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Wake in Fright

  • 1971
  • R
  • 1h 49min
VALUTAZIONE IMDb
7,5/10
15.426
LA TUA VALUTAZIONE
Wake in Fright (1971)
The story of John Grant, a bonded teacher who arrives in the rough outback mining town of Bundanyabba planning to stay overnight before catching the plane to Sydney. But his one night stretches to five and he plunges headlong toward his own destruction
Riproduci trailer2: 02
5 video
99+ foto
TragedyDramaThriller

Dopo una brutta scommessa al gioco, un insegnante viene abbandonato in una città piena di uomini pazzi, ubriachi e violenti che minacciano di renderlo altrettanto pazzo, ubriaco e violento.Dopo una brutta scommessa al gioco, un insegnante viene abbandonato in una città piena di uomini pazzi, ubriachi e violenti che minacciano di renderlo altrettanto pazzo, ubriaco e violento.Dopo una brutta scommessa al gioco, un insegnante viene abbandonato in una città piena di uomini pazzi, ubriachi e violenti che minacciano di renderlo altrettanto pazzo, ubriaco e violento.

  • Regia
    • Ted Kotcheff
  • Sceneggiatura
    • Evan Jones
    • Kenneth Cook
    • Ted Kotcheff
  • Star
    • Donald Pleasence
    • Gary Bond
    • Chips Rafferty
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,5/10
    15.426
    LA TUA VALUTAZIONE
    • Regia
      • Ted Kotcheff
    • Sceneggiatura
      • Evan Jones
      • Kenneth Cook
      • Ted Kotcheff
    • Star
      • Donald Pleasence
      • Gary Bond
      • Chips Rafferty
    • 125Recensioni degli utenti
    • 113Recensioni della critica
    • 85Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 candidatura in totale

    Video5

    Re-release Version
    Trailer 2:02
    Re-release Version
    Wake in Fright
    Trailer 2:03
    Wake in Fright
    Wake in Fright
    Trailer 2:03
    Wake in Fright
    Wake In Fright: Clip 6
    Clip 1:19
    Wake In Fright: Clip 6
    Wake In Fright: Clip 1
    Clip 1:34
    Wake In Fright: Clip 1
    Wake In Fright: Clip 3
    Clip 2:05
    Wake In Fright: Clip 3

    Foto206

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    Interpreti principali26

    Modifica
    Donald Pleasence
    Donald Pleasence
    • Doc Tydon
    Gary Bond
    Gary Bond
    • John Grant
    Chips Rafferty
    Chips Rafferty
    • Jock Crawford
    Sylvia Kay
    Sylvia Kay
    • Janette Hynes
    Jack Thompson
    Jack Thompson
    • Dick
    Peter Whittle
    Peter Whittle
    • Joe
    Al Thomas
    Al Thomas
    • Tim Hynes
    John Meillon
    John Meillon
    • Charlie
    John Armstrong
    • Atkins
    Slim DeGrey
    • Jarvis
    • (as Slim De Grey)
    Maggie Dence
    Maggie Dence
    • Receptionist
    Norman Erskine
    • Joe the Cook
    Owen Moase
    • 1st Controller
    John Dalleen
    • 2nd Controller
    Buster Fiddess
    • Charlie Jones
    Tex Foote
    • Stubbs
    Colin Hughes
    • Stockman
    Jacko Jackson
    • Van Driver
    • Regia
      • Ted Kotcheff
    • Sceneggiatura
      • Evan Jones
      • Kenneth Cook
      • Ted Kotcheff
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti125

    7,515.4K
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    Recensioni in evidenza

    Spleen

    Every blow hits home

    Yet another first-class film made in Australia by foreigners (a Canadian director working for a British studio), during the long period from World War II to the early 1970s when Australian cinema lay fallow. Like many other good ones - "The Overlanders" (1946), "They're a Weird Mob" (1966), "Age of Consent" (1969), "Walkabout" (1971) - although "Walkabout" is more seriously flawed than the others I've named - it doesn't feel like a foreign film; it feels as if the director made an honest attempt to be Australian, and succeeded. It's interesting that all these films are British. American films shot in Australia during the same period are, without qualification, American films; one scarcely even notices that "On the Beach" was shot in Melbourne rather than, say, Capetown or Tierra del Fuego, however many trams and banksias there may be.

    The central character is clearly English; just as clearly, he doesn't like Australia. But I suspect that even in 1971 a greater proportion of Australians would have felt themselves to have been trapped in Hell if they'd been in his circumstances, than English. A greater proportion of Australians, then as now, live in cities, and the outback is further away from over 90% of Australians than anything is from anyone in England.

    It's interesting that this fellow should be so RIGHT about everything (The Yabba IS a "bloody terrible" place, the hospitality he encounters DOES border on aggression, the game of two-up IS about as simple-minded and dull as it's possible for a game of chance to be), and yet be such an unsympathetic, unimaginative prig with scarcely more insight than he has backbone. He always needs a local to tell him what's going on and even then he doesn't get it. Yet we follow him with fascination and real concern all the same.
    ma_teng

    Kotcheff's walkabout

    It's been said: "The best film ever made about Australia was directed by a Canadian." Possibly true. "Outback/Wake in Fright" is one of those films which gets a little too close for comfort. Unlike most Australians, those of us who grew up in the country will recognise a lot in this film, not always with displeasure.

    What a strange, malleable career Ted Kotcheff has had. Of late he has retired to the relative comfort of making TV movies and even contributed to "Law and Order SVU". Yet like Nicolas Roeg ("Walkabout"), Kotcheff's brief spot of work in Australia was a wake-up call to a blinkered urban population (or those that went to the movies at any rate) to the complexity of the outback, in all its bloody glory, dispensing with the romantic pills we were used to swallowing. Kenneth Cook's novel should be held in equal regard, but his writing doesn't get much press these days, which is a shame.

    Television prints of this film - rarely shown these days - heavily censor the kangaroo kills, which says a lot about the hypocrisy of the city. Uncut version is essential viewing.
    10Sturgeon54

    Quite Possibly The Most Realistic Film I've Ever Seen

    The first time I watched this, I really didn't know what to make of it; it was so different from any other film I had ever seen. It seemed as if it was filmed with virtually no budget, the sets and atmosphere were completely dingy, the setting and much of the language was foreign to me, and it felt like a kind of homemade independent film. However, upon a second viewing, I see it for the richly-textured masterpiece that it is, and for the awesome attention to detail that must have gone into it which I had taken for granted the first time.

    There have been other films with similar subject matter in alternate settings of cultured men reduced to a kind of forgotten primitivity, but I think the thing that sets this movie apart is the fact that director Ted Kotcheff remains completely neutral toward all of the characters - both the cultured schoolteacher as well as the locals. By the end of the film, no character remains unscathed, and yet no character is completely without sympathy, either. It must be quite difficult for a director to remain impartial, especially when most stories require audience sympathy for a protagonist versus an antagonist for story momentum. This impartiality establishes an incredible realism in the film which is difficult to shake off. Here, as in life, things just happen to the main character organically - whether there is any rhyme, reason, or moral to any of it is the complete burden of the audience to figure out.

    Another key aspect to the film is its universality. Most people would like to believe that in the modern world, and especially a modern country such as Australia or the U.S, that such ugly colloquial primitivity has been largely purged from polite society, but they would be quite wrong. I can equate some of my own personal experiences with those of the main character in this film, and so felt an uncomfortable recognition as I was watching this. Moroever, virtually every scene in the film I could envision actually occurring - something I cannot say about any other I can think of. Sam Peckinpah's filmic explorations of perverse masculinity, some of Samuel Fuller's work, and "Deliverance" are the only movies that achieve something close to the kind of effect this movie has, and even Peckinpah felt the need to resort to flashy cinematic stylistics to get his points across.

    This movie has not aged one bit, and probably never will. It is a tragedy that it has all but disappeared even in its own country of Australia. Director Kotcheff displayed an amazing early talent; it is too bad that his career never reached another peak like this - even in "First Blood" and "Uncommon Valor" - two of his other films with similar themes. And that the same man ended up directing "Weekend at Bernie's" and episodes of "Zalman King's Red Shoe Diaries"!!! The world is a crazy place, and one need only watch this film to realize this fact.
    8Xstal

    Brutal...

    Depicting a society and culture in Australia circa 1970 that isn't too far from how some live their lives today; albeit with an increasing amount of pharmaceuticals (legal or otherwise) to complement the alcohol. If you take some time to reflect on how cultures around the world behave and are able to exhibit such diversity, you will invariably happen upon a range of reasons for such variance in the way people live their lives - the cause and effect. Arrive at your own conclusions but there are some common denominators originating from white western European cultures that uniquely deliver you to the fright you could easily wake up to, if you stop being you, and go with the flow.

    Surprised how well received this film is considering the genuine animal slaughter that takes place. An eye opener and a sharpener, should you need one, nonetheless
    OptikNerve

    Made In Australia

    I noted that Speen and some other media commentators think that 'Wake in Fright' was a foreign product that just happened to be made here in Oz.

    My father was approached by EMI in 1967 or there abouts. The introduction of colour TV in the US had created a demand for weekly films on the networks, and they were rapidly exhausting the supply of colour films (colour only became the norm post WWII).

    EMI was approaching media companies around the world to produce films for cinema release. The two caveats were that the films must contain at least one US marqee name (a recognisable draw card), and the rights for US TV must be given to EMI. All other matter of production were a matter for locals.

    My father - who was running a large company in OZ (which had a recording arm) and had been involved in the start of TV, signed up.

    The result were to very different films. "Squeeze a Flower" with Walter Chiari (who had starred in 'They're a Weird Mob' two years earlier) with Jack Albertson as the US star, and 'Wake in Fright' with Donald Pleasance as the star.

    They utilised largely Oz casts, largely Oz crew and were moderately successful financially (from the Oz viewpoint, I don't know how EMI faired). Even Dave Allen who many now think of as an English or Irish star was the host of 'In Sydney Tonight' at the time (the Harbourside version of Graham Kennedies 'In Melbourne Tonight').

    The follow on from this scheme of EMI was the beginings of TV features - specifically filmed for TV as feature films. But "Squeeze a Flower" and "Wake in Fright" were Oz films created for a TV market.

    The success of 'Wake in Fright'and 'Walkabout' at the same time, along with the support of the Gorton Government for backing the new film push, started the ball rolling for Oz film's renaissance.

    Cheers

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      This film went out of circulation for many years, in large part due to the dissolution of the two production companies involved: NLT Productions was liquidated soon after its failed release, and Group W's assets were absorbed by CBS in 1999. As a result, the original film and sound elements went missing, sparking an international search. After nearly three years search, in 2002, the film's editor Anthony Buckley tracked the film down to CBS' Iron Mountain archives in Pittsburgh, where an initial 60 cans of film were found in a shipping container marked "For Destruction". By September 2004, a further 263 cans - several of which contained the original camera negative - were recovered from the vaults, allowing for a full digital restoration.
    • Blooper
      As Grant leaves the hotel bar in Tiboonda, he takes one last swig of beer - leaving his glass half full. In the next shot, when the camera focuses on the interior of the bar, his glass is now empty.
    • Citazioni

      Dick: [referring to John Grant] What's the matter with him? He'd rather talk to a woman than drink?

      Tim Hynes: Schoolteacher.

      Dick: Oh.

    • Curiosità sui crediti
      [Australian version] PRODUCERS' NOTE: The hunting scenes depicted in this film were taken during an actual kangaroo hunt by professional licensed hunters. For this reason and because the survival of the Australian kangaroo is seriously threatened, these scenes were shown uncut after consultation with the leading animal welfare organisations in Australia and the United Kingdom.

      [International version] PRODUCERS' NOTE: Photography of the hunting scenes in this film took place during an actual kangaroo hunt conducted by licensed professional hunters. No kangaroos were killed expressly for this motion picture. Because the survival of the Australian kangaroo is seriously threatened these scenes were included with approval of leading animal welfare organisations in Australia and the United Kingdom.
    • Versioni alternative
      The international TV version that, until 2009, replaced the uncut Australian version in circulation, runs approximately 101 minutes (97 minutes on most copies due to NTSC to PAL conversion), roughly eight minutes shorter than the original. The changes are as follows:
      • When John awakens the morning after the two-up game, an alternate take of the scene is used: instead of being naked, he is wearing underpants.
      • When Janette is seducing John, the scene fades to black when she nuzzles her head against his groin and cuts to Doc's handstand. In the original, she then unbuttons her dress and kisses John, who drunkenly vomits; disappointed, she wipes his face and leads him back to the house.
      • The entirety of John's conversation with Doc outside his shack is missing.
      • The daytime kangaroo hunt lacks most of the brief scene in which Doc cuts off a kangaroo's testicles, and only shows the shot of Joe handing his knife to Doc before cutting to John's bemused close-up.
      • The night-time kangaroo hunt is severely truncated: only the first two kills are shown, and prior to the sequence in which Joe fights the one-eyed kangaroo, the sequence consists entirely of close-ups of the actors firing at the screen. Similarly, the shot of Joe slashing the kangaroo's throat and a lingering shot of kangaroo carcasses post-carnage are cut.
      • During the bush pub fight, Joe's line "You bastard!" is cut, as is Doc rising from his chair saying "You bloody bastards!"; Doc's further utterances of the phrase in this scene are cross-faded so that only the first vowel is heard.
      • After Doc grabs John by the neck during their post-hunt "tryst", the scene fades to white when the ceiling lamp swings toward the screen and cuts to the following morning, thereby eliminating Doc's suggestive mounting of John (curiously, the part of this scene featured during the montage of John's mental breakdown remains intact).
      • The following have been removed from the montage of John's mental breakdown: Doc spitting beer into Janette's mouth; Doc playfully slapping Janette; John breaking into a run; both shots of Doc having sex with Robyn. John Scott's music is cross-faded over the penultimate crescendo so that the final sting is still synchronized with the reversed shot of the two-up pennies over Doc's eyes, although much of Dick, Joe and the two-up patrons' howling laughter is eliminated as a result.
    • Connessioni
      Edited into Terror Nullius (2018)
    • Colonne sonore
      She'll Be Comin' Round the Mountain
      (uncredited)

      Traditional, based on a Negro spiritual song known as "When the Chariot Comes"

      Sung by passengers on the train

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    Dettagli

    Modifica
    • Data di uscita
      • 19 gennaio 2024 (Italia)
    • Paese di origine
      • Australia
    • Lingua
      • Inglese
    • Celebre anche come
      • Outback
    • Luoghi delle riprese
      • Broken Hill, New South Wales, Australia
    • Azienda produttrice
      • NLT Productions
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 800.000 A$ (previsto)
    • Lordo Stati Uniti e Canada
      • 50.394 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 6761 USD
      • 7 ott 2012
    • Lordo in tutto il mondo
      • 242.751 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 49 minuti
    • Colore
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.85 : 1

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