Les amants du Tage (1955)

Réalisateur:

Henri Verneuil

Scénaristes:

Jacques Companéez (writer)
Joseph Kessel (novel)

Date de sortie:

18 janvier 1955 (Portugal)

Genre:

Romance | Drame

Intrigue:

He is a French taxi driver in Lisbon carrying the scars of a wife's infidelity that ended in tragedy...

Plot Keywords:

Based On Novel

Avis des utilisateurs:

After seeing it once, I've been searching for this movie for forty-some years, hoping to find out if it is as good as I remember.this movie once,

Ensemble

Daniel Gélin	...	Pierre Roubier
Françoise Arnoul	...	Kathleen Dinver
Trevor Howard	...	Inspector Lewis
Marcel Dalio	...	Porfirio (as Dalio)
Amália Rodrigues	...	Amália
Jacques Moulières	...	Manuel (as Le petit Jacques Moulière)
Ginette Leclerc	...	Maria
Georges Chamarat	...	L'avocat (as Georges Chamarat, sociétaire de la Comédie Française)
Betty Stockfeld	...	Maisie
Jaime Santos
Aram Stephan
reste de la distribution par ordre alphabétique:
Artur Ramos	...	Government Officer

Autre(s) titre(s):

Lovers' Net
The Lovers of Lisbon (UK)

Durée:

123 min | Portugal:109 min (cut version)

Pays:

France

Langue:

Français

Couleur:

Noir et Blanc

Rapport de forme:

1,37 : 1

Son:

Mono

Classification:

Finland:K-16 | Sweden:15

Lieux de tournage:

Lisbon, Portugal

Société:

ECC

Anecdotes:

After cutting over 15% of the film's length, Portuguese censors passed the film in 1955, but conservative critics attacked it even so, for lacking production values and showing too much. Manuel Pina wrote: "The word 'love' should not be used relating to this film. Love is not sensuality. In this film, 'to love' means something else, that morality prevents us to speak about."

Connexions De Film:

figure dans The Art of Amália (2000)

After seeing it once, I've been searching for this movie for forty-some years, hoping to find out if it is as good as I remember.this movie once,

I saw "Les Amants du Tage" (though I could have sworn it was then "Port Something") sometime in the mid-1950s at one of the fleabag theatres on West 42nd Street in NYC. It was the lesser half of a double-bill with "The Light Across the Street," which introduced Brigitte Bardot (to me, at least) and which in my recollection was notable for nothing else.

In the mid-1950s I wasn't yet conditioned to accept as a hero a guy who in his opening scene blows two people away. By his closing scene, though, I was rooting for him and his girl and hoping they would somehow win out over the implacable force of destiny.

Very gripping little movie, deserving to be seen.