Lors d'un pique-nique estival à la campagne, quelques élèves et une enseignante disparaissent sans laisser une trace. Leur absence hante ceux qu'elles ont laissé derrière.Lors d'un pique-nique estival à la campagne, quelques élèves et une enseignante disparaissent sans laisser une trace. Leur absence hante ceux qu'elles ont laissé derrière.Lors d'un pique-nique estival à la campagne, quelques élèves et une enseignante disparaissent sans laisser une trace. Leur absence hante ceux qu'elles ont laissé derrière.
- Réalisation
- Scénario
- Casting principal
- Victoire aux 1 BAFTA Award
- 4 victoires et 11 nominations au total
Anne-Louise Lambert
- Miranda St Clare - Pupil
- (as Anne Lambert)
Tony Llewellyn-Jones
- Tom - College Staff
- (as Anthony Llewellyn-Jones)
Histoire
Le saviez-vous
- AnecdotesRussell Boyd reportedly enhanced the film's diffuse and ethereal look with the simple technique of placing a piece of bridal veil over the camera lens.
- Gaffes14 February 1900 was a Wednesday, not a Saturday. While this seems to be a factual error, it could be a subtle hint that this is a fictional story.
- Versions alternativesThe Director's Cut released in 1998 (available on Criterion DVD) is seven minutes shorter than the original version.
- ConnexionsEdited into Picnic at Wolf Creek (2006)
- Bandes originalesEine Kleine Nachtmusik, 2nd Movement
Written by Wolfgang Amadeus Mozart
Commentaire à la une
I first saw PAHR while in high school, and it was the beginning of a long and drawn-out love affair with the film. The look, feel and sound of it drew me in at once, and the open-endedness of it appealed to my romantic teenage notions, striking me as being terribly, terribly profound. I searched out the book, and the sequel (both out of print in the US) and had a good long obsession over the film.
Years later, I still appreciate it deeply, but I realize now that if I were to see it for the first time today, I might not be quite so entranced. Yes, it is moody and beautiful, full of deliciously gossamar images, beautiful actresses, a haunting soundtrack, and a hypnotically slow and deliberate pace... but I can now see that it is a very youthful effort on Wier's part. It is decidedly a young director's film, firmly mired in the style of its era (the 70s). The heavy-handedness of the direction is evident in many ways, mostly in the repeated metaphors of Miranda as a swan, an angel, etc.... It has anachronistic costumes, makeup and hair, although the sets design is attractive and accurate enough.
However, let it be noted that the film is far more about symbolism and atmosphere than anything else, and on that front, it succeeds admirably. Among the highlights:
The repressed Victorian schoolgirls, whose burgeoning sexual longings are channeled into torrid, purple verse and close romantic friendships
The famous corset-lacing scenelet
The implied relationship between Mrs. Appleyard and the "masculine" Miss McCraw
The disappearance of only the "pure": Miranda (love), Marion (science), Miss McCraw (math), and the rock's rejecting Edith (gluttony), Irma (worldliness), and all men.
One might go on about the sexual imagery of the rock itself, with its monoliths and chasms, but I will refrain. Because after you've seen the movie, you realize how many times these things have been hammered into your head.
I still love this film dearly, despite the obviousness of it all. I wish that a soundtrack were available, as the original music is lovely. If you know a teenager, or are one, this is the movie for you. May your love affair with it go on as long as mine.
Years later, I still appreciate it deeply, but I realize now that if I were to see it for the first time today, I might not be quite so entranced. Yes, it is moody and beautiful, full of deliciously gossamar images, beautiful actresses, a haunting soundtrack, and a hypnotically slow and deliberate pace... but I can now see that it is a very youthful effort on Wier's part. It is decidedly a young director's film, firmly mired in the style of its era (the 70s). The heavy-handedness of the direction is evident in many ways, mostly in the repeated metaphors of Miranda as a swan, an angel, etc.... It has anachronistic costumes, makeup and hair, although the sets design is attractive and accurate enough.
However, let it be noted that the film is far more about symbolism and atmosphere than anything else, and on that front, it succeeds admirably. Among the highlights:
The repressed Victorian schoolgirls, whose burgeoning sexual longings are channeled into torrid, purple verse and close romantic friendships
The famous corset-lacing scenelet
The implied relationship between Mrs. Appleyard and the "masculine" Miss McCraw
The disappearance of only the "pure": Miranda (love), Marion (science), Miss McCraw (math), and the rock's rejecting Edith (gluttony), Irma (worldliness), and all men.
One might go on about the sexual imagery of the rock itself, with its monoliths and chasms, but I will refrain. Because after you've seen the movie, you realize how many times these things have been hammered into your head.
I still love this film dearly, despite the obviousness of it all. I wish that a soundtrack were available, as the original music is lovely. If you know a teenager, or are one, this is the movie for you. May your love affair with it go on as long as mine.
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Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- Picnic en Hanging Rock
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 440 000 $AU (estimé)
- Montant brut aux États-Unis et au Canada
- 83 212 $US
- Week-end de sortie aux États-Unis et au Canada
- 27 492 $US
- 28 juin 1998
- Montant brut mondial
- 148 143 $US
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By what name was Pique-nique à Hanging Rock (1975) officially released in India in English?
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