AVALIAÇÃO DA IMDb
7,7/10
18 mil
SUA AVALIAÇÃO
O casal recém-casado Juliette e um capitão de barco Jean lutam pelo casamento enquanto viajam em L'atalante.O casal recém-casado Juliette e um capitão de barco Jean lutam pelo casamento enquanto viajam em L'atalante.O casal recém-casado Juliette e um capitão de barco Jean lutam pelo casamento enquanto viajam em L'atalante.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 1 indicação no total
Raphaël Diligent
- Le trimardeur (tramp
- (as Rafa Diligent)
- …
René Blech
- Best Man at Wedding
- (não creditado)
Lou Bonin
- Passenger at Railway Station
- (não creditado)
Jacques B. Brunius
- Policeman with a Bicycle
- (não creditado)
Fanny Clair
- Juliette's Mother
- (não creditado)
Fanny Clar
- La mère de Juliette
- (não creditado)
Charles Dorat
- Thief
- (não creditado)
Paul Grimault
- Passenger at Railway Station
- (não creditado)
Kani Kipçak
- Jackie Jackmark
- (não creditado)
Genya Lozinska
- Fortune Teller
- (não creditado)
Gen Paul
- Master of Ceremonies at Wedding
- (não creditado)
Avaliações em destaque
L'Atalante is one of those films that doesn't really survive it's critical reputation. It's not so much that it's overrated as that its status as a Cinematic Masterpiece by a French Auteur casts a heavy burden on it which the light, airy film can't escape.
But enough meta-criticism. Taken on its own, L'Atalante is a charming film about a honeymoon whose light nature and relaxed pace manages to immerse the audience in a realm of simple pleasure. There's little dialogue, and Vigo draws on the attractions of silent film, with a lot of light humour and simple representational images. It's a world you would want to step into, and one that you almost think you can.
Alas, things cannot stay so serene forever, and so trouble eventually arrives in our honeymooners' relationship. The plot is believable and well-observed, if not exactly captivating, but I have to say I missed the more leisurely early parts.
I can't help but compare L'Atalante with a film with a similar storyline and inverted structure, F. W. Murnau's Sunrise. L'Atalante undeniably comes off worse in the comparison: it simply doesn't achieve the epic grandeur that Sunrise does. That doesn't mean it's bad, but it seems unavoidably like a prototype for a film released in the previous decade, and that makes it hard to live up to the hype. Still, it's a nice experience, and that's more than you can say about most films.
But enough meta-criticism. Taken on its own, L'Atalante is a charming film about a honeymoon whose light nature and relaxed pace manages to immerse the audience in a realm of simple pleasure. There's little dialogue, and Vigo draws on the attractions of silent film, with a lot of light humour and simple representational images. It's a world you would want to step into, and one that you almost think you can.
Alas, things cannot stay so serene forever, and so trouble eventually arrives in our honeymooners' relationship. The plot is believable and well-observed, if not exactly captivating, but I have to say I missed the more leisurely early parts.
I can't help but compare L'Atalante with a film with a similar storyline and inverted structure, F. W. Murnau's Sunrise. L'Atalante undeniably comes off worse in the comparison: it simply doesn't achieve the epic grandeur that Sunrise does. That doesn't mean it's bad, but it seems unavoidably like a prototype for a film released in the previous decade, and that makes it hard to live up to the hype. Still, it's a nice experience, and that's more than you can say about most films.
"People are strange when you are stranger
Faces look ugly when you're alone
Women seem wicked when you are unwanted
Streets are uneven when you are down " by Jim Morrsion (1963-1971)
And city of light and love is dark and depressing when you are there without your beloved.
Director Jean Vigo died young (at 29, of septicemia) just after he finished his third and last film, "L'Atalante" which is one of the screen's great romances, about a young barge captain Jean (Jean Daste), who takes his bride Juliette (Dita Parlo) to live aboard his boat. They are in love, they fight, she disappears to see Paris, he goes searching for her, can not find her, they are both desperate and miserable until the first mate (Michel Simon in a superb comical performance) decides to find her and bring her back
The film has many magical moments, such as the young man searching for his sweetheart under water or the movie's most erotic scene that display both Jean and Juliette tossing in their lonely beds during one aching night of separation searching for each other, longing for each other, realizing how painful and meaningless life is without the one they love.
Vigo knew that he was dying "I am killing myself with L'Atalante", he said. His death at 29 is one of the cinema's great losses. We can only imagine what masterpieces he could've created. L'Atalante with its simple compelling story, humanity, intense, lyrical romanticism and candid eroticism shows that Vigo was a visionary and experimentalist of outstanding quality.
Filmmakers as diverse as Francois Truffaut and Lindsay Anderson have acknowledged Vigos's influence on their work.
Highly recommended: 9/10
Faces look ugly when you're alone
Women seem wicked when you are unwanted
Streets are uneven when you are down " by Jim Morrsion (1963-1971)
And city of light and love is dark and depressing when you are there without your beloved.
Director Jean Vigo died young (at 29, of septicemia) just after he finished his third and last film, "L'Atalante" which is one of the screen's great romances, about a young barge captain Jean (Jean Daste), who takes his bride Juliette (Dita Parlo) to live aboard his boat. They are in love, they fight, she disappears to see Paris, he goes searching for her, can not find her, they are both desperate and miserable until the first mate (Michel Simon in a superb comical performance) decides to find her and bring her back
The film has many magical moments, such as the young man searching for his sweetheart under water or the movie's most erotic scene that display both Jean and Juliette tossing in their lonely beds during one aching night of separation searching for each other, longing for each other, realizing how painful and meaningless life is without the one they love.
Vigo knew that he was dying "I am killing myself with L'Atalante", he said. His death at 29 is one of the cinema's great losses. We can only imagine what masterpieces he could've created. L'Atalante with its simple compelling story, humanity, intense, lyrical romanticism and candid eroticism shows that Vigo was a visionary and experimentalist of outstanding quality.
Filmmakers as diverse as Francois Truffaut and Lindsay Anderson have acknowledged Vigos's influence on their work.
Highly recommended: 9/10
The viewer is emerged in a simple film that transcends all sense of current time and space. Truffaut once said that he would prefer to make films with "dirty feet" than clean ones, and this film delivers such a world. The first mate on the barge has dirty feet -- and a magnificent collection of amusements and "magic". Watch for the puppet show! Charming to say the least as we delve into a mysterious lost world. It reminded me of the best of Cocteau with its magical feel, though it relied not at all on the mysticism and a magical world. It's at once a realist drama and a romantic fantasy.
I read once about someone saying that this film has been "surpassed" and is now overrated. What a fool. He's missing the whole point.
Show this one to your young children! They'll never forget it and love it forever!
I read once about someone saying that this film has been "surpassed" and is now overrated. What a fool. He's missing the whole point.
Show this one to your young children! They'll never forget it and love it forever!
My big problem with "L'Atalante" is how much of what we see and hear was really Jean Vigo's intention (as he didn't finish it) when he was making it? The restored version is the only version and was reconstructed from many disparate bits about 15 years ago, meaning it has had running order interpretations foisted upon it. I think most of the film we see came from the BFI in London, remixed with other clips into some kind of logical sequence by Gaumont in Paris and sold as a Forgotten Masterpiece.
Well, if you can call such luck ending up as a masterpiece it was purely unintentional by Vigo - he didn't see what we do now.
What we have though is definitely a series of relentlessly beautiful, thought-provoking, impressionistic black and white images hung together for 87 minutes with a very flimsy story of 3 people on a barge. The kid was background fluff and doesn't really count. Simon was his usual farcical self, I wish he'd been background as well. Daste and Parla were both later in "La Grande Illusion", can you really forget her as the German widow Elsa in favour of this? The framings and compositions are wonderful to see - how important was it to include distant shots of power stations, cranes etc? Why did Daste stare right into the underwater camera? How come every available surface seems uncomfortable or strewn with bizarre objects or people? Why just the one short aerial shot? And so many other questions which are either pointless or beyond my intelligence; somebody somewhere must know!
I find every time I watch "L'Atalante" it grows on me - I thought it was pants in '91, now I think it's brill! We all move at different speeds - some people will never be able to see this as anything but boring while some people thought it was a classic before they saw it! Whereas I'm still on the voyage of discovery with this one and will definitely watch it again, but not as an indispensable film, more as akin to a trip to the Art Gallery.
Well, if you can call such luck ending up as a masterpiece it was purely unintentional by Vigo - he didn't see what we do now.
What we have though is definitely a series of relentlessly beautiful, thought-provoking, impressionistic black and white images hung together for 87 minutes with a very flimsy story of 3 people on a barge. The kid was background fluff and doesn't really count. Simon was his usual farcical self, I wish he'd been background as well. Daste and Parla were both later in "La Grande Illusion", can you really forget her as the German widow Elsa in favour of this? The framings and compositions are wonderful to see - how important was it to include distant shots of power stations, cranes etc? Why did Daste stare right into the underwater camera? How come every available surface seems uncomfortable or strewn with bizarre objects or people? Why just the one short aerial shot? And so many other questions which are either pointless or beyond my intelligence; somebody somewhere must know!
I find every time I watch "L'Atalante" it grows on me - I thought it was pants in '91, now I think it's brill! We all move at different speeds - some people will never be able to see this as anything but boring while some people thought it was a classic before they saw it! Whereas I'm still on the voyage of discovery with this one and will definitely watch it again, but not as an indispensable film, more as akin to a trip to the Art Gallery.
As wonderful as this film is, it is really a disservice to pronounce it one of the greatest movies ever made. Whether it is or not one of them (ultimately a matter of subjective taste), such a proclamation, especially on the front of the box, puts *way* too much pressure on such a subtle, quiet film. I saw this film with high expectations (because of all of the drooling by critics), and frankly that pretty much ruined the experience. It's just absurd to suggest (by inference) that the majority of other films pale by comparison to this one.
I think it is a fascinating and very interesting movie with some moderately touching scenes, but "may be the best film of all time"? That's not fair to such a quiet, unassuming, subtle film that requires sneaking up on you to have any impact. Honestly, if the director hadn't died young, had such a promising start, and been French, I doubt anyone would have made such a huge deal over the movie. Had Vigo lived another 20 years and made 10 more movies, they would likely have categorized this film as excellent juvenilia.
I think it is a fascinating and very interesting movie with some moderately touching scenes, but "may be the best film of all time"? That's not fair to such a quiet, unassuming, subtle film that requires sneaking up on you to have any impact. Honestly, if the director hadn't died young, had such a promising start, and been French, I doubt anyone would have made such a huge deal over the movie. Had Vigo lived another 20 years and made 10 more movies, they would likely have categorized this film as excellent juvenilia.
Você sabia?
- CuriosidadesThe last film completed by Jean Vigo before his death from tuberculosis at 29.
- Erros de gravaçãoAfter jumping overboard and swimming, as Jean is climbing the rope up the side of the barge, he is (expectedly) dripping wet. The scene cuts and he is on board approaching Le père Jules and Le gosse from behind, and he has wet clothes, but no water dripping from them or his hair.
- Citações
Le camelot (peddler): My dear friends, so kind of you to come. We were waiting for you before we served the biscuits dry as the duchess's pussy.
- Versões alternativas1934-04-25 --- Jean Vigo's authorized cut before his death, at 89 min running time, shown to exhibitors and distributors mostly, at Palais Rochechouart, Paris, France. This version is lost.
- ConexõesEdited into Cinéastes de notre temps: Jean Vigo (1964)
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
- How long is L'Atalante?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idiomas
- Também conhecido como
- L'Atalante
- Locações de filme
- Bassin de la Villette, Paris 19, Paris, França(Lake crossed by the barge.)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Faturamento bruto mundial
- US$ 9.505
- Tempo de duração
- 1 h 29 min(89 min)
- Cor
- Proporção
- 1.37 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente