- Concours d'écriture "Les Plumes Francophones" : tentez de gagner 3 000 euros en publiant votre livre. En savoir plus .
- Rentrée scolaire : trouvez tous vos livres, cartables, cahiers, chaussures, et bien plus encore... dans notre boutique dédiée
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
Blue Steel [Import anglais]
|Prix :||EUR 21,30 Livraison gratuite dès EUR 25 d'achats. Détails|
|Tous les prix incluent la TVA.|
« Expédié par Amazon » est un service proposé par Amazon aux vendeurs : ceux-ci stockent leurs produits dans les centres de distribution Amazon, et Amazon s'occupe du traitement de la commande, de l'emballage, de l'expédition et du service client pour ces articles. Parmi les avantages de ce service: les conditions de la (pour les commandes de plus de 25 euros) et de Amazon Premium s'appliquent également à ces produits, comme s'il s'agissait d'articles Amazon.
Si vous êtes un vendeur, vous pourriez augmenter significativement vos ventes en utilisant le programme « Expédié par Amazon » (Fulfillment by Amazon). Nous vous invitons à en savoir plus .
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Offres spéciales et liens associés
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Détails sur le produit
Descriptions du produit
Description du produit
Megan Turner is a rookie New York cop, stalking a madman who is mad about her. She becomes caught up in a lethal environment of murder, romance and revenge...
Megan Turner, appena nominata agente della polizia di New York, per sventare una rapina in un negozio affronta il rapinatore che tenta di ucciderla puntandole contro la pistola. Per difendersi Turper gli scarica il caricatore addosso, uccidendolo: la pistola del malfattore cade a terra e viene raccolta furtivamente da un cliente, che riesce ad allontanarsi. Accusata di aver sparato ad un uomo disarmato, Megan viene sospesa dal servizio. Eugene Hunt, il ladro della pistola, è un ricco agente di borsa che, guardandosi allo specchio con l'arma in mano, viene preso da crisi di follia. Credendo che Dio gli parli.incide il nome di Megan sui proiettili, perchè si è innamorato di lei, e uccide un passante. Intanto Megan, depressa per i rimproveri del capo e di Nick Mann, giovane investigatore della squadra omicidi, esce sotto una pioggia torrenziale e sale su un taxi, dove è salito anche Eugene, con il quale simpatizza, accettando di andare a cena con lui in un locale elegante. Megan resta affascinata da Hunt, che vuole rivederla, ma la notte viene condotta alla centrale di polizia, dove Nick le mostra il proiettile col suo nome, col quale è stato ucciso un uomo anziano. Riammessa in servizio, e nominata investigatore, la ragazza deve scoprire chi può essere il killer. Trascorsa un'altra serata con Eugene, che però non entra nella sua casa, apprende al mattino che un altro assassinio è stato commesso con un proiettile, che reca il suo nome. La sera Eugene conduce Megan nel suo lussuoso appartamento, dove i due si baciano, poi egli le chiede di impugnare la pistola, confidandole di averla vista sparare al rapinatore. Megan capisce che è uno psicopatico. e lo arresta. Ma l'uomo viene liberato perchè non ci sono prove contro di lui. Hunt uccide Tracy, la sola amica di Megan, mentre questa esce con lei, ma intervenendo l'avvocato di Eugene questi non viene incriminato e la ragazza lo trova nell'appartamento dei propri genitori, che egli è andato a conoscere. Nick e Megan trascorrono la nottata in appostamento sotto la casa di lei, più tardi il killer trova Nick solo e immobilizzato nell'auto, e sta per ucciderlo, quando accorre Megan e gli spara, colpendolo alla spalla, ma egli fugge. I due poliziotti tornano a casa di Megan, dove non sanno che Eugene, nascosto nel bagno, è riuscito a strapparsi il proiettile dal braccio e li sente, da dietro la porta, fare l'amore. Quando Nick entra in bagno, il folle, che si è impadronito della pistola di lui e l'ha avvolta in un asciugamano, gli spara, ferendolo gravemente: poi assale Megan per stuprarla, ma lei si difende e Hunt e costretto a fuggire dalla scala antincendio, dlleguandosi. Liberatasi di ogni protezione dei colleghi, Megan si precipita per le scale alla caccia dell'assassino, che, dopo un lungo conflitto a fuoco, e un investimento con un auto, riesce ad uccidere, nonostante sia gravemente ferita ad un braccio. --Ce texte fait référence à l'édition DVD.
Les clients ayant consulté cet article ont également regardé
Commentaires en ligne
Meilleurs commentaires des clients
L'histoire d'une confrontation entre un pervers et une jeune recrue qui perdra son innosense au cours du film ayant à faire fasse au procédure pourrie du monde réel et à une hiérarchie qui ne lui fait pas encore confiance...
Un film sans concessions, violent et superbement filmé, les couleurs et les contrastes étant ici particulièrement travaillés...
Une interprétation impeccable et une musique qui vient renforcer l'atmosphère inquiétante de ce film dont on peut dire qu'il est un des meilleurs polar/thriller de cette époque.
On ressent une telle maîtrise de l'image et de l'action en le regardant qu'on est étonné que le talent de Bigelow n'aie obtenu une consécration véritable que l'année de la sortie de Démineurs...
Peut-être le fait d'avoir eu un certain J. Cameroun comme mari lui aura-t'il fait trop d'ombre?
Elle qui est restée longtemps considérée comme une bonne réalisatrice mais sans plus (cf Point Break qui restera malgré ses nombreuses qualités, un film de beaufs...) explosait déjà lorsqu'elle réalisa ce film aussi tendu que Démineur...
Dommage qu'on ne l'aie pas encouragée plus tôt...Lire la suite ›
La qualité est très bonne : image et son (très bon doublage en langue française).
A recommander, avant tout, aux fans de Jamie Lee CURTIS.
Commentaires client les plus utiles sur Amazon.com (beta)
Character development didn't clobber you over the head. A very great part of the movie was about the transformation of the villain (Silver). In the beginning, he is a man who made his money at the stock exchange. His profession and lifestyle and aggressive tactics at work, which were smoothly and quickly laid out before the audience, were intended to describe his character. We learn his obsession with money is actually his obsession with power after he witnesses a criminal getting gunned down by a cop (Curtis). Before he becomes a murderer, Eugene's life is threatened by a thief with a gun in a convenience store. It is in this moment that he realizes the power of the fear of death, firsthand. When the cop, Megan, guns down the thief, he has an epiphany: death can be defeated by whomever kills first. We don't know, but it may have been the first time Eugene ever even thought about dying. Watching Megan take down the gunman, who represented "death" to Eugene (in that the gunman was threatening to kill Eugene), "inspired" Eugene's lust for power to turn towards killing. It may have also been the trauma of almost being killed. Eugene pockets the thief's gun, the very gun that could have killed Eugene, and begins a fixation with it and with killing random people.
After a few random murders, Eugene becomes demonically possessed. There is a scene of him "hearing" voices talking to him, telling him he's God. He orally translates the message he's hearing. One could argue he was schizophrenic, but considering he only hears the voices after he begins murdering people. He uses almost religious, spiritual language as he orally speaks the message he is receiving, which we can assume, based on his life that seems totally devoid of spirituality and dedicated to money, that this is new language, a new way of describing things for him. In other words, the movie implies the message aren't coming from his own mind. After these "messages," his murders take on a new, ritualistic feel to them: he kills a prostitute, for example, and gets off by rubbing her blood-soaked clothes on his naked body, after she is already dead. He had previously been clothed, leading the viewer to think that he didn't even have sex with the prostitute. It's a sequence of events very similar to what one would see in a supernatural thriller or exorcist movie. His attacks on Megan also become intense and unrelenting, and almost surreal and dream-like. This was something I completely didn't expect to see, but as a horror movie fan (especially of Italian horror movies, which often incorporate a "dream like" feel to them), it was an amazing surprise. However, it wasn't just written for horror movie fans: his possession is also essential to the plot and the theme of the characters' lives, which is power. In the course of his desire for power, which led to an interest in the power over life and death through murder, Eugene has lost all of his own personal power by opening himself up through his murders to having his will supernaturally possessed. Therefore he no longer has any power over himself because he has lost control over his will, actions, mind. He is working completely for evil, there is no more "Eugene," per ce, and therefore he has lost all of his power.
Throughout the movie, Megan is asked numerous times why she became a cop. She always gives a flippant answer, after a pause (which indicates she's thinking of an answer to give other than the direct truth). In other words, you can't answer why she is a cop based solely on her words, you have to figure it out for yourself, through context. Slowly throughout the movie see her home life: her father has an anger problem and beats her mother regularly. We see she never got married, never established many relationships, and we start to piece together who this woman is and why she is a cop. She obviously comes from a broken home, never witnessed a positive relationship between a man and a woman so never was good as establishing her own relationship, but had a supportive mother so could make a close female friend. It's basic psychology, how early development at home translates to future relationships. She says she wanted to be a cop from the time she was young, and we can start to figure out its because, perhaps, neighbors called the cops on her father once or twice for domestic disturbance, or she saw a cops TV show and saw people doing something to stop violence, the kind of violence she witnessed against her mother by her father. Its easy to see that Megan wanted power: power over her father, power over people like her father, power to stop violence against other people.
Both Megan's and Eugene's lives and careers are shaped by their desire for power: Megan wanting power over people who want to hurt others, and Eugene wanting power for his own personal gain without regard to who he hurts in the process. This common theme in both of their lives is made point when Eugene tells Megan, during one of his ramblings, that they are two halves to one whole. They both desire power, and he sees that, but because he never gave any thought to helping others, probably in his whole life, he can only see part of Megan. He can neither see nor understand her completely. This contrasts with the character Nick, the detective who, because he also wants to stop evil in the world, can truly connect with Megan.
The fact that we have no backstory for why Eugene wants power may be to intentionally show that the reason is because of his own shallow-ness as a human being. He may simply be a narcissist or a sociopath, which would be in line with his deterioration, and not be as deep a person as Megan. Because of the thoughtfulness of the character development, script and environment (every moment of the movie works to telling you who these people are and why these things are happening to them), I don't doubt that things left out of the story, such as references to Eugene's childhood, are to tell us something, as well.
The relationships between the characters is also something to indicate their shallowness or depth and are therefore very important symbolically. Eugene and Megan initially have a relationship but it is based off of nothing, it is shallow. It is based completely on him saying how much he thinks she's beautiful, how much he loved her at first sight, flowery language--"sweet nothings"--thrown her way, and sensational thrills he can purchase for her. There's no deeper relationship, no shared interests, nothing in common. This contrasts later with the relationship between Nick and Megan, who share everything deep, everything in common, and all loyalty and trust, even if they share absolutely nothing sensational or flowery or outwardly "romantic." The sex scenes are also symbols in themselves of these themes: Nick and Megan have consensual passionate sex, whereas Eugene rapes Megan, which is an emotionally shallow, selfish, violent act. It was interesting that even the sex scenes were not there to merely be titillating but were symbols of these reoccurring themes, indicated especially by their close proximity to each other (which was supposed to hit the viewer over the head with the contrast between the characters, their life meanings and choices, and who they are).
The final showdown between Megan and Eugene was shot, edited and directed perfectly. It was like a dream, a nightmare. Megan hadn't slept much in a few days and the movie looked just like the world looks when you haven't slept that long. She had undergone tremendous stress and the ending also reflected a disassociation from reality that a person experiences when they have undergone tremendous, impossible stressors. I didn't know if anything was really happening or if it was a going to end up being Megan's dream, quite like it would be for the main character in an under-slept, over-stressed state. Events seemed surreal as they unfolded, but when you realized what had just happened, it was standard action movie events, just told in a different way. This took tremendous guts as a film maker to do because there would undoubtedly be people who didn't understand it or think about it and so got frustrated over it. Eugene also appeared and disappeared like a puff of smoke, almost, from Megan's torn down perception, like a supernatural being more than like a man.
I watch a lot of Italian horror movies and sometimes American viewers who don't understand their method of storytelling get confused by continuity. Like, in Dario Argento movies, Americans wonder, "why is this character doing this, why are they going to slowly, how could this possibly happen?" The point of his movies are to describe events in a dream-like state that inspire horror in the viewer. Much like a terrible nightmare where you can't do anything correctly to save yourself and you find yourself in strange situations without knowing how you got there.
Similarly, "Blue Steel" is told in a unique way that viewers used to Hollywood movies might not understand, only with this movie, scenes, environments and characters aren't set up to create a dreamlike state to frighten the viewer, they are set up to tell a message, make a point, and establish scenes. If you are wondering why Megan is doing this, or this scene is happening right after this other scene, keep watching and keep thinking about the themes throughout the movie, how each scene contrasts with other scenes similar to it, how each character contrasts with other characters, and what each tiny detail is telling you about the overall message about good and evil, and what power and strength really are, that Bigelow is trying to get across.
The mood, cinematography, editing and script don't waste a second, a scene, an environment, or any of your time. The script is so carefully and perfectly balanced and the actors carry their parts. Many people have said this is Curtis' best acting job. If you are studying storytelling or film making, I definitely recommend this movie.
If you are just looking for a simple cop action movie thriller (like I was), be prepared for a much deeper, larger, more literary and artistic story than you expected.
BLUE STEEL is a cop flick with a twist which, unlike many films in the genre, showcases a lead female's descent through the police force. Amir M. Mokri's encompassing and somber cinematography, Brad Fiedel's ambient and chilling musical score, and Kathryn Bigelow's cool, detatched direction, combined with the excellent cast which also includes Louise Fletcher, Clancy Brown, and Elizabeth Peña, makes for a unique, entertaining, and esthetically pleasing film!