Violet est la maîtresse d'un 'blanchisseur' de la Maffia et Corky une ex-taularde qui retape l'appartement voisin. Dans l'ascenseur, par-dessus l'épaule du maffioso, la blonde peroxydée et l... Tout lireViolet est la maîtresse d'un 'blanchisseur' de la Maffia et Corky une ex-taularde qui retape l'appartement voisin. Dans l'ascenseur, par-dessus l'épaule du maffioso, la blonde peroxydée et la brune musclée se lancent un regard velours. Femmes si fragiles [255]Violet est la maîtresse d'un 'blanchisseur' de la Maffia et Corky une ex-taularde qui retape l'appartement voisin. Dans l'ascenseur, par-dessus l'épaule du maffioso, la blonde peroxydée et la brune musclée se lancent un regard velours. Femmes si fragiles [255]
- Prix
- 8 victoires et 13 nominations au total
John P. Ryan
- Mickey Malnato
- (as John Ryan)
Kevin Michael Richardson
- Cop #2
- (as Kevin M. Richardson)
Histoire
Le saviez-vous
- AnecdotesIn a 2014 interview for Vulture, Jennifer Tilly talked about the sex and nudity in this film, and how filming a sex scene and being naked with another woman was less stressful than with a man. "Actors are always saying, 'Oh, sex scenes are so technical. Everyone's standing around and watching.' It is technical, but there is something about being naked with a member of the opposite sex that you still want them to think that you're hot. There's a reason why people are always having affairs with their leading men. With Gina it was really relaxing, because you could say things to her that you wouldn't say to other people. Like, 'Can you put your hand on my thigh here so my butt doesn't look so big? Can you hold my breast up so it looks more plump and juicy?' You would never, ever say those things to a man. Between takes, I would say, 'Gina, there's a shoe sale at Barneys. If we finish early, we should go over to Barneys and shop for shoes!' So it was surprisingly unsexy, but then when you saw it on screen, I was blown away. Violet and Corky have chemistry. They have it in buckets." She then added "We were a little bit worried because Dino De Laurentiis was a producer, and we were worried that after we finished shooting the scene, they would send it off to Italy and insert some breasts and buttocks shots. The Wachowskis said that was a concern of theirs, too, so they decided to shoot that love scene in one long, continuous shot. They said, 'That way he can't cut into it without it looking really obvious and intrusive. So the day we were supposed to shoot the love scene, it was a closed set. But there were monitors in the hallway, and everybody was clustered around the monitors watching. So the Wachowskis put the camera on a crane, and there were all these elements that they wanted to capture. They wanted to start out on a safe and get the side of my back, and they wanted to pan down to the toes, and they would be yelling through a megaphone, telling us what different parts were onscreen. They would yell, 'Toes!' and Gina would curl her toes like she was about to come. Then they would say, 'Hand!' and my hand was on her crotch, and I would kind of move my fingers a little bit. And then they would say, 'Face!' and it would be on Gina's face, and Gina would 'come.' So it was very, very technical, and we did eight takes."
- GaffesWhen Corky kicks the gun out of Caesar's hand, she is wearing socks, having removed her paint-stained boots. But as she follows through with the kick, she is wearing boots.
- Autres versionsThe Criterion 4K Ultra HD release changes the credits of the Wachowskis to remove any references to their deadnames.
- ConnexionsEdited into The Matrix Revisited (2001)
- Bandes originales(Chicago Is) My Kind of Town
Written by Jimmy Van Heusen and lyrics by Sammy Cahn
Sung by Jennifer Tilly and Gina Gershon
Commentaire en vedette
Violet is a gangster's moll, living with Caesar, who launders money for the mob. Corky is a ex-con who has been hired to decorate the flat next door to Caesar's flat. When the two meet they slowly begin a love affair behind Caesar's back. After a while Violet comes up with a plan to steal mob money and frame Caesar for it while she and Corky make off with the cash. However, there is no such thing as a simple plan.
I saw this when it was released in the cinema where the overall view seemed to be of an enjoyable noir thriller with a lesbian twist. A few years later, the Matrix has made the Wachowski brothers hotter than hot and everyone is clambering all over Bound and building up it's status and pointing to it as a hint of greatness. Now, after two poor Matrix sequels, many will come back to this film as a sign of their ability before the dollars became more important. That's the impression I get anyway, from the message boards, reviews and comments from proper critics. However, I rewatched this and tried to meet it on it's own terms rather than be coloured.
Of itself, it does the business quite effectively as a noir crime thriller. The plot is tough and, although not all that twisty, does easily engage and keep the audience pretty gripped. The lesbian stuff is done a little cynically I think - where do you draw the line between stuff that is required for us to know that the two are lovers, and the stuff that is titillation? I don't know, the film does it all very tastefully and it is not the film's fault that some sections of the audience will come to this film because it has a lesbian love scene in it. I acknowledge that it was done quite sexily and was part of the film, but the crime is the focus.
The brothers direct with great style - set mainly in a couple of flats, the film moves slickly around the place. Some shoot outs do reveal a style that was later used in the Matrix films (albeit on a sci-fi level). The slow-mo stuff is pretty good here and not overly used - little tricks like the shooting over the white paint added to the style of the film no end. Despite being bogged down in a story I believe they took too seriously, I don't think they need to prove themselves as directors - their films speak for themselves in that regard, and I do hope they get back in the saddle.
The cast is deep in talent but mostly they play it in the stereotypical characters of the genre. Tilly is a great moll, at first she appears to be the delicate flower of the film, but she is as much a femme fatale as Corky. Gershon is very sexy, despite being very glamorous for a supposedly butch ex-con; she plays her role well although I would have liked to see her become more of a fall guy towards the end, in true noir fashion - fooled by love! Pantoliano is enjoyable; his character may not have a lot of meat on it but Joe does very well with a powerful performance. Support from Meloni and Ryan is good even if they all fit the gangster clichés required by the script.
Overall this is an enjoyable genre film - no more and no less. The lesbian stuff is a nice twist on the usual formula but it isn't pushed enough to be classed as exploitative (although there's no doubt that the film gained audience as a result of the love scenes). The cast are good and the direction is stylish, making for a slickly enjoyable noir.
I saw this when it was released in the cinema where the overall view seemed to be of an enjoyable noir thriller with a lesbian twist. A few years later, the Matrix has made the Wachowski brothers hotter than hot and everyone is clambering all over Bound and building up it's status and pointing to it as a hint of greatness. Now, after two poor Matrix sequels, many will come back to this film as a sign of their ability before the dollars became more important. That's the impression I get anyway, from the message boards, reviews and comments from proper critics. However, I rewatched this and tried to meet it on it's own terms rather than be coloured.
Of itself, it does the business quite effectively as a noir crime thriller. The plot is tough and, although not all that twisty, does easily engage and keep the audience pretty gripped. The lesbian stuff is done a little cynically I think - where do you draw the line between stuff that is required for us to know that the two are lovers, and the stuff that is titillation? I don't know, the film does it all very tastefully and it is not the film's fault that some sections of the audience will come to this film because it has a lesbian love scene in it. I acknowledge that it was done quite sexily and was part of the film, but the crime is the focus.
The brothers direct with great style - set mainly in a couple of flats, the film moves slickly around the place. Some shoot outs do reveal a style that was later used in the Matrix films (albeit on a sci-fi level). The slow-mo stuff is pretty good here and not overly used - little tricks like the shooting over the white paint added to the style of the film no end. Despite being bogged down in a story I believe they took too seriously, I don't think they need to prove themselves as directors - their films speak for themselves in that regard, and I do hope they get back in the saddle.
The cast is deep in talent but mostly they play it in the stereotypical characters of the genre. Tilly is a great moll, at first she appears to be the delicate flower of the film, but she is as much a femme fatale as Corky. Gershon is very sexy, despite being very glamorous for a supposedly butch ex-con; she plays her role well although I would have liked to see her become more of a fall guy towards the end, in true noir fashion - fooled by love! Pantoliano is enjoyable; his character may not have a lot of meat on it but Joe does very well with a powerful performance. Support from Meloni and Ryan is good even if they all fit the gangster clichés required by the script.
Overall this is an enjoyable genre film - no more and no less. The lesbian stuff is a nice twist on the usual formula but it isn't pushed enough to be classed as exploitative (although there's no doubt that the film gained audience as a result of the love scenes). The cast are good and the direction is stylish, making for a slickly enjoyable noir.
- bob the moo
- 13 mars 2004
- Lien permanent
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Détails
Box-office
- Budget
- 4 500 000 $ US (estimation)
- Brut – États-Unis et Canada
- 3 802 260 $ US
- Fin de semaine d'ouverture – États-Unis et Canada
- 900 902 $ US
- 6 oct. 1996
- Brut – à l'échelle mondiale
- 3 802 260 $ US
- Durée1 heure 49 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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What is the streaming release date of Liaisons interdites (1996) in Canada?
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