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Harry, un amico vero

Titolo originale: Harry, un ami qui vous veut du bien
  • 2000
  • R
  • 1h 57min
VALUTAZIONE IMDb
7,1/10
12.243
LA TUA VALUTAZIONE
Sergi López in Harry, un amico vero (2000)
Trailer
Riproduci trailer1: 18
1 video
72 foto
Dark ComedyComedyDramaMysteryThriller

Aggiungi una trama nella tua linguaHarry knew Michel in high school; they meet again by accident, Harry inserts himself in Michel's life... and things take a sinister turn.Harry knew Michel in high school; they meet again by accident, Harry inserts himself in Michel's life... and things take a sinister turn.Harry knew Michel in high school; they meet again by accident, Harry inserts himself in Michel's life... and things take a sinister turn.

  • Regia
    • Dominik Moll
  • Sceneggiatura
    • Dominik Moll
    • Gilles Marchand
    • Francis Villain
  • Star
    • Laurent Lucas
    • Sergi López
    • Mathilde Seigner
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,1/10
    12.243
    LA TUA VALUTAZIONE
    • Regia
      • Dominik Moll
    • Sceneggiatura
      • Dominik Moll
      • Gilles Marchand
      • Francis Villain
    • Star
      • Laurent Lucas
      • Sergi López
      • Mathilde Seigner
    • 115Recensioni degli utenti
    • 59Recensioni della critica
    • 75Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Nominato ai 1 BAFTA Award
      • 7 vittorie e 15 candidature totali

    Video1

    With a Friend Like Harry
    Trailer 1:18
    With a Friend Like Harry

    Foto71

    Visualizza poster
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    + 66
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    Interpreti principali10

    Modifica
    Laurent Lucas
    Laurent Lucas
    • Michel
    Sergi López
    Sergi López
    • Harry Balestrero
    • (as Sergi Lopez)
    Mathilde Seigner
    Mathilde Seigner
    • Claire
    Sophie Guillemin
    Sophie Guillemin
    • Prune (Plum)
    Liliane Rovère
    Liliane Rovère
    • Michel's Mother
    Dominique Rozan
    Dominique Rozan
    • Michel's Father
    Michel Fau
    Michel Fau
    • Eric
    Victoire de Koster
    • Jeanne
    Laurie Caminata
    • Sarah
    Lorena Caminata
    • Iris
    • Regia
      • Dominik Moll
    • Sceneggiatura
      • Dominik Moll
      • Gilles Marchand
      • Francis Villain
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti115

    7,112.2K
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    Recensioni in evidenza

    tostinati

    Still Moments

    The thing I appreciated most about this movie was the still moments, so unlike the average bombastic Hollywood product that never has a stop-and-listen moment, a stop-and-consider moment or a stop-and-feel moment. (Ever notice in American movies of the last ten years, even when the characters are stopping to think --rare as THAT is-- there is a veritable tempest of Wagnerian bluster on the sound track. Mainstream movies have gotten to where they never, NEVER shut up and let up, even for a moment; you must be manipulated every second you are in the theater. I walk out of "intense" movies, not exhausted, but rather, quite vexed by the hammy, heavy-handed obviousness of it all. --And a little deafened, usually, besides.)

    There was nothing obvious in this film. At the end, you feel closure, and yet you are free to wonder at exactly what Harry's behavior meant and about the origins of his unique world-view. That is a thing to treasure, a movie that knows enough what it is about to offer closure, yet leave your mind free to wander over the relationships and lives of the people you have just watched briefly from a distance, and reflect on possible meanings.

    A wonderful film.
    8jluis1984

    Brilliant Thriller in classic style

    The debut of french director Dominik Moll is a brilliant movie that follows Hitchcock's school of classic suspense to the letter, while keeping the directors own modern style in a psychological thriller reminiscent of David Lynch.

    Laurent Lucas stars as Michel, father of a middle-class family that goes on vacation to their house in rural France. On a gas station he finds Harry (played by Sergi López), a rich man who went to high school with Michel and that is traveling towards Switzerland with his girlfriend Prune (beautiful Sophie Guillemin). Michel invites Harry to his house, because even when he can't remember who Harry is, it seems as if Harry remembers everything about Michel.

    The problems of Michel with his parents and his wife Claire (Mathilde Seigner) will come to light as Harry intrusion becomes more apparent and Claire begins to wonder how healthy is Harry's influence over his husband.

    The story moves at a slow pace building the suspense and the tension between the characters to a maximum. Nevertheless, the direction and the script make sure that this slow rhythm will not become boring or tiresome and the movie works very wheel filled with interesting scenes that give everything you NEED to know about the characters, but not everything you WANT to know about them.

    This classic take on suspense and mystery, that many have tried with mixed results, works very good here thanks to the wonderful script that adds scenes of bizarre surrealism that while serve the purpose of breaking the suspense, they also increase the tension and mystery surrounding their characters.

    It's worthy to mention the superb acting of those involved. Lucas, Seigner and López have a good chemistry on screen that clearly helps the movie to be as powerful as it is.

    By the end of the movie the tension is at it's peak and the script makes the most of it giving a brilliant finale that even when it is very simple it is both mysterious and rewarding.

    This is not the typical thriller with horror/suspense. It's a modern update to the classic suspense style of film-making that Hitchcock did so well. 8/10
    philipdavies

    This fine French psycho-drama is an infinitely better experience than surrendering to Hollywood's empty amusement-park.

    As in 'The Shining' this film is a journey into the dangerous interior of one man's soul. There is an overt reference to Kubrick's cerebral shocker from the outset, as we float above the tiny car and its occupants as it threads its way through thickly wooded, and oppressive, hills.

    The hell of writer's block into which Kubrick's writer, and the failed writer of this film, both descend is an inner space of deeply disturbing psychic distortion. After the introduction to the French family, unhappily travelling through life (as you might well say) in their paradigmatically clapped-out banger of a car, there are no more reality checks in this film. Hence our profound and growing unease at Harry's pat and superficial wish-fulfillment: He is the very incarnation of the irresponsible hedonism which lurks in the heart of a long-suffering family man, who can take no more. Even more inescapably than in 'The Shining' - which offers us the relief and the 'reality' markers of other points-of-view - we are trapped as viewers in the solipsisitic nightmare of one man's mental breakdown.

    'The Egg' is the un-decodable hermetic prison - insisted upon in a macro-shot of an egg -- an excluding reduction of reality that rebuffs interpretation --- the germ of madness and the surreal --- -- in the French kitchen - whose place in the American movie is taken by pages and pages of neatly typed and stacked verbiage that is as repetitively devoid of meaning as a mantra. The search for meaning becomes a dangerous delusion. The deep-pink womb-like retreat of the parentally-bequeathed bathroom is much like the interior of such an egg in its hard ceramic insecurity. The red dream-arrogance of the off-roader similarly. And the red life-blood of all who come distractingly near is the sacrificial ink necessary to the reductive needs of the self-obsessed ego, for whom primitivism seems ultimately the only authenticity. This is a father who has become impatient of his responsibilities. This is a murderer in the making. This is authenticity as delusion. This is self-discovery as the heart of darkness.

    The name of 'Harry' is one of the familiar names for the Devil. He is the original false friend. He is each person's lurking counsellor of the simplest, most brutal existence. He represents the self-destruction wrought by self-obsession. He is Alienation, the partner of Despair.

    This magnificent and troubling film finally straps us into our seats and takes us on a voyage into the void where we had supposed the human soul to reside. I cannot think of anything more horrifying than the ad-man's dream of an ending, with the typical family borne - it seems - aloft on insubstantial and unlikely - unsustainable - dreams of the perfect transformation of life's unendurable imperfections. The difference between the first and the last passages of this family's life, as glimpsed in transit, is measured by the mental journey provided by the film; it is the stark difference between our suffering lives and the imagined perfection which is no more than Death's delusive seduction: The gorgeous Plum - the 'Devil''s wife - is barren. Her kiss in the embarassing bathroom - as is the case with the kiss of the re-animated corpse in the hotel bathroom of 'The Shining' - is the kiss of Death.

    This is Cinema. This is the force of Creation at work, as in any art worth bothering with. Anything else is just waste-products. And I don't care who knows it. French cinema reveals here its continuing intellectual vitality, capable of engaging resourcefully with the problem of living - instead of merely making a commercial machine to take us for a ride outside ourselves. Being beside ourselves, as in this fine French psycho-drama,is an infinitely better experience than surrendering to Hollywood's empty amusement-park.
    8planktonrules

    Don't you wish you had a friend just like Harry?! Well, maybe not...

    When the film begins, Michel is in the hot car with his wife and three small kids. It's summer and there's no air conditioning...and it's not surprising the kids are behaving like brats and Michel is at his wit's ends. When the family stops for a break, Michel goes to the bathroom and there an old acquaintance, Harry, recognizes him...though Michel cannot recall the guy. It seems that Harry is a major fan of Michel and has lots of fond memories of the guy...and Michel is just dumbfounded. Despite this, when Harry invites himself and his girlfriend to their home, Michel agrees and they all have a lovely evening together.

    During this evening, Harry inexplicably recalls a poem that Michel wrote when he was a teen. Despite decades having passes, he even remembers this poem word-for-word and Harry decides to take on a new project--to get Michel to begin writing once again. While this seems like a laudable goal, it soon gets strange. First, Harry decides that the hot car isn't what a writer needs and when it breaks down, he impulsively buys Michel and his family a new SUV with air conditioning!! Given that they barely know each other, this is very strange. Second, Harry isn't about to stop at just buying his old colleague a car...he'll remove all the distractions from Michel's life...whatever they might be!

    This is a very dark and enjoyable film. It's also, in a sick way, a bit of a comedy. Fortunately, it's unique and keeps your attention- -and it's well worth seeing--especially for the strange yet satisfying ending. The film is taut, unusual and well written.
    glgioia

    Interesting European Thriller

    While on holiday, a drab harried family man meets up with a forgotten high school chum who proceeds to alter the course of his life through a re-awakening of his school-day aspirations; and through murder!

    I like this, alot. It didn't fall into the trap of terrorizing simply to satisfy the filmakers psychosis. Everything followed a logical progression, which in itself has become novel in films which all tend to bend over backwards to be innovative and end up more often than not aggravating us. This was interesting, and sorta believable. A few holes here and there, like why in the world would the parents follow Michael in the middle of the night. But all in all, you could see it happening and identified with the characters, Michael included. Dont buy the figment of his imagination theory, for its bunk. I detest dubbings, but all in all the films a welcome diversion from the same ole same ole.

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    Trama

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    Lo sapevi?

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    • Quiz
      Miramax Films released U.S. version in theaters.
    • Citazioni

      [on how to deal with difficult parents]

      Harry Ballestero: You have to overreact.

    • Curiosità sui crediti
      In the opening credit sequence, a straight-down aerial shot, the letters of the credits cast shadows on the ground (with realistic penumbras) as if they were actually suspended in mid-air.
    • Connessioni
      Edited into Making of 'Harry un ami qui vous veut du bien' (2001)
    • Colonne sonore
      Ramona
      Music by Mabel Wayne

      Lyrics by L. Wolfe Gilbert

      Performed by Dolores Del Río

      Publishing 1927 by EMI Catalogue Partnership

      By permission of Editions EMI Catalogue Partnership France

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    Dettagli

    Modifica
    • Data di uscita
      • 15 agosto 2000 (Francia)
    • Paese di origine
      • Francia
    • Sito ufficiale
      • Diaphana (France)
    • Lingue
      • Francese
      • Spagnolo
    • Celebre anche come
      • Harry, un amico che ti vuole bene
    • Luoghi delle riprese
      • Château Hôtel Mont-Royal, La Chapelle-en-Serval, Oise, Francia
    • Aziende produttrici
      • Canal+
      • Centre national du cinéma et de l'image animée (CNC)
      • Diaphana Distribution
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 3.830.441 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 29.495 USD
      • 22 apr 2001
    • Lordo in tutto il mondo
      • 15.476.522 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 57 minuti
    • Colore
      • Color
    • Mix di suoni
      • Dolby Digital
    • Proporzioni
      • 2.35 : 1

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