Votre navigateur ne prend pas en charge les tags vidéos. SD DVD coffret 2 DVD DVD 1 La bataille du rail 1946, 1h23 - Film remasterisé et restauré en haute définitionAvec Jean Daurand, Jacques Desagneaux, Jean ClarieuxPendant la seconde guerre mondiale, des travailleurs du rail s'activent dans l'ombre pour lutter contre l'Occupation allemande au péril de leur vie renseignements, transports clandestins, sabotages... En juin 1944, alors que le Débarquement vient d'avoir lieu, la lutte menée par le réseau Résistance-Fer s'intensifie. Athos, chef d'une gare de triage, et son adjoint Camargue vont tout mettre en oeuvre, avec l'aide de nombreux cheminots, pour ralentir l'avancée des renforts allemands vers la 2 Les compléments - plus de 3h00 La bataille du rail du réalisme au légendaire 2010 - 33minPrésentation du film par Sylvie Lindeperg, du rail de René Clément 1943 - 16minDans ce court métrage, inédit depuis 1944, René Clément retrace les 24 heures de la vie d'un chauffeur de locomotive et d'un mécanicien sur la ligne avec Henri Alekan 1986 - 7minExtrait de Alekan la mémoire ou des histoires de cinéma de Michel Dumoulin, portrait du chef opérateur de La bataille du rail et de Ceux du cheminot parmi les autres 1945 - 2min30Sujet des Actualités françaises sur les obsèques de Pierre Sémart, cheminot dossiers de l'écran 1969 - 1h33Autour de La bataille du rail, débat et témoignages des grandes figures de la Résistance 20 pages Photos de tournage, affiches, story-board, Français DD image 133 - Noir & BlancCoffret 2 DVD Pal Zone 2 Lire la suite cheminots - Clément René - Néo-réalisme - reconstitution historique - résistance - Resistance - seconde guerre mondiale Le DVD 24,99 € Paiement sécurisé

Premiergrand film sur la Résistance (initialement un court commandé par le Conseil National de la Résistance), la Bataille du Rail montre l'héroïsme des cheminots pendant l'occupation Nazie, et les différentes actions de sabotage qu'ils mirent en place.

Cast & crewUser reviews201920191h 22mFranck Pierre Lottin, an all-time squatter, finds himself in a complicated trade-off sell coke for his friend Malik Yasmin Houicha in exchange for a place to sleep. The problem is, Fran... Read allFranck Pierre Lottin, an all-time squatter, finds himself in a complicated trade-off sell coke for his friend Malik Yasmin Houicha in exchange for a place to sleep. The problem is, Franck is no dealer, he even never took coke. Between his slip-ups, the meeting of a dealer, a... Read allFranck Pierre Lottin, an all-time squatter, finds himself in a complicated trade-off sell coke for his friend Malik Yasmin Houicha in exchange for a place to sleep. The problem is, Franck is no dealer, he even never took coke. Between his slip-ups, the meeting of a dealer, a real one Clara Ponsot and his colourful clients, the night is going to be long for our ... Read allSee production, box office & company infoSee more at IMDbProPhotosMore like thisReview5/10 Funny title,but the movie is less so...Borrowing its title from a classic by René Clément depicting the railroad men 's resistance fighting in WW2,1945 this battle is a horse of a different color. "rail " here does not mean "railroad" but "line" ,to be precise "coke line" .The hero is dealer for one night ,to help his pal who's sick .All happens in the short space of one night ,and there are pretty photos of underground Paris by night; Pierre Lottin is good as a clueless dealer but his character is a bit hollow ;sex scenes are wishes there were more humor; "Paulette " starring Bernadette Laffont as a shameless old lady turned dealer was more fun to watch. This one is pleasant but ,although short,drags on a 24, 2021Related newsContribute to this pageSuggest an edit or add missing contentWhat is the English language plot outline for La bataille du rail 2019?AnswerMore to exploreBack to topRecently viewedYou have no recently viewed pages

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Border Crossings Placing René Clément’s La Bataille du rail La Bataille du Rail 1946 France 85 mins Source ACMI Collections Prod Co CGCF Prod, Dir René Clément Scr René Clément and Colette Audry, based on stories told to Audry by members of the Resistance Phot Henri Alekan Ed Jacques Desagneaux Mus Yves Baudrier Cast Marcel Barnault, Jean Clarieux, Jean Daurand, Jacques Desagneaux, François Joux, Pierre Latour, Redon René Clément was once one of the brightest hopes of French cinema, an innovator who seemed at the vanguard of a new realism. Like Rouben Mamoulian – an innovator of forms within Hollywood’ whose work has also unjustly suffered critical neglect – Clément’s star has waned significantly since the mid-1950s, his reputation diminished by the attacks of several critics of the nouvelle vague though not André Bazin who championed several of Clément’s films, particularly the London-shot Monsieur Ripois [1954], as well as the weakness of many of his later films. It is now difficult to remember that Clément once had an enormous critical and popular reputation, his first films winning awards at both Cannes and the Oscars and works such as Jeux Interdits/Forbidden Games 1952 and La Bataille du rail gaining significant popular success. Clément’s first feature film, La Bataille du rail, is both a characteristic and anomalous work in the director’s career, pointing forward to the intimate detail of many of his best films while drawing on the distanced ethnography of his pre-war work in documentary. It is both a highly charged dramatic fiction, complete with an almost symphonic score, and a distanced, observational work, drawing upon the conventions of documentary and the heightened realism’ of actual locations, the integration of documentary footage, the reconstruction of recent historical events the actual “battle of the railways” which raged in 1944, and the casting of non-professional actors. Several critics have made connections between Clément’s groundbreaking film and the work of Italian neo-realists such as Roberto Rossellini and Vittorio de Sica. In style and intent La Bataille du rail does have an equivalence with the contemporaneous works of Rossellini – Open City 1945 and Paisa 1946 – particularly in its patented combination of an intense immediacy and a somewhat distanced observation, the placing of characters within the detail of historical circumstances, and the reliance upon the close correspondences between the performers often actual railworkers or Resistance fighters in Clément’s film and the roles that they play. Nevertheless, La Bataille du rail – despite an extremely visceral battle scene between Resistance railworkers and German troops on an armoured train – does not attain the emotional intensity or the level of engagement attached to the character played by Anna Magnani in Open City, for instance, relying instead on an almost Griersonian documentary-like form which has links to the immediate’ dramatic recreations of Humphrey Jennings’ Fires were Started 1943, and an intermittent use of montage which echoes such Dovzhenko films as Arsenal 1929. Soviet cinema seems to have been a general influence on many aspects of the film’s composition. The film also recalls the symbolisation of the locomotive in Renoir’s great poetic-realist work, La bête humaine 1938. There is no doubt that La Bataille du rail is an exceptional and even groundbreaking film, but its influence on subsequent French cinema, like much of the rest of Clément’s work, is minimal. The film is perhaps echoed in Jean Mitry’s more abstract Pacific 231 1949, but the increased naturalism of the nouvelle vague and its great precursor, Melville, as well as the burgeoning Left Bank documentary movement Resnais, Marker, Varda, et al owes little to it. In many respects it is a cul de sac intimating a brief moment of possibility for the emergence of a French neo-realism. A movement that could reflect the complex, schizophrenic picture of a liberated, ultimately victorious, but divided and also defeated nation. La Bataille du rail was initially conceived as a short, and its unusual aesthetic and technical characteristics are perhaps the result of the greater freedom allowed to short and documentary production in the highly cloistered French film industry of the time. This movement from short to feature enabled Clément to become one of the youngest French feature filmmakers of the period in an industry still dominated by those who had begun their careers before the war in contrast to true mavericks such as Bresson and Melville, both of who struggled to get their immediate post-war films made. Yet this quick movement into relatively mainstream feature production ultimately stifled the realist innovations La Bataille du rail suggests. Despite the beautiful detail of films like Jeux Interdits, and the innovations often technical characteristic of many of the director’s subsequent works, a sense of immediacy – the explicit linking of fiction to documentary cinema – was lost. Clément was to some extent a filmmaker out of his time, a young director neatly folded into the cinéma de papa reviled by youthful critics like Truffaut. Even a casual viewing of La Bataille du rail suggests that Clément could have suffered a very different fate. La Bataille du rail was a massive success in France, and was partly responsible for broader industry recognition that war-based subjects were one of the things that post-war French audiences wanted to see this is probably more significant than its iconoclastic technique in this regard. So what attracted French audiences to the film so soon after the end of the war? I think that the film’s success was partly the result of its stoic triumphalism, its portrait of the seemingly widespread small and subsequently larger acts of resistance perpetrated by the French people under German occupation in this regard it may have been seen as a kind of hagiographic fantasy or wish-fulfilment. Based on actual events and relying on the testimony and memory of many of those involved in the battle of the railways,’ the film focuses on the period just prior to and after the Allied landings at Normandy, culminating in the liberation of France and its strategically and symbolically significant rail network. La Bataille du rail opens in a manner resembling a more straightforward kind of documentary, detailing the cumulative everyday acts of resistance possible within a rail system tightly controlled by the Germans. The film also makes its allegiances and breadth of scope known immediately the first shot of the film shows a sign – with German writing on the top and the French translation relegated to below – which declares that Jews are not allowed to cross over into the occupied zone; subsequent shots demonstrate that a broad network of French civilians – railworkers and passengers – are significant both centrally they actively sabotage and peripherally they just allow things to happen around them to the broader program of resistance. As the film progresses it concentrates more and more on more extreme and violent acts of sabotage, the battle being joined to open up a second or third front against the occupying Germans. Clément’s documentary-like approach means that few characters are clearly delineated, while the idea and practice of resistance is elevated to the status of a kind of nationalist fugue, a combination of both armed conflict and simple, cumulative everyday actions. Thus, the immediate appeal of La Bataille du rail – itself a kind of hymn – perhaps lay in this portrait of a broad practice of resistance, and offered a necessary salve to the much more troublesome idea and reality of collaboration. Nevertheless, though often poetic in its combination of man and machine, action and landscape, La Bataille du Rail does not attain the complexity and more nuanced vision of resistance to be found in Melville’s great trilogy Le Silence de la Mer 1949, Lêon Morin, Prêtre 1961 and L’Armée des ombres 1969. But it does contain moments of great power. The sequence where random’ workers are taken out to be shot in retaliation for their increased acts of sabotage, is a brilliant combination of image and sound, focusing on small details of mise en scène and expression while the clamour of the soundtrack intimates both the terror meted out by the Germans and the protest of the railway itself the engines seem to speak up in protest in an aural equivalent to the montage effects found in some Soviet cinema. This moment in La Bataille du rail occupies a space somewhere between the dumping of the partisan’s bodies in Paisas final moments which is much less poetic but more brutally honest and the devastating, but operatic execution scene in Leone’s A Fistful of Dynamite/Duck, You Sucker 1972. All of the elements I have discussed make La Bataille du rail a fascinating, if slightly difficult film to place when situated in a contemporary context. The film’s portrait of the French-German rail system and the way it questions the notorious efficiencies of this network also has interesting resonances with films like John Frankenheimer’s The Train 1965 – which stages a bloody track-side battle over masterpieces of modern art being looted’ from Paris at the time of the Liberation – and Claude Lanzmann’s Shoah 1985 – where key evidence of the Holocaust is traced to the meticulous freight and timetabling records of the Third Reich. The knowledge of what such transports were sometimes used for grants the actions of La Bataille du rail an even greater gravity, its opening shot an indirect, almost unconscious reference to the ominous visage of the endless trains which steamed into places like Auschwitz and Dachau. The final images of the film – where the railways are liberated – indicating a triumphant but still slightly melancholy reappropriation of the tainted machinery of modernity.

Filmcomplet : La Bataille du rail de René Clément (dossier dans le manuel p 66-67) 1er film sur la guerre daté de 1945 !!!! . fortement influencé par

Sophie Dulac Distribution ressort aujourd’hui dans les salles Jeux interdits 1952 de René Clément en version restaurée. Titre archi célèbre du cinéma français et immense succès populaire en son temps que l’on croit connaître par cœur mais qui mérite d’être revisité. Car Jeux interdits est loin d’être un film mièvre ou un simple tire larmes, même si certaines scènes sont émotionnellement très fortes. Au contraire. Triste, morbide, choquant, Jeux interdits est autant un film sur la mort que sur l’enfance, ou plutôt un film sur la découverte de la mort par une enfant, et une histoire d’amour qui ne veut pas dire son nom. Les parents de la petite Paulette Brigitte Fossey sont tués lors des bombardements de juin 1940, dans le centre de la France. La fillette de cinq ans est recueillie par les Dollé, une famille de paysans. Elle devient l’amie de leur jeune fils de onze ans, Michel Georges Poujouly. Après avoir enterré le chien de Paulette dans un vieux moulin abandonné, les deux enfants constituent peu à peu un véritable cimetière pour insectes et petits animaux. Les problèmes commencent lorsque Michel se met à voler des croix pour en orner les tombes du cimetière miniature. Ce qui est devenu une sorte de classique consensuel et patrimonial fut d’abord un objet de scandale ou du moins de gêne dans une France encore marquée par les séquelles de la guerre. Jugé démoralisateur et même insultant envers le monde paysan – on ne nous épargne rien de la mesquinerie et des querelles de clocher entre familles voisines – le film de Clément fut dans un premier temps violemment rejeté par les institutions et les corporations cinématographiques très politisées après la guerre avant que la critique ne lui fasse un triomphe lors de sa présentation à Cannes où il avait pourtant été refusé en sélection officielle et à Venise. La gauche accusait Clément de vision décadente et bourgeoise de la paysannerie et du peuple français tandis que les scénaristes Aurenche et Bost ne pouvaient s’empêcher de glisser des saillies anticléricales, avec des images dignes de Buñuel. Clément qui deviendra rapidement l’incarnation du mépris des jeunes turcs de la Nouvelle Vague pour la qualité française » fut pourtant salué par leur père spirituel André Bazin qui voyait en Jeux interdits un film admirable où s’allie le réalisme et la poésie. » On peut en effet considérer Jeux interdits comme un dépassement du style documentaire de La Bataille du rail – encore présent dans les premières scènes du film, le mitraillage d’un convoi de civils sur la route de l’exode par des avions allemands – vers une atmosphère marquée par l’influence de Jean Cocteau, qui se ressentait également dans le film précédent de Clément Le Château de verre interprété par Jean Marais. Il faut se rappeler que René Clément assura la supervision technique de La Belle et la Bête en 1946, tout en tournant quelques années plus tard un film en Italie dans des conditions et une esthétique proches du néoréalisme Au-delà des grilles. Il ne s’agit pas d’hésitation chez le perfectionniste Clément mais plutôt d’un souci de stylisation, afin d’apporter une dimension allégorique à un sujet profondément ancré dans un contexte historique. Jeux interdits frappe encore aujourd’hui par sa puissance émotionnelle, son approche anticonformiste du thème du deuil et des horreurs de la guerre, car il n’y a jamais d’apitoiement dans le film, hymne à la capacité des enfants de s’extraire par le jeu et l’imaginaire des pires situations, mais sans le moindre angélisme – quelle fin abrupte et bouleversante… Jeux interdits appartient à un sous-ensemble cohérent et remarquable dans la filmographie éclectique de René Clément six longs métrages consacrés à la France pendant et après l’occupation allemande. La plupart de ces films exaltent la Résistance l’inaugurale Bataille du rail et témoignent – comme Le Père tranquille – de la volonté de pacifier les esprits et de réunifier le peuple français après la guerre, dans une lignée clairement gaulliste. Jeux interdits est beaucoup moins manichéen et n’entre dans aucun projet idéologique, pour s’attacher aux conséquences directes de la guerre sur la vie d’une petite fille. Interprétation impressionnante de Brigitte Fossey, alors âgée de cinq ans, ce qui démontre si cela était nécessaire que René Clément était – aussi – un formidable directeur d’acteurs et d’actrices. Synopsis- La bataille du rail. Franck, un squatteur invétéré, se retrouve à devoir vendre de la cocaïne pour le compte de son pote Malik en échange d'un appart où crécher. Le problème, c'est que Franck n'a jamais dealé de sa vie. Prochaines diffusions - La bataille du rail. Aucune diffusion de prévue. Casting - La bataille du rail. Pierre Lottin. Franck. Clara Ponsot. Nina. Ava

Parce que les vietnamiens plus tard s'inspireront des techniques de sabotage du filmPremier grand film sur la Résistance initialement un court commandé par le Conseil National de la Résistance, la Bataille du Rail montre l'héroïsme des cheminots pendant l'occupation Nazie, et les différentes actions de sabotage qu'ils mirent en min avantLes avis sens critiqueLes + de filmo1 min avant Dans le même genre vous pouvez trouver THE NAVIGATORS Pour comparer avec la vie des cheminots aujourd'hui. ou encore LES FEMMES DE L'OMBRE Parce que tout comme les cheminots du film de René Clément, les femmes se sont, elles aussi, mobilisées pour la Résistance et la liberté de leur pays..

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la bataille du rail film streaming