Le salaire de la peur (1953)

Calificación de los usuarios:

8.3/10   

Director:

Henri-Georges Clouzot

Escritores:

Georges Arnaud (novel)
Henri-Georges Clouzot (writer)

Fecha de Lanzamiento:

16 febrero 1955 (USA)

Género:

Acción | Drama | Suspenso

Frase comercial:

The complete restored version of the 1953 French classic [reissue]

Plot:

In a decrepit South American village, men are hired to transport an urgent nitroglycerine shipment without the equipment that would make it safe.

Plot Keywords:

Oil | Truck | Road | Nitroglycerine | Jungle

Premios:

Won BAFTA Film Award. Another 5 wins

Comentarios de los usuarios:

One of the greatest movies ever made

Reparto

Yves Montand	...	Mario
Charles Vanel	...	M. Jo
Folco Lulli	...	Luigi
Peter van Eyck	...	Bimba (as Peter Van Eyck)
Véra Clouzot	...	Linda (as Vera Clouzot)
William Tubbs	...	Bill O'Brien
Darío Moreno	...	Hernandez (as Dario Moreno)
Jo Dest	...	Smerloff
Antonio Centa	...	Camp Chief (as Centa)
Luis De Lima	...	Bernardo
Grégoire Gromoff
Joseph Palau-Fabre
Faustini
Seguna
Darling Légitimus		(as Miss Darling)

También conocida como:

The Wages of Fear (UK) (USA)
Il salario della paura (Italy) (alternative title)
Vite vendute (Italy)
El salario del miedo (Argentina) (Spain) [es]

Duración:

131 min | France:156 min | 148 min (director's cut)

País:

France | Italy

Idioma:

Francés | Inglés | Español | Alemán | Italiano | Ruso

Color:

Negro y Blanco

Relación de Aspecto:

1.37 : 1

Sonido:

Mono (Western Electric)

Clasificación:

Australia:M | Canada:14+ (Ontario) | Finland:K-18 (DVD rating) | South Korea:12 (2004) | Finland:K-16 | Sweden:15 | West Germany:16 | UK:PG | Norway:16

Locaciones de Filmación:

Bouches-du-Rhône, France

Compañía:

Compagnie Industrielle et Commerciale Cinématographique (CICC)

Trivialidades:

Henri-Georges Clouzot originally planned on shooting the film in Spain, but Yves Montand and his wife, Simone Signoret, refused to work in Spain as long as fascist dictator Francisco Franco was in power. Filming took place instead in the south of France, near Saint-Gilles, in the Camargue. The village seen in the film was built from scratch.

Errores:

Continuidad: Near the end of the film, when Jo is leaning against Mario in the cab of the truck, the oil smear on Mario's right cheek changes between shots.

Citas:

Bill O'Brien: The Hell with the Union! There's plenty of tramps in town, all volunteers. I'm not worried. To get that bonus, they'll carry the entire charge on their backs.
Bradley: You mean you're gonna put those bums to work?
Bill O'Brien: Yes, Mr. Bradley, because those bums don't have any union, nor any families. And if they blow up, nobody'll come around bothering me for any contribution.

Conexiones de Película:

Referenced in "Mystery Science Theater 3000: Boggy Creek II: And the Legend Continues (#11.6)" (1999)

One of the greatest movies ever made

This movie is astonishing, a gritty story filmed in an ultra-real style that relies simply on the beauty of lighting and film to achieve its stunning effects. It seems from another world, which in a way, it is. The acting is superb: Montand's Mario is full of jerky movements and intense impulses but always maintains his Gallic savoir-faire, while Charles Vanel as Jo brings, at first at least, a type of macho to the screen that modern movie-makers simply do not comprehend. The rest of the cast, especially the camp chief, Luigi, and Peter van Eyck as Bimba are incredible, as is Vera Clouzot who is incomprehensibly but believably upbeat and innocent - and totally gorgeous - in the midst of the hellhole of a town they're all stuck in. Clouzot's directing is flawless - I don't think anyone has ever squeezed more tension with just a few essential scene elements. The trucks wheeze and grunt as well as they ever have in the movies - the only comparison is Spielberg's early gem, "The Duel", but Clouzot's automotive cinematics outdo even Spielberg. The stripped down existentialism of the characters, the starkness of their shared dilemma, the grim and grimy scenery, and the cinematography itself are all of a piece. The latter is what elevates this movie to the very top rank, including some of the most dramatic and effective black and white shooting I've ever seen. Yet it never becomes mannered or gratuitous - it is orchestrated with the rise - and rise! - of tension in the film. The final scene takes on a surreal as opposed to ultra-realistic quality that has its own logic. One last word about the acting - we don't see anything like it anymore. The self-conscious mannerism of method acting (which has had its own triumphs) and the toxic awareness of everyone from the actors to the audience, the camera, directors, etc. that each actor is a celebrity and potential artiste, has ruined that conviction that actors were once larger than life people before they went on-screen, that they came to acting as an outcome of living rough, unadorned, and yet imaginative lives as opposed to shooting for fame and fortune and celebrity within an artificial corporate star-making incubator.