The Elephant Man (1980)

Note des utilisateurs:

8.4/10   

Réalisateur:

David Lynch

Writers:

Christopher De Vore (screenplay) &
Eric Bergren (screenplay) ...
(suite)

Release Date:

10 octobre 1980 (USA)

Genre:

Biographie | Drame | History

Accroche:

I am not an animal! I am a human being! I...am...a man!

Plot:

A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.

Plot Keywords:

Freak | 19th Century | Dignity | Period Drama | Expressionism

Awards:

Nominated for 8 Oscars. Another 8 wins & 13 nominations

Avis des utilisateurs:

other worldly

Ensemble

Anthony Hopkins	...	Frederick Treves
John Hurt	...	John Merrick
Anne Bancroft	...	Mrs. Kendal
John Gielgud	...	Carr Gomm
Wendy Hiller	...	Mothershead
Freddie Jones	...	Bytes
Michael Elphick	...	Night Porter
Hannah Gordon	...	Mrs. Treves
Helen Ryan	...	Princess Alex
John Standing	...	Fox
Dexter Fletcher	...	Bytes' Boy
Lesley Dunlop	...	Nora
Phoebe Nicholls	...	Merrick's Mother
Pat Gorman	...	Fairground Bobby
Claire Davenport	...	Fat Lady
Orla Pederson	...	Skeleton Man
Patsy Smart	...	Distraught Woman
Frederick Treves	...	Alderman
Stromboli	...	Fire Eater
Richard Hunter	...	Hodges
James Cormack	...	Pierce
Robert Lewis Bush	...	Messenger (as Robert Bush)
Roy Evans	...	Cabman
Joan Rhodes	...	Cook
Nula Conwell	...	Nurse Kathleen
Tony London	...	Young Porter
Alfie Curtis	...	Milkman
Bernadette Milnes	...	1st Fighting Woman
Brenda Kempner	...	2nd Fighting Woman
Carol Harrison	...	Tart (as Carole Harrison)
Hugh Manning	...	Broadneck
Dennis Burgess	...	1st Committee Man
Fanny Carby	...	Mrs. Kendal's Dresser
William Morgan Sheppard	...	Man In Pub (as Morgan Sheppard)
Kathleen Byron	...	Lady Waddington
Gerald Case	...	Lord Waddington
David Ryall	...	Man With Whores
Deirdre Costello	...	1st Whore
Pauline Quirke	...	2nd Whore
Kenny Baker	...	Plumed Dwarf
Chris Greener	...	Giant
Marcus Powell	...	Midget
Gilda Cohen	...	Midget
Lesley Scoble	...	Siamese Twin (as Lisa Scoble)
Teri Scoble	...	Siamese Twin
Eiji Kusuhara	...	Japanese Bleeder
Robert Day	...	Little Jim
Patricia Hodge	...	Screaming Mum
Tommy Wright	...	First Bobby
Peter Davidson	...	Second Bobby
John Rapley	...	King In Panto
Hugh Spight	...	Puss In Panto
Teresa Codling	...	Princess In Panto
Marion Betzold	...	Principal Boy
Caroline Haigh	...	Tree
Florenzio Morgado	...	Tree
Victor Kravchenko	...	Lion / Coachman
Beryl Hicks	...	Fairy
Michele Amas	...	Horse
Lucie Alford	...	Horse
Penny Wright	...	Horse
Janie Kells	...	Horse
Lydia Lisle	...	Merrick's Mother
reste de la distribution par ordre alphabétique:
Eric Bergren	...	Lyra Box Player #1 (uncredited)
Adam Caine	...	Kid at Train Station (uncredited)
Christopher De Vore	...	Lyra Box Player #2 (uncredited)
Harry Fielder	...	Police man (uncredited)

Réalisé par
David Lynch

Scénaristes
Christopher De Vore		(screenplay) &
Eric Bergren		(screenplay) &
David Lynch		(screenplay)
Sir Frederick Treves		book "The Elephant Man and Other Reminiscences" and
Ashley Montagu		book "The Elephant Man: A Study in Human Dignity"

Produit par
Stuart Cornfeld	....	executive producer
Jonathan Sanger	....	producer
Mel Brooks	....	executive producer (uncredited)

Musique originale
John Morris

Image
Freddie Francis		(director of photography)

Montage
Anne V. Coates

Distribution des rôles
Maggie Cartier

Création des décors
Stuart Craig

Direction artistique
Robert Cartwright		(as Bob Cartwright)

Décorateur de plateau
Hugh Scaife

Création des costumes
Patricia Norris

Maquillage
Paula Gillespie	....	hairdressing
Stephanie Kaye	....	hairdressing
Beryl Lerman	....	makeup artist
Michael Morris	....	makeup artist
Wally Schneiderman	....	makeup application: 'Elephant Man'
Wally Schneiderman	....	makeup supervisor
Christopher Tucker	....	makeup creator: 'Elephant Man'
Christopher Tucker	....	makeup designer: 'Elephant Man'

Directeur de production
Terence A. Clegg	....	executive in charge of production

Assistant réalisateur
Gerry Gavigan	....	second assistant director
Anthony Waye	....	assistant director

Art Department
Reg Richards	....	construction manager
Terry Wells	....	property master
John Roberts	....	set designer (uncredited)
Adrian Start	....	chargehand painter (uncredited)

Technicien du son
Robin Gregory	....	sound mixer
Peter Horrocks	....	sound editor
John Iles	....	engineer: Dolby
David Lynch	....	sound designer
Alan Splet	....	sound designer
Alan Splet	....	special sound effects
Doug E. Turner	....	dubbing mixer (as Doug Turner)
Terry Sharratt	....	boom operator (uncredited)

Effets spéciaux
Graham Longhurst	....	special effects
Neil Corbould	....	special effects (uncredited)
Paul Corbould	....	special effects (uncredited)
Martin Gutteridge	....	special effects supervisor (uncredited)
Garth Inns	....	special effects (uncredited)

Camera and Electrical Department
Frank Connor	....	still photographer
Jim Dawes	....	dolly grip
Jerry Dunkley	....	camera operator
Roy Larner	....	gaffer
Wick Finch	....	electrician (uncredited)
John Matthews	....	best boy (uncredited)

Costume and Wardrobe Department
Tiny Nicholls	....	wardrobe supervisor

Editorial Department
Patrick Moore	....	assistant editor

Music Department
Jack Hayes	....	orchestrator
John Morris	....	conductor

Transportation Department
Brian Hathaway	....	transportation
Gerry Turner	....	transportation

Divers
Randy Auerbach	....	researcher
Ceri Evans	....	continuity
Graham Ford	....	location manager
Loretta Ordewer	....	production secretary
John Trehy	....	production accountant
Ellen Adolph	....	manager of production accounting (uncredited)

Production Companies

• Brooksfilms

Distributors

• Paramount Pictures (1980) (USA) (theatrical)
• Greater Union Organisation (GUO) (1980) (Australia) (theatrical)
• National Broadcasting Company (NBC) (1986) (USA) (TV) (pan/scan)
• Paramount Home Video (199?) (USA) (VHS) (pan/scan)
• Momentum Pictures (2007) (UK) (DVD) (HD DVD)
• Paramount Home Video (2003) (USA) (DVD)
• Paramount Home Video (USA) (laserdisc)
• RCV Home Entertainment (2001) (Netherlands) (DVD)
• Sandrew Film & Teater (1981) (Sweden) (theatrical)
• Sandrews (2001) (Sweden) (DVD)
• Sandrews (2007) (Sweden) (DVD)
• Universal Home Video (2006) (Brazil) (DVD)
• Universal Pictures Benelux (2007) (Netherlands) (DVD) (HD DVD)
• Universal Pictures Nordic (2009) (Sweden) (DVD)
• VTI Home Vídeo (19??) (Brazil) (VHS)
• Warner Home Video (2007) (Sweden) (DVD) (HD DVD)
• Zazie Films (2004) (Japan) (theatrical)

Technicien des effets spéciaux

• Effects Associates (uncredited)

Other Companies

• Delta Sound Services  sound re-recording
• Dolby Laboratories  sound post-production
• Lee Lighting  grip and lighting equipment (uncredited)
• National Philharmonic Orchestra  music played by
• Panavision UK  camera equipment provided by
• Rank Film Laboratories  processing by

Autre(s) titre(s):

Elephant Man (France) [fr]
L'homme éléphant (Canada: French title) [fr]

Durée:

124 min

Pays:

USA

Langue:

Anglais

Couleur:

Noir et Blanc

Aspect Ratio:

2.35 : 1

Son:

Dolby

Classification:

Portugal:M/12 | Iceland:LH | Italy:VM14 | Spain:T | USA:PG (Approved No.26063) | Denmark:11 | Israel:PG | Netherlands:12 | South Africa:PG | Argentina:13 | Chile:14 | Brazil:10 | Australia:M | Canada:13+ (Quebec) | Canada:14A | Finland:K-16 | Ireland:12 | Norway:16 (original rating) | Singapore:PG | South Korea:15 | Sweden:15 | UK:AA (original rating) | UK:PG (video rating) | West Germany:12

Emplacements De Pelliculage:

Broadgate, London, England, UK

Company:

Brooksfilms

Anecdotes:

The writers based this film on the memoirs of Dr. 'Frederick Treves' as well as other true accounts, but avoided the play by Bernard Pomerance. The true name of the Elephant Man was not John Merrick as most believe, but Joseph Carey Merrick. Merrick was born in Leicester, England on August 5, 1862, and died in the Royal London Hospital on April 11, 1890, at the age of 27. When Dr. Treves wrote his memoir, he referred to him as John. His handwritten manuscript reveals that Treves knew that Merrick's name was Joseph, and deliberately crossed out Joseph and replaced it with John. Merrick's surviving correspondence shows he signed his name as Joseph, and contemporary newspaper articles about his case refer to him by his correct name. Why Treves changed his name to John is unknown.

Goofs:

Factual errors: In reality, John Merrick's real name was Joseph Carey Merrick.

Guillemet:

[first lines]
Skeleton Man: Get rid of them! I don't want to see them!
Fat Lady: Darling, don't be difficult! Let's take our sweet lovely children on an outing.

Movie Connections:

Referenced in You Think You Really Know Me: The Gary Wilson Story (2005)

Soundtrack:

Adagio For Strings

other worldly

Between the surreal dystopia of Eraserhead and the artistic immobility of Dune, and before critics labeled him as the auteur of Weird America with permanent marker, David Lynch directed this strange but true story set in London, England during the late 1800's. Being one of only two films of his to be based on fact it is far less of a personal work than those generated by the director himself. Despite his sensibilities being contained in a more formal framework his unique aural and visual style (like the sound of blowing wind or the peculiar emphasis of the industrial machinery of the period)clearly comes across, although it's a far cry from the narrative conundrums that comprise Eraserhead, Lost Highway, or Mulholland Dr.

The year before this film was released Bernard Pomerance's play opened on Broadway. This film is not based upon the former work and the latter takes a dramatically divergent path with its namesake subject. One of the most substantial is Merrick's role in his adoptive society once his carnival career is truncated. Pomerance's tale is a tragic one showing us how Merrick becomes caught in the machinery of the repressive and hypocritical society that cultivates him, tempting him with the illusion of normality with the artificial world they erect around him, but ultimately imprisoning him within it. The film depicts Victorian society as a benevolent sanctuary for a man, who while given the props to model himself after the normality he aspires to, is never deceived into thinking he can achieve it beyond his imagination. Merrick's own realization of this is clear in a scene (hauntingly scored by composer John Morris)where he asks his caretaker Treeves if he can cure him. Treeves' reply is no. Merrick's response is of a man who knew the answer all along but still allows himself the indulgence to dream.

Treeves' struggles are similarly reduced. The closest he comes in the film to questioning his motives concerning Merrick is a brief scene where he asks his wife (and audience) if his seemingly charitable act of taking Merrick from his sideshow squalor was possibly something other than altruistic. Pomerance has Treeves questioning the artificial social fabric that's been woven around Merrick and his undeniable complicity in it. The screenwriters seem less concerned with tackling these Victorian dilemmas than focusing on the beauty in the beast theme. Considering Lynch's fascination with organic phenomena this focus seems much more up his alley. In his words Lynch has stated that the eponymous title character is "this beautiful soul trapped in this horrible body and that's what the whole film is about." Yes siree Bob.

Much less effective in the film is the role of the actress Madge Kendall who's really nothing more than a walk on by Anne Bancroft. There is some(even subtly sexual)awkwardness between Merrick and Kendall at the beginning of their meeting together but it ultimately winds up with a scene that feels patronizing towards Merrick and mawkish. It doesn't fit with the earlier tension and Kendall never becomes anything more than a well acted cameo. Much more effective is Merrick's ability to retain the power to disturb the bourgeois society that flocks to see him once he becomes that season's fashionable curiosity. His transformation into a gentrified version of his erstwhile sawdust and calliope music carnival persona still has the same effect on others. In one scene he is serving tea to a noticeably unnerved aristocratic couple who are guests of his. Their cups rattle against their saucers in barely restrained horror as he discusses his mother's beauty in the context of his own deformity. His cherished portrait of his mother becomes an eerily recurring visual motif. She remains a mysterious presence frozen in time. The conflation of Merrick and his mother recalls a line heard early in the film that "life is full of surprises."

Merrick's background remains equally enigmatic. The only glimpse we see of his past are some creepily abstract images during one of his nightmares. Even his beginnings are fictionalized as part of the sideshow spiel recited by his owner Bytes. Treeves' first view of the elephant man is in a private showing by Bytes. He is led down a dark corridor to a room where the terrible freak is kept concealed behind a curtain. Only the flames of a gas lamp illuminate the darkness. Bytes spins a tale of a terrifying encounter between woman and elephant while Treeves stares, mouth agape. The scene has a strange Lynchian spookiness about it.

The costume and production design authentically breathe life into the Victorian era while Freddie Francis' expressionistic monochrome adds both verisimilitude and a sense of an alternative world. These elements together with Lynch's use of both nightmarish and chimerical images, an other worldly atmosphere, pathos and sentiment, make the film a sort of Charles Dickens tale wrapped inside The Twilight Zone with the ethereal touch of a haunting dream. The past a la Lynch.