あらすじ
イヴォンヌは息子のミシェルが二十二歳になるというのに、まだ赤ん坊であるかのように愛している。ところがマドレーヌという美しい娘に会ったミシェ ルは、家族的団結から離脱する。この事を彼は母に告白すると、息子自慢のイヴォンヌは世界が引っくり返ったように大騒ぎする。彼女は承知せず、見たことの ないマドレーヌを、どろ棒だとわめき立てる。ミシェルの叔母レオは、甥くらいの年ごろの青年が恋をするのは当然で、父に相談するがいいという。ミシェルが 父のジョルジュに打明けると、図らずもやっ介な事になる。皮肉な運命のめぐり合わせで、マドレーヌこそはジョルジュが秘かに世話をしている囲い女なのであ る。レオは口実をこしらえてミシェルに座をはずさせ、こうなったからにはジョルジュが手をひくのが成行きだろうと、義兄にあきらめさせようとする。家族の 同意を得るためには、マドレーヌに会うのが早いと思ったミシェルは、家族全部でマドレーヌを訪れることを提議する。彼女の美しさと若さと淑やかさが、皆を 征服するに違いないからだ。落胆しているジョルジュに、この結婚をブチこわせばいい、マドレーヌを脅迫すればいいとレオはけしかける。彼女を断念し得ぬ ジョルジュは、ほかに若い恋人があると言えとマドレーヌに命じる。ミシェルがジョルジュの息子だという事に、気も転倒したマドレーヌは、涙ながらに言われ た通りに訪れた家族たちに言う。喜んだのはイヴォンヌだけでミシェルもマドレーヌも悲しむ。それを見るとレオは可哀想になって、私が引受けるから私を訪ね て来いとマドレーヌに言う。そしてジョルジュに向って中年男の卑しい欲望ゆえに、若い二人の幸福をぎせいにしては悪かろうというとエゴイストではあるが性 質は善良なジョルジュは、自分があきらめて身を引くと約束する。妻にも納得させることが出来るだろう、という次第で、マドレーヌは秘かにレオを訪ねて来 る。ジョルジュは悲嘆にくれている息子に、マドレーヌは不つり合な縁だと考えて、誤破算にするために前後の考えもなく、自分を責めるような事を口走ったの だと言い聞かせる。ミシェルはそれを半信半疑である。息子が嘆いてフランスを去ってしまうというので、半分気が狂って来ていたイヴォンヌは、マドレーヌを 見るとすっかり信じて有頂天に喜ぶミシェルの有様に、がっかりして皆をレオの部屋に残して、自分のベッドに倒れる。ミ...
クレジット
監督 (1)
俳優 (5)
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- 製作代表 : Les Films Ariane
- Film exports/foreign sales : STUDIO TF1 Distribution (ex-Newen Connect), Tamasa Distribution
- フランス国内配給 : Sirius
クレジットタイトル詳細 (17)
- シナリオライター : Jean Cocteau
- せりふ作者 : Jean Cocteau
- フォトディレクター : Michel Kelber
- 作曲家 : Georges Auric
- Assistant directors : Claude Pinoteau, Raymond Leboursier
- Editor : Jacqueline Sadoul
- 録音技師 : Antoine Archimbaud
- Costume designer : Marcel Escoffier
- 原作者 : Jean Cocteau
- Producers : Francis Cosne, Alexandre Mnouchkine
- 撮影技師 : Henri Tiquet
- スクリプト : Rosy Jégou
- 装飾 : Guy De Gastyne
- 美術部長 : Christian Bérard
- メイク : Boris De Fast
- ナレーター : Jean Cocteau
- スチールマン : Roger Corbeau
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技術面詳細
- タイプ : 長編映画
- ジャンル : フィクション
- サブジャンル : ドラマ, 文学作品翻案
- テーマ : 父性
- 言語 : フランス語
- その他の国の共同制作者 : フランス (100.0%)
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ニュース＆アワード
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About
Les Parents terribles is a 1948 film adaptation directed by Jean Cocteau from his own stage play Les Parents terribles. Cocteau used the same cast who had appeared in a successful stage revival of the play in Paris in 1946. The film has sometimes been known by the English title The Storm Within.
Background :
Cocteau's stage play Les Parents terribles was first produced in Paris in 1938, but its run suffered from a number of disruptions, first from censorship and then the outbreak of war. In 1946 it was revived in a production which brought together several of the actors for whom Cocteau had originally conceived their roles, notably Yvonne de Bray, Gabrielle Dorziat, and Jean Marais. Cocteau said that he wanted to film his play for three reasons. "First, to record the performances of incomparable actors; second, mingle with them myself and look them full in the face instead of seeing them at a distance on the stage. I wanted to put my eye to the keyhole and surprise them with a telescopic lens."
Production :
Cocteau made the important decision that his film would be strictly faithful to the writing of the play and that he would not open it out from its prescribed settings (as he had done in his previous adaptation, L'Aigle à deux têtes). He wrote no additional dialogue for the film, but substantially pruned the stage text, making the drama more concentrated. He did however reinvent the staging of the play for the camera, employing frequent boldly framed close-ups of his actors, and he made full use of a mobile camera to roam through the rooms of the apartment, emphasising the claustrophobic atmosphere of the setting. The translation from theatre to screen was a challenge which Cocteau relished: he wrote, "What is exciting about the cinema is that there is no syntax. You have to invent it as and when problems arise. What freedom for the artist and what results one can obtain!".
Another significant contribution to the atmosphere of the film was the art direction by Christian Bérard which filled the spaces of the apartment with objects and décor - awkward heavy furniture, piles of trinkets and ornaments, pictures crooked on the walls, unmade beds, and dust - which described the way in which the characters lived.
Cocteau refuted however the suggestion of some critics that this was a realist film, pointing out that he had never known any family like the one portrayed, and insisting that it was "painting of the most imaginative kind".
Filming took place between 28 April and 3 July 1948 at the Studio Francœur. Cocteau's assistant director was Raymond Leboursier, who was joined by Claude Pinoteau (uncredited).
At the time of shooting the final shot (where one sees the apartment receding into the distance), some insecure tracks for the camera produced a shaky image on the film. Rather than reshoot the scene, Cocteau made a virtue of the problem by adding the sound of carriage wheels on the soundtrack together with some words (spoken by himself) to suggest a deliberate effect: "And the caravan continued on its way. The gypsies do not stop." ["Et la roulotte continuait sa route. Les romanichels ne s'arrêtent pas."]
Critical reception :
When the film was first shown in France in December 1948, the critical reception of it was overwhelmingly favourable and Cocteau was repeatedly congratulated on having produced an original piece of cinema out of a work of the theatre: for example, "It is what one may rightly call pure cinema... The correspondence between image and text has never been so complete, so convincing".
André Bazin wrote a detailed review of the film in which he took up the idea of "pure cinema" and tried to analyse how Cocteau had succeeded in creating it out of the most uncinematic material imaginable. Bazin highlights three features which assist this transition. Firstly the confidence and harmony of the actors, who have previously played their roles together many times on stage and are able to inhabit their characters as if by second nature, allow them to maintain an intensity of performance despite the fragmentation of the film-making process. Secondly, Cocteau shows unusual freedom in his choice of camera positions and movements, seldom resorting to the conventional means of filming dialogue with reverse angle shots, and introducing close-ups and long shots with a sureness of touch that never disrupts the movement of the scene; the spectator is always placed in the position of a witness to the action (as in the theatre), rather than a participant, and even that of a voyeur, given the intimacy of the camera's gaze. Thirdly, Bazin notes the psychological subtlety with which Cocteau chooses his camera positions to match the responses of his 'ideal spectator'. He cites an example of the shot in which Michel tells Yvonne about the girl he loves, his face placed above hers and both facing the audience, just as they had done in the theatre; but in the film Cocteau uses a close-up which shows only the eyes of Yvonne below and the speaking mouth of Michel above, concentrating the image for the greatest emotional impact. In all of these aspects, the theatricality of the play is preserved but intensified through the medium of film.
Cocteau himself came to regard Les Parents terribles as his best film, at least from a technical point of view. This opinion has frequently been endorsed by later critics and historians of cinema.
Source : Wikipedia
