L'Anglais

Titre original : The Limey

NOTE IMDb

6,9/10

36 k

MA NOTE

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Dark Comedy Crime Drama Mystery Thriller

Un Anglais extrêmement instable et dangereux se rend à Los Angeles pour retrouver l'homme qu'il considère comme responsable de la mort de sa fille.Un Anglais extrêmement instable et dangereux se rend à Los Angeles pour retrouver l'homme qu'il considère comme responsable de la mort de sa fille.Un Anglais extrêmement instable et dangereux se rend à Los Angeles pour retrouver l'homme qu'il considère comme responsable de la mort de sa fille.

Voir les informations de production sur IMDbPro

NOTE IMDb

6,9/10

36 k

MA NOTE

Voir les informations de production sur IMDbPro

Récompenses
- 1 victoire et 9 nominations au total

Ed
(as Luis Guzman)

Barry Newman

Avery

Joe Dallesandro

Uncle John
(as Joe Dallessandro)

Nicky Katt

Stacy

Amelia Heinle

Adhara

Melissa George

Jennifer

William Lucking

Warehouse Foreman

Matthew Kimbrough

John Robotham

Rick

Steve Heinze

Larry

Nancy Lenehan

Lady on Plane

Wayne Pére

Pool Hall Creep
(as Wayne Péré)

John Cothran

DEA Guy
(as John Cothran Jr.)

Ousaun Elam

DEA Guy
(as Ousan Elam)

Dwayne McGee

DEA Guy

Réalisation
- Steven Soderbergh
Scénario
- Lem Dobbs
Toute la distribution et toute l’équipe technique
Production, box office et plus encore chez IMDbPro

Histoire

Modifier

Le saviez-vous

Modifier

Anecdotes
Footage from the 1967 film Pas de larmes pour Joy (1967) (Ken Loach's directorial debut) is featured as flashbacks of Wilson (Terence Stamp) with his baby daughter and wife.

Gaffes
When Wilson and Elaine return to her apartment after she finishes work on the film set, in the first two shots of them driving into the garage, Wilson's car has no damage on the side from the previous car chase sequence. However, in the rest of the scene, where the car is parked, the damage on the side of the car is there again.

Citations
Wilson: How you doin' then? All right, are you? Now look, squire, you're the guv'nor here, I can see that. I'm in your manor now. So there's no need to get your knickers in a twist. Whatever this bollocks is that's going down between you and that slag Valentine, it's got nothing to do with me. I couldn't care less. Alright, mate? Let me explain. When I was in prison - second time - uh, no, telling a lie, third stretch, yeah, third, third - there was this screw what really had it in for me, and that geezer was top of my list. Two years after I got sprung, I sees him in Holland Park. He's sittin' on a bench feedin' bloody pigeons. There was no-one about, I could've gone up behind him and snapped his fuckin' neck, *wallop!* But I left it. I could've knobbled him, but I didn't. 'Cause what I thought I wanted wasn't what I wanted. What I thought I was thinkin' about was something else. I didn't give a toss. It didn't matter, see? This berk on the bench wasn't worth my time. It meant sod-all in the end, 'cause you gotta make a choice: when to do something, and when to let it go. When it matters, and when it don't. Bide your time. That's what prison teaches you, if nothing else. Bide your time, and everything becomes clear, and you can act accordingly.

Connexions
Edited from Pas de larmes pour Joy (1967)

Bandes originales
The Seeker
Performed by The Who
Written by Pete Townshend
Published by Windswept Pacific Songs o/b/o Towser Tunes, Inc./ABKCO Music, Inc./Fabulous Music Limited
Courtesy of MCA Records/Polydor Limited
Under license from EMI Music Special Markets

Avis des utilisateurs289

Commenter

Commentaire à la une

9/10

Stylish and Entertaining

The first time I saw this movie, I hated it. Then, 10 years later, I gave it another try when I saw that Soderbergh was the director. I'm really glad I did.

Some of the scenes are hard to believe. Like the warehouse scene. Why would he walk into that so unprepared? In the real world, they would have just killed him, but then the movie would have only been 20 minutes long. This was the scene that caused me to hate the movie when I first saw it. But this time I overlooked it.

What moved me on the second watching was the subtlety and the sadness in the movie. You feel the sadness of him not being able to be with his daughter as she grew up.

As for Peter Fonda, he's just annoying. The way he's cleaning his teeth with the toothpick, and the annoying conversations he has with his girlfriend are pathetic and painful to watch. But maybe thats the point. Also, the two pool-playing hit men are annoying and Soderbergh attempts to make them interesting is a little over-elaborate. Like the scene where the one guy is talking to trash about all the actors and extras as he watches the movie set.

But the scene with the DEA agent at the end accidentally slipping the file to Wilson was an interesting scene. Wilson's whole speech there was pretty interesting when he tells the DEA agent - I think we're after the same thing. But again, a little hard to believe that the DEA agent is just gonna let him go after Fonda. Like they wouldn't have shown a picture of Wilson to the witness from the warehouse shooting. At which point, the witness would ID Wilson, and Wilson gets arrested. But no, the DEA is gonna let him go after Fonda, and then after all the dead bodies pile up at Big Sur, they're gonna let him fly out of the country. Yeah right. Again, pretty hard to believe.

So, while I think this is a flawed movie from a plot believability standpoint, it still has many interesting and poignant scenes, and I was able to overlook the flaws because I was entertained and riveted throughout the movie.