ÉVALUATION IMDb
8,0/10
26 k
MA NOTE
Un aviateur britannique en temps de guerre qui se joue de la mort doit plaider pour sa vie devant une cour céleste.Un aviateur britannique en temps de guerre qui se joue de la mort doit plaider pour sa vie devant une cour céleste.Un aviateur britannique en temps de guerre qui se joue de la mort doit plaider pour sa vie devant une cour céleste.
- Prix
- 1 victoire et 2 nominations au total
Bonar Colleano
- An American Pilot
- (as Bonor Colleano)
Robert Arden
- GI Playing Snout
- (uncredited)
Robert Beatty
- US Crewman
- (uncredited)
Eric Cawthorne
- Goatherd
- (uncredited)
Histoire
Le saviez-vous
- AnecdotesThe first scene shot was David Niven washing up on the beach. Originally planned to fade in from black, Michael Powell decided on the spot that the effect would be too cheesy. When Jack Cardiff told him to look through the camera, Cardiff then deliberately breathed onto the lens, which fogged the glass for a few seconds until it evaporated. Powell loved the idea and had him use it for the shot.
- GaffesAfter Peter's second encounter with the Heavenly Messenger, this time in Frank's library, the doctor and June desperately attend to Peter's condition. June kneels in front of Peter and begins to giggle uncontrollably, then expertly hides herself behind Frank to avoid the camera.
- Citations
Doctor Frank Reeves: A weak mind isn't strong enough to hurt itself. Stupidity has saved many a man from going mad.
- Générique farfeluForeword (Scrolled up the screen at the start of the film): This is a story of two Worlds the one we know and another which exists only in the mind of a young airman whose life & imagination have been violently shaped by war [Pauses, then scrolls up to reveal] Any resemblance to any other world known or unknown is purely coincidental.
- Autres versionsThe US release was cut to avoid showing the naked shepherd boy in the sand dunes.
- ConnexionsFeatured in The Story of Making the Film They're a Weird Mob (1966)
- Bandes originalesScherzo
(1842) (uncredited)
from "A Midsummer Night's Dream, Op.61"
Written by Felix Mendelssohn
Played on a record at the Shakespeare rehearsal
Commentaire en vedette
This movie has the most beautiful opening sequence ever made. I've seen this movie for the first time a week ago, since then every day I see the opening and every time I feel as thrilled as I felt the first time I heard David Niven uttering the immortal words from Sir Walter Raleigh's The Pilgrimage:
Give me my scallop-shell of quiet, My staff of faith to walk upon, My scrip of joy, immortal diet, My bottle of salvation, My gown of glory, hope's true gage; And thus I'll take my pilgrimage ( )
Do you know why it would be a truism to say Michael Powell's and Emeric Pressuburger's lives are thoroughly justified for having crafted such a wonderful opening? Because they had been already admitted in the Paradise of Poets long before they made this movie.
I imagine both of them facing trial during Doomsday and saying nonchalantly to an irate God: I beg your pardon, Sir. So, do You want to know what have we done during our lifetime? Well, well you'll see: We've written directed and produced: I know Where I'm Going, Colonel Blimp, Red Shoes do you think that enough Sir? It is rather obvious that these two great artists had already fulfilled their duty with God, Nature the Muse or Whatever you may call It when they shot A Matter of Life and Death. The fact that other people's lives would be justified for their deeds could be not apparent to everybody, notwithstanding I feel my life would have a meaning had I never done anything else that to see this movie.
Of course old-timers will be tempted to say: They don't do movies like this one any more. They'll be partially mistaken; they didn't make movies like this in the past times either.
I've have already quoted Keats here, but I'll repeat his words: A thing of beauty is a joy forever.
Give me my scallop-shell of quiet, My staff of faith to walk upon, My scrip of joy, immortal diet, My bottle of salvation, My gown of glory, hope's true gage; And thus I'll take my pilgrimage ( )
Do you know why it would be a truism to say Michael Powell's and Emeric Pressuburger's lives are thoroughly justified for having crafted such a wonderful opening? Because they had been already admitted in the Paradise of Poets long before they made this movie.
I imagine both of them facing trial during Doomsday and saying nonchalantly to an irate God: I beg your pardon, Sir. So, do You want to know what have we done during our lifetime? Well, well you'll see: We've written directed and produced: I know Where I'm Going, Colonel Blimp, Red Shoes do you think that enough Sir? It is rather obvious that these two great artists had already fulfilled their duty with God, Nature the Muse or Whatever you may call It when they shot A Matter of Life and Death. The fact that other people's lives would be justified for their deeds could be not apparent to everybody, notwithstanding I feel my life would have a meaning had I never done anything else that to see this movie.
Of course old-timers will be tempted to say: They don't do movies like this one any more. They'll be partially mistaken; they didn't make movies like this in the past times either.
I've have already quoted Keats here, but I'll repeat his words: A thing of beauty is a joy forever.
- film-29
- 14 déc. 2004
- Lien permanent
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Détails
- Date de sortie
- Pays d’origine
- Langues
- Aussi connu sous le nom de
- A Matter of Life and Death
- Lieux de tournage
- Saunton Sands, Devon, Angleterre, Royaume-Uni(beach: The Burrows)
- société de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 320 000 £ (estimation)
- Brut – à l'échelle mondiale
- 179 059 $ US
- Durée1 heure 44 minutes
- Rapport de forme
- 1.37 : 1
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