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East of Eden [Import USA Zone 1]

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Détails sur le produit

  • Acteurs : James Dean, Raymond Massey, Julie Harris, Burl Ives, Richard Davalos
  • Réalisateurs : Ara Chekmayan, Elia Kazan
  • Scénaristes : Ara Chekmayan, John Steinbeck, Paul Osborn
  • Producteurs : Ara Chekmayan, Elia Kazan, Christine Cameron
  • Format : AC-3, Dolby, Doublé, Edition spéciale, Sous-titré, Cinémascope, NTSC, Import
  • Audio : Anglais (Dolby Digital 5.1), Français (Dolby Digital 2.0 Stéréo)
  • Sous-titres : Anglais, Espagnol, Français
  • Région : Région 1 (USA et Canada). Ce DVD ne pourra probablement pas être visualisé en Europe. Plus d'informations sur les formats DVD/Blu-ray.
  • Rapport de forme : 2.35:1
  • Nombre de disques : 2
  • Studio : Warner Home Video
  • Date de sortie du DVD : 31 mai 2005
  • ASIN: B0007US7F8
  • Classement des meilleures ventes d'Amazon: 272.831 en DVD & Blu-ray (Voir les 100 premiers en DVD & Blu-ray)
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70 internautes sur 75 ont trouvé ce commentaire utile 
Haunting view of a young man in pain 18 mars 2003
Par Get What We Give - Publié sur Amazon.com
Format: Cassette vidéo
Elia Kazan's "East of Eden" is based on the John Steinbeck novel of the same name. It is a modern tale of Kane and Abel.
While the film is certainly fantastic, probably its greatest claim to fame is that it was James Dean's first film. It is rare, today, that we see a novice young actor (remember Dean was only 22 when this movie was made) secure a leading role in a high profile drama - as this was - and then nail it so well that critics everywhere fell under his spell. Prior to this film, Dean had only made a handful of commericials, television appearances, and one or two worthwhile theatrical roles.
In an era when "screenplay" meant acting for the screen and playing it for the last row, Dean, Clift, and (personally, regrettably) Brando, were the only actors out there playing for reality.
Dean's Cal is a tortured youth, who has never won his strict father's (the formidable Raymond Massey) acceptance and desperately seeks to do so. His brother, Aaron (played by Dick Davalos), is obviously favored by the father and this further salts the wounds that Cal carries. Julie Harris plays Aaron's fiance as a fawning and often obsequious girl, which can be a bit more than off putting at times.
Joan Van Fleet portrays Cal and Aaron's "dead" mother. Rather than suffer the embarrassment of admitting his failures as a husband, father, and man, the boys' father tells them and everyone else that their mother long ago died. In truth she has been running a bordello in the next town.
Through a series of machinations, Cal meets his mother, and asks for her assistance in winning over his father. The plot fails miserably for Cal, setting off a chain of events from which no one can return.
Dean's performance - the only one to be seen while he was alive - registered off the Richter scale with the youth of the 1950's. Never before had they seen someone their age portray someone their age in such a believable manner. He became an instant star.
As is typical, Hollywood has attempted to remake this film several times, and did so failingly. While the acting often can seem over the top, no one has ever been able to capture the lightning in a bottle that Kazan did with his amazing cast in this truly classic film.
41 internautes sur 43 ont trouvé ce commentaire utile 
DEEP & HAUNTING. 26 août 2002
Par Un client - Publié sur Amazon.com
Format: Cassette vidéo
I first watched this movie on television when I was about 16, because I wondered what all the fuss was about James Dean. I soon found out: he was so unbelievably natural in his acting technique that the audience is captivated by his brilliance. This was Dean's film debut and he burst like a thunderclap in the public's ears, not to mention staid Hollywood, which came to both fear and admire the handsome, rebellious youth. In this haunting John Steinbeck tale, Dean is the neurotic half of twin sons belonging to Bible - reading lettuce farmer Raymond Massey, whose vast acreage stretches through the rich Salinas Valley in California. Aron (Davalos, in another powerful debut) is the well-adjusted upstanding son whose normal relationship with his girlfriend and his diligent pursuit of continuing his father's legacy is admired by the patriarch. Cal is very different from his brother and the troublesome youth mistakenly believes his father doesn't love him. A haunting scene has Dean introduce Davalos to their supposedly dead mother. The boys were brain-washed by their father into believing their mother Kate was some sort of angel: the truthful realisation that she's a financially successful Madam who operates a whorehouse in Monterey causes Davalos to become deeply traumatised. Many people will feel empathy for BOTH brothers during this powerful scene: it shows us that Cal is, if anything, REAL while his brother is somewhat sheltered and idealistic in comparison. The performances are all splendidly colourful and absorbing: Dean is unforgettable as Cal - for whom the audience feels empathy - Julie Harris is fine as Abra (she succumbs to Cal's raw sexuality) and Jo Van Fleet is excellent as the tough yet essentially tender-hearted tubercular Kate who likes her boy Cal because he "has sense" as she believes she does. Raymond Massey is fine as the puritanical father, Adam. Burl Ives is memorable as Sam: he quotes the Biblical passage which includes the picture's title. Some critical snobs say that the film was over-directed by Kazan but it made Dean an over-night sensation who acted with a unique naturalistic style and died a legend at the tender age of 24.
58 internautes sur 67 ont trouvé ce commentaire utile 
Thank you 4 février 2004
Par Robert Morris - Publié sur Amazon.com
Format: Cassette vidéo
Note: The review that follows was written more than two years ago. Fortunately, this superb film is now available in a DVD format. Thank you to those resposible for an overdue but nonethrless most appreciated provision. That said, as for the review itsdelf, I still have the same opinions it expresses.

It has been (hard to believe) 52 years since this film first appeared, in the same year during which Rebel Without a Cause was also released. Both feature James Dean. I have often wondered to what extent his unique and abundant talents as an actor would have developed, had he not perished in a car accident immediately after the filming of Giant had been completed. Of course, we will never know. His was a compelling presence in each of only three films and especially so in East of Eden in the role of Cal Trask.

The basic story is derived from the Biblical account of Cain and Abel. Adam Trask (Raymond Massey) has two sons, both of whom he presumably loves. However, he favors Aron (Dick Davalos) because he (unlike Cal) never says or does anything to irritate him. Aron is "the good son," complete with a girlfriend Abra (Julie Harris) whom his father obviously adores. Of course, Cal feels resentment toward both his father and brother. He desperately wants his father's love. (Later in the film, he even tries to buy it with profits he earns from investments enriched by World War One.) Under Elia Kazan's brilliant direction, tensions build relentlessly to what seems certain to be a tragic conclusion. Feeling rejected by his father, Cal seeks out his mother who left her husband and sons years ago. Kate Trask (Jo Van Fleet) now owns and manages a brothel in another town nearby and has become wealthy. Cal climbs aboard a freight train so that he can visit her frequently. Over time, they develop mutual respect and affection. Finally the climatic moment occurs and then....

The acting throughout the cast (with one exception) is outstanding. Van Fleet received an Academy Award for best actress in a supporting role and Dean was also nominated for the award as best actor in a leading role. Burl Ives and Albert Dekker are noteworthy in their supporting roles. However, Julie Harris (age 30 at that time) seems to me miscast as the teenage Abra. As for Massey, he does the best he can with the role of Adam Trask, recycling elements of his earlier portrayal of John Brown in Sante Fe Trail. Most of Steinbeck's fiction is set in the Monterey area, as is East of Eden. Kazan and his cinematographer, Ted D. McCord, took full advantage of that uncommonly lovely area when shooting various exteriors.

I welcome the DVD version of East of Eden.
9 internautes sur 9 ont trouvé ce commentaire utile 
Dean's Best Performance-An Outstanding Film 17 novembre 2006
Par Only-A-Child - Publié sur Amazon.com
Format: DVD Achat vérifié
If you have ever come out on the short end of a sibling rivalry and/or felt seriously wronged by a parent(s), you will probably connect nicely with "East of Eden" (1955). Since the majority of viewers meet these criteria it is easy to see why the film finds a new audience with each generation. And it is easy to understand the tears that are often shed by both first-time and repeat viewers.

Although set at the start of World War I, the generational issues portrayed really had came to a head by the mid-1950's. Which is why the film was so timely and contemporary when it was released. It was Elia Kazan's troubled relationship with his own father that first attracted him to Steinbeck's novel and caused him to focus the film on the portion of the story that addressed this issue.

Originally I ranked it a distant third in the James Dean film pecking order but over the years it has somehow passed "Giant" and "Rebel Without a Cause" IMHO, and I now find it to be clearly his best and more enduring work. It is a real actors/director's film, with just six significant characters and with especially good performances from Dean and from Julie Harris. Both were a bit old for their parts but Dean's boyish manner allowed him to sell the character and Harris (who had convincingly played a twelve year old just a few years earlier in "Member of the Wedding") looks the proper age in every scene except one (an outdoor scene shot in the bright sun). She struggles sometimes with reining in her sophistication but that could just be the subjective perception of this viewer.

Here are some random points to appreciate in this great film:

Don't misinterpret Cal's (Dean) motivation, he is not doing things to win his father's love but because he loves his father (communicated by the early scene where he watches his father working in the kitchen). The former motivation would be simplistic; the latter opens up a host of interesting and ironic interpretations as you realize the seemingly bad son Cal actually understands his father and admires his goodness more than "good" son Aron (Richard Davalos).

Aron is not really the innocent figure he appears to be, he does not like Cal and throughout the film betrays him.

Abra (Harris) is caught between the two brothers, moving steadily from Aron to Cal as the film progresses. Aron represents everything she understands that she should be and Cal represents everything she has been denying herself. The story is largely seen from her point of view, and her growth parallels her (and the audiences) slow realization that Cal is not bad but misunderstood. The two are slowly falling in love but do not kiss until she gets up in the ferris wheel, a place where (symbolically) she is no longer standing on solid practical ground.

It is really a coming of age story for both of them, with Abra slowly embracing new areas of human experience and Cal moving from adolescence to manhood; thanks largely to her timely interventions. Watch for subtle details that Kazan has included, like Cal's inability to make extended eye contact with his father, brother, and mother; something that he has no problem doing with Abra. And Cal's unsteady progress as he moves forward momentarily and then retreats by looking away.

Note Kazan's use of a raked camera angle for the scenes inside the Trask home, unfortunately this device is a little too extreme and calls attention to itself. Also used in "The Third Man", it was done to reinforce the off-kilter nature of this family's dynamic. It goes away after the scene in which Cal finally confronts his lifelong jealousy of his brother and accuses his father of rejecting him because he is much like his mother, telling Adam (Raymond Massey) that he cannot forgive himself for marrying Kate. This is point at which Cal moves forward into permanent manhood, prior to this he had stepped forward and then retreating back into childhood.

Watch for the method-acting device of an actor playing with an object as a means to introduce naturalism into the scene (Abra first flirts with Cal with a flower, Jo Van Fleet makes a show of taking out and lighting a cigarette, Cal repeatedly dips his finger into a wine glass). "East of Eden" would be nothing but an overwrought melodrama without a host of little things like this that humanize the story.

Watch for the awkward tension between Cal and Adam, Kazan cultivated the off-screen friction between Dean and Massey; reasoning that it would translate into more realistic on-screen sequences between the two actors.

Watch for the stunning sequence late in the film when Cal slowly moves out from under the tree branches (his menace reinforced nicely by the score).

Finally note the contrast between the restrained closing scene (which is also the climax) and the melodramatic style of the almost everything that has preceded it in the film.

Then again, what do I know? I'm only a child.
12 internautes sur 13 ont trouvé ce commentaire utile 
A Powerhouse 15 mai 2001
Par Douglas Doepke - Publié sur Amazon.com
Format: Cassette vidéo
Lightning in a bottle - that's James Dean at his quirky best in "East of Eden". Fans may prefer "Rebel Without a Cause" as Dean's ultimate showcase, but nothing tops this, his initial screen appearance. Here he's in a dynamic face-off with his thespic opposite - the classically trained Raymond Massey, as the father. They play off one another brilliantly. Massey seems genuinely perplexed by the eccentric Dean whose off-screen antics matched those on film. Fortunately, this combination deepens the movie's core, resulting in an uncommon emotional powerhouse, driven by Dean's intense expressive yearning. Brilliant too, is Julie Harris, still looking like a teenager at thirty. Watch her scenes with Dean, especially in the farm field, where she too appears fascinated with Dean, the person. Again, the results are electric. (Whatever happened to Dean's movie brother, that credible performer, Richard Davalos, whose subsequent career appears blighted by the shadow of genius.) Often overlooked but contributing greatly - Leonard Rosenman's fine dramatic score, alternately lyrical then jarring in the manner of the movie itself, and Jo Van Fleet's commanding turn, her scenes the only ones Kazan's camera does not allow Dean to dominate. The film has many emotional highlights, not including an over-wrought closing. Despite the latter, it's an intensity that endures. Director Elia Kazan may have been a treacherous friend, but his artistry with actors remains undeniable. The film however remains Dean's ultimate showcase. Don't miss it.
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