Paris Blues

1961
Approved
1h 38m

ÉVALUATION IMDb

6,7/10

4,1 k

MA NOTE

Liretrailer2 min 46 s

1 vidéo

99 photos

Drama Music Romance

Dans les années 1960, deux musiciens de jazz américains expatriés vivant à Paris rencontrent et tombent en amour de deux touristes américaines.Dans les années 1960, deux musiciens de jazz américains expatriés vivant à Paris rencontrent et tombent en amour de deux touristes américaines.Dans les années 1960, deux musiciens de jazz américains expatriés vivant à Paris rencontrent et tombent en amour de deux touristes américaines.

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

6,7/10

4,1 k

MA NOTE

Voir l’information sur la production à IMDbPro

Nommé pour 1 oscar
- 2 nominations au total

Anecdotes
Paul Newman was coached in playing the trombone by Billy Byers, while the playing for Newman on the soundtrack was done by Murray McEachern. Sidney Poitier's tenor sax playing was done by Paul Gonsalves. The soundtrack was recorded May 1-3, 1961 at Reeves Sound Studios in New York City.

Gaffes
Some may believe that the mouthpiece ligature on the tenor saxophone that Eddie Cook (Sidney Poitier) plays is upside down. However, in the first scene when the band is playing, it can be seen that the thumbscrew that adjusts the ligature is on the bottom, where it normally would be. It is, therefore, not upside down.

Citations
Ram Bowen: This romance is doomed.
Lillian Corning: Why?
Ram Bowen: You get up too early.

Générique farfelu
"Introducing" Serge Reggiani, who by 1961 had been in French films for 20 years and a star at least throughout the 1950s.

Connexions
Featured in A Century of Black Cinema (2003)

Bandes originales
Take The 'A' Train
(uncredited)
Music by Billy Strayhorn
Recorded at Reeves Sound Studios, New York on May 2 & 3, 1961.
Label - United Artists

Commentaires des utilisateurs61

Commentaire

Commentaire en vedette

10/10

They don't make 'em like this anymore

For starters, this is one of those rare movies that would not have been as good if it had been shot in colour. B&W somehow fits the mood, the story and the setting. Yet it's not really a sad or dark story. As in many older B&W films, the lighting is magnificent with highlights and shadows and textures that simply aren't workable in colour. The performances are universally superb. The script is free of the usual clichés. And the music is great. (How could you possibly make a bad movie with the likes of Louis Armstrong, Paul Newman, Joanne Woodward, Sidney Poitier and Diane Carrol?) Nor, in that era (1961), did Hollywood zoom in and linger obsessively on sexual acrobatics. This is a mature, sexy film without any graphic sex. Those were the rules back then and this film is the better for them. A thoroughly enjoyable movie with a great cast that has stood the test of a half century very well indeed.