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IMDbPro

Paris Adormecida

Título original: Paris qui dort
  • 1925
  • Unrated
  • 59 min
AVALIAÇÃO DA IMDb
7,1/10
2,1 mil
SUA AVALIAÇÃO
Paris Adormecida (1925)
ComédiaFicção científica

Adicionar um enredo no seu idiomaA scientist's invisible ray freezes Paris into immobility.A scientist's invisible ray freezes Paris into immobility.A scientist's invisible ray freezes Paris into immobility.

  • Direção
    • René Clair
  • Roteirista
    • René Clair
  • Artistas
    • Charles Martinelli
    • Louis Pré Fils
    • Albert Préjean
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    7,1/10
    2,1 mil
    SUA AVALIAÇÃO
    • Direção
      • René Clair
    • Roteirista
      • René Clair
    • Artistas
      • Charles Martinelli
      • Louis Pré Fils
      • Albert Préjean
    • 16Avaliações de usuários
    • 20Avaliações da crítica
  • Veja as informações de produção no IMDbPro
  • Veja as informações de produção no IMDbPro
  • Fotos10

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    + 4
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    Elenco principal8

    Editar
    Charles Martinelli
    • Bardin - le savant fou
    Louis Pré Fils
    Louis Pré Fils
    • Le détective
    Albert Préjean
    Albert Préjean
    • L'aviateur
    Madeleine Rodrigue
    • Hesta - la passagère de l'avion
    Henri Rollan
    Henri Rollan
    • Albert - le gardien de nuit de la Tour Eiffel
    Myla Seller
    • La nièce du savant
    Antoine Stacquet
    • L'industriel
    Marcel Vallée
    Marcel Vallée
    • Le voleur international
    • Direção
      • René Clair
    • Roteirista
      • René Clair
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários16

    7,12K
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    Avaliações em destaque

    8Cinema_Fan

    Interesting, and fun. To say the least.

    What a stunner this little movie is. With fantastic panoramic shots of early nineteen-twenties Paris. Called originally, Paris Qui Dort, plus too, At 3:25 or The Crazy Ray, this early science fiction story is set in, around and on the Eiffel Tower and the empty city Paris streets.

    A night watchman, waking up one morning, while sleeping on the top of the Eiffel Tower, finds the whole of Paris has fallen asleep, permanently, with only himself for company and roaming the empty streets in bewilderment. After a short while, he stumbles across a small group of other bemused survivors. They explore. They take advantage. They have fun.

    Parisian born René Clair's (1898 – 1981), whose other works include À nous la liberté Entr'acte (1924 short), Under the Roofs of Paris (1930) and À nous la liberté (1931), short comedy is a work of vision that today's contemporary cinema makers seem to have taken notice. With post isolationist films as 28 Days Later (2002), The Omega Man (1971) and Terry "Dalek creator" Nation's 1975 BBC television adaptation of "Survivors", this, Paris Qui Dort, is a very fascinating early contender of the sci-fi genre.

    Placed at the heart is a narrative of while the cats are away the mice shall play, with wonderful shots of a bygone city seen from far above and with moments of comedy, The Crazy Ray is a classic of immense importance to the genre of sci-fi magic. Seen as the very first science fiction fable Georges Méliès's 1902 Le voyage dans la lune (A Trip to the Moon) has set the trend for visionary art, with the silent era composing of some of the greatest artists: Chaplin, Keaton, Clair, Lang and Hitchcock. At 3:25 can be seen as a new and fresh beginning for said filmmaker René Clair and a bold step into the unknown, as sound was soon to take control and all but the greatest has superseded to dominate.

    Paris Qui Dort is a true gem, and while the mice are at play I highly recommend that you freeze time and find a moment to explore this intriguing visual work of art.
    chaos-rampant

    The Day Paris Stood Still

    The watchman on the top level of the Eiffel Tower comes out to find the whole of Paris asleep and frozen into position, drivers in their cars, passers-by, policemen just seconds before an arrest. He joins up with a group of people who were flying over Paris when it happened, to enjoy newfound freedom without limits.

    One way to view this is as conceived; a comedy by way of surrealism and the absurd so far as the premise is concerned, and mostly harmless execution. A scientist is responsible we discover, who has devised a contraption that controls the flows of reality.

    Or you can read between the images. I study what it means to meditate and effective conveyance of this through cinema, so this rings loud and clear to my eyes.

    So we have the narratives that make up the bulk of day-to-day life arrested, doesn't matter how, and only those who were above ground spared from the effect. They walk through a still world full of possibilities for reflection, the only ones 'awake' among sleepers dreaming their routines. Of course being ordinary human beings, what do they do? They drink and dance, they indulge themselves, and when boredom sinks in, they fight for the one woman in their company. Narratives are resumed and stopped again, as the scientific mastermind, someone who is trying to master mind, tinkers with the equations.

    The quest is for a still center, discovered in the arms of the woman.

    It was perhaps too early in the medium to add further layers, for instance to link control of reality with the mind desiring images or desiring escape from them. Maybe, if this was Epstein's film who had by then stumbled on a theory about the eye in motion. It is fine to have just this at any rate, concerned more with visual invention than introspection. There are guerilla shots from inside moving cars, frozen and resumed, that do Nouvelle Vague thirty years early.

    If you are an imaginative viewer, you will want to see the first half with its eerily empty boulevards and plazas, and imagine a silent horror film about some unspecified apocalypse.
    9the red duchess

    Adorable Surrealist flight of fancy.

    The most loveable of all silent masterpieces. It took years for Surrealism to finally mature in the cinema as a powerful artistic presence, as in 'Vertigo', 'Le Samourai' or the late films of Cocteau (of whom much of the imagery of frozen citizens in this is reminiscent). The official Surrealist films of the 1920s, with the exception of Bunuel's, were usually childish trickery, rather than a valid way of looking at, or undermining the world. 'Paris Qui Dort' is different, delicate, beautiful, elegant and funny, it turns reality inside out, making reality a dream, and dream a reality (see the wonderful sequence where the bewildered hero, having roamed through an enchanted Paris, can only find the 'real' city in his head).

    It is such a lovely idea, the whole of Paris enchanted by sleep, except for those in the air. The hero, due to bad luck, has to live on top of the Eiffel Tower, already cut off from a social context, as with the 'Wizard of Oz'-like band of acquaintances he strikes up - an aviator, an English detective, a notorious criminal, an independent woman (it IS the 1920s!), a blustering tycoon, a mad scientist and his daughter. These are the kind of people who would see life as unreal anyway. The question is: is the city of Paris, with its social order of work, crime and play, dreaming of these outsiders, who play out its desires of independence, wealth, power, freedom; or is it the other way round?

    For the Surrealists, there was no need to heighten life - it was strange enough as it was. By placing the picture-postcard Paris in a fantastical context; by emphasising the hidden geometry of the city and its buildings; by showing a city, built by people for people, without people, Clair suggests a sublimely suspended dream place, like Tir na nOg, where people never grow old.

    Tellingly, the old human foibles - greed, lust, jealousy, ennui etc. - threaten to destroy the freedom of the new social order even as it subverts the old one based on those foibles. But Clair subverts this world anyway by revealing the power of film, as the Professor's power over life and movement is Clair's power over his cinematic apparatus, capturing a Paris that sleeps, that never has to die, or admit debilitating transience, by capturing it on his camera. It's only a dream, just as the cinema is a dream before we go back out into the rain, relationships, bills, health. Sometimes you wish time would stop, that the inevitability of progress, and its immovable corollary, decline, could be averted. Clair is the most beloved of the Surrealists, because he knows knockabouts and chases are far more eloquent than portentous, 'meaningful' images.
    5jamesjustice-92

    Alone in Paris

    This short feature had so much potential early on in the movie: just imagine - you wake up and the whole city is frozen, asleep in an ever-lasting dream and you're the only one who is not. You can do whatever you want, use all the riches in the world but how long will it last until you realize that living in the world and existing in it are two completely different things? Some people get tired of living very soon and the others are fine with existing their whole lives - it's what you can do with the time that you've got on this Earth that counts.

    Sadly the movie doesn't explore the human nature in this movie much, instead shifting the focus toward sci-fi explanation of the phenomenon by the end of it and loses its grip where it could've been a good drama.

    Fantastic camera work, some impressive shots of empty Paris and decent performances don't allow you to fall asleep along with the other Parisians in the movie but other than that it's an average body of work with just another promising premise wasted.
    7ANDYDUNNE11

    Parisian sci-fi roots

    I caught this as part of the 2021 Virgin Dublin International Film Festival and I really enjoyed it. Hard to imagine it was made almost 100 years ago and the quality of the print used was top notch. It's a simple enough story of a small group of people roaming through a silent Paris. It's set over just a few days and there was a lot packed in for the relatively short running time (by today's standards) of about an hour.

    Interesses relacionados

    Will Ferrell in O Âncora: A Lenda de Ron Burgundy (2004)
    Comédia
    James Earl Jones and David Prowse in Star Wars: Episódio V - O Império Contra-Ataca (1980)
    Ficção científica

    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      This film is featured on the Criterion Collection DVD for Sob os Tetos de Paris (1930).
    • Erros de gravação
      Everybody in Paris is supposed to be immovable. However, when the group goes back up to the Eiffel tower, a car can be seen driving through the streets of Paris in the background.
    • Versões alternativas
      There is an Italian edition of this film on DVD, distributed by DNA Srl (2 Films on a single DVD). The film has been re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
    • Conexões
      Featured in Fejezetek a film történetéböl: Az európai film kezdetei (1989)

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    Detalhes

    Editar
    • Data de lançamento
      • 6 de fevereiro de 1925 (França)
    • País de origem
      • França
    • Idiomas
      • Nenhum
      • Francês
    • Também conhecido como
      • Paris Asleep
    • Locações de filme
      • Place de la Concorde, Paris 8, Paris, França
    • Empresas de produção
      • Films Diamant
      • Centre national du cinéma et de l'image animée (CNC)
      • Fondation Jérôme Seydoux-Pathé
    • Consulte mais créditos da empresa na IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 59 min
    • Cor
      • Black and White
    • Mixagem de som
      • Silent
    • Proporção
      • 1.33 : 1

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