earlier time there. He visits the little cabin, and it is clear that it was once his own hideaway. We begin to realize that he, like the new boy, is one of the many war orphans who were fostered to people like the hotelier and effectively became slave labourers in their own country. The film is a savage attack on the system which permitted the nationwide exploitation and abuse of the state orphans. The new boy is in a state of constant misery, and the same had been true of Phiiipe, who we discover left five years before. Philipe tries to befriend the new boy and show sympathy for him, but the boy cannot accept it, and shies away. In the small hotel they keep playing a 78 rpm record of a French chanteuse singing a song in the style of Edith Piaf. This obviously upsets Philipe, who knows it well and does not want to hear it. Later in the story, he ends up smashing it in a rage. We eventually learn that he had been the 'slave boy' orphan in this very same hotel five years earlier. But the singer whom we have heard on the record stopped by, picked him up, and took him to Paris with her as her young lover. Philipe hated every minute of it, and after five years of miserable subservience to the woman, he has killed her. He has gone on the run, but having nowhere to run to, he has gone back to the only place he formerly knew, the little hotel which he had also hated, but at least it had once been the only thing he could call a home. The murder is widely reported in the newspapers and the police are looking for him. A young woman who works in the hotel helps him, as does a local garage mechanic. Will he accept their help and flee across the border into Belgium and be safe, as they urge him to do? Or will the power of the woman who 'owned' him overwhelm his ability to save himself, and thus destroy him in the end? This film is brilliantly directed by Yves Allegret, and it conveys such a powerful force of anguish and suffering in so few words that it is a work of directorial genius. The script, written by Allegret's frequent collaborator Jacques Sigurd, is a masterpiece of cinematic writing. The cinematography by Henri Alekan is pure visual and compositional genius, and it is just as well that the film is in black and white, because that intensifies the mood enormously. The performances are excellent, and every aspect of the production is successful. Gérard Philipe died tragically young at the age of only 36 of liver cancer. His loss was a tremendous blow to the French cinema, for he was one of the finest male presences ever to appear on the French screen. This film has been restored by Pathé, is now in Blu-Ray with English subtitles, and should be seen by all those interested in film noir, with the caution that it is highly sophisticated, deeply sombre, and exudes more melancholy than all the leopards in cages in all the zoos of the world. No one will be cheered up by this sad and brooding film, but for those who appreciate the art of the cinema, it is a wonder.
    6MogwaiMovieReviews

    Wonderful atmosphere, but the story is slight and the second half drags terribly

    The film begins splendidly, with Gerard Philipe arriving by bus to an out-of-the-way and out-of-season seaside town where it always rains and the beach is always empty. He checks into the little inn there claiming to be a student looking for some peace and quiet for his nerves, but clearly he has a big secret he is hiding, and an elderly resident of the inn seems to recognize him, too.

    All this is established admirably, and the mystery and atmosphere it generates is first rate. Unfortunately, once we start to learn more of his story, the mystery falls away and the rest of the film is just interminable shots of Philipe wandering around in the rain and occasionally crying for no reason we can see. None of the other characters have any depth or believability to them, and many of their actions don't seem to make sense. Random generic statements about orphans throughout bog the story down and never add up to anything clear or meaningful. One gets the feeling the creators didn't get any further than the premise before starting making the film and then just gave up putting any more work into keeping the ball rolling.

    So the second half of the film is undeniably a failure, but up till that point it's really very good indeed, and a great example of the kind of film noir that only the French could make.

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    • Quiz
      In the final scene, where the camera moves away from the couple walking on the beach, they enacted the scene backwards including the dialogue then reversed the film. The actors look stilted and if you watch carefully the woman blinks strangely. The clincher is the waves rolling out instead of in. This was done to achieve the dramatic pull back without leaving tracks on the sand.
    • Citazioni

      Pierre: A woman's voice can make you imagine things.

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    Dettagli

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    • Data di uscita
      • 19 gennaio 1949 (Francia)
    • Paesi di origine
      • Francia
      • Paesi Bassi
    • Lingua
      • Francese
    • Celebre anche come
      • La via del crimine
    • Luoghi delle riprese
      • Barneville-Carteret, Manche, Francia
    • Aziende produttrici
      • Darbor Films
      • Compagnie Industrielle et Commerciale Cinématographique (CICC)
      • Dutch European
    • 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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