Secret Beyond the Door... (1948)

Réalisateur:

Fritz Lang

Writers:

Rufus King (story)
Silvia Richards (screenplay)

Release Date:

1 janvier 1948 (USA)

Genre:

Drame | Film-Noir | Mystery | Thriller

Plot:

In this Freudian version of the Bluebeard tale, a young, trust-funded New Yorker goes to Mexico on vacation...

Plot Keywords:

Locked Door | Woman In Jeopardy | Secret Room | Room | Lilacs

Avis des utilisateurs:

Staggering and sublime.

Ensemble

Joan Bennett	...	Celia Lamphere
Michael Redgrave	...	Mark Lamphere
Anne Revere	...	Caroline Lamphere
Barbara O'Neil	...	Miss Robey
Natalie Schafer	...	Edith Potter
Paul Cavanagh	...	Rick Barrett
Anabel Shaw	...	Intellectual Sub-Deb
Rosa Rey	...	Paquita
James Seay	...	Bob Dwight
Mark Dennis	...	David

Autre(s) titre(s) :

Secret Beyond the Door (USA) (alternative spelling)
Secret au-delà de la porte, Le (Belgium: French title) [fr]
Secret derrière la porte, Le (France) [fr]

Durée:

99 min

Pays:

USA

Langue:

Anglais

Couleur:

Noir et Blanc

Aspect Ratio:

1.37 : 1

Son:

Mono (Western Electric)

Classification:

Finland:K-16 | USA:Approved (PCA #12621)

Company:

Diana Production Company

Connexions De Film:

References Rebecca (1940)

Staggering and sublime.

This has been variously called campy, kitsch, rubbish; I think that, along with 'Rancho Notorious', it is Lang's greatest American film (and therefore A great American film). In a decade of male-dominated film noir, Celia Lamphere (loaded name), like the second Mrs. de Winter and Dr. Constance Peterson, must play detective to save her relationship and her life.

Lang uses the trappings of psychoanalysis throughout, promising enlightenment and healing - a large narrative gap, as Mark chases Celia, puts paid to that: this is a pessimistic anti-Freudian film.

It is also one of the most beautiful films I've ever seen - its atmosphere of dream, its cunning use of architecture and space, its complex sexuality, its trance-like narration, its ellipses, angles and shadows, remind me variously of L'Herbier, Dreyer, Resnais, Antonioni, Molly's soliloquy in Strick's 'Ulysses', Perec's 'the Man who Sleeps'. It is a rare Hollywood art-movie, and there's nothing like it.