{"id":689,"date":"2024-06-23T08:20:11","date_gmt":"2024-06-23T06:20:11","guid":{"rendered":"https:\/\/archifilm.fr\/wp\/?p=689"},"modified":"2024-06-25T07:53:14","modified_gmt":"2024-06-25T05:53:14","slug":"la-garconniere-billy-wilder-1960","status":"publish","type":"post","link":"https:\/\/archifilm.fr\/wp\/?p=689","title":{"rendered":"Gar\u00e7onni\u00e8re (La), Billy Wilder, 1960"},"content":{"rendered":"\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><strong>Bande annonce<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"La Gar\u00e7onni\u00e8re (The Apartment) - Bande annonce 1960 HD VO\" width=\"950\" height=\"534\" src=\"https:\/\/www.youtube.com\/embed\/OkwEp0ufmEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<figure class=\"wp-block-table\"><table><tbody><tr><td class=\"has-text-align-center\" data-align=\"center\"><strong>Mots cl\u00e9s<\/strong><\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">Billy Wilder, Alexandre Trauner, Jack Lemmon, Shirley MacLaine, Fred MacMurray, com\u00e9die, New York<\/td><\/tr><tr><td class=\"has-text-align-center\" data-align=\"center\">open space, bureau, gar\u00e7onni\u00e8re, appartement, cloison, rue, ascenseur<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>R\u00e9sum\u00e9<\/strong><\/p>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La_garconniere_c_Park_Circus-1024x576.webp\" alt=\"\" class=\"wp-image-697 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La_garconniere_c_Park_Circus-1024x576.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La_garconniere_c_Park_Circus-300x169.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La_garconniere_c_Park_Circus-150x84.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La_garconniere_c_Park_Circus-jpg.webp 1920w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p><em>(d&rsquo;apr\u00e8s wikip\u00e9dia)<\/em><\/p>\n\n\n\n<p>C. C. Baxter, dit \u00ab&nbsp;Brin d&rsquo;amour&nbsp;\u00bb, est un petit employ\u00e9 d&rsquo;une importante compagnie d&rsquo;assurances, tr\u00e8s gentil, seul et c\u00e9libataire au milieu de New York, ville hyperactive o\u00f9 l&rsquo;\u00eatre humain est soumis \u00e0 la cohue, au productivisme, \u00e0 la publicit\u00e9 et \u00e0 la solitude. Il met son appartement \u00e0 disposition de ses sup\u00e9rieurs comme gar\u00e7onni\u00e8re, par complaisance et servilit\u00e9&nbsp;; il esp\u00e8re des avantages professionnels&#8230; et il faut bien payer le loyer.<\/p>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-media-text has-media-on-the-right is-stacked-on-mobile\"><div class=\"wp-block-media-text__content\">\n<p>Son <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Directeur_des_ressources_humaines\">directeur du personnel<\/a> Jeff D. Sheldrake, apprenant les faits, lui demande d&rsquo;arr\u00eater de pr\u00eater son appartement \u00e0 ses quatre sup\u00e9rieurs, et de le lui r\u00e9server pour lui seul. Il le gratifie en \u00e9change de la promotion tant attendue, et Baxter a d\u00e9sormais son propre bureau. Mais il ignore que Sheldrake souhaite utiliser cette gar\u00e7onni\u00e8re pour y retrouver Fran, une lifti\u00e8re de la compagnie d&rsquo;assurance o\u00f9 travaille Baxter et dont il est lui-m\u00eame vainement \u00e9pris. Il n&rsquo;est pas le seul \u00e0 s&rsquo;int\u00e9resser \u00e0 elle mais elle semble \u00eatre s\u00e9rieuse et refuser les liaisons&#8230;<\/p>\n<\/div><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"435\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/322300-1024x435.webp\" alt=\"\" class=\"wp-image-698 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/322300-1024x435.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/322300-300x128.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/322300-150x64.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/322300-jpg.webp 1920w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div>\n\n\n\n<div class=\"wp-block-media-text is-stacked-on-mobile has-background-background-color has-background\"><figure class=\"wp-block-media-text__media\"><img decoding=\"async\" width=\"1024\" height=\"569\" src=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La-Garconniere-Wilder-1450x800-c-1024x569.webp\" alt=\"\" class=\"wp-image-699 size-full\" srcset=\"https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La-Garconniere-Wilder-1450x800-c-1024x569.webp 1024w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La-Garconniere-Wilder-1450x800-c-300x167.webp 300w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La-Garconniere-Wilder-1450x800-c-150x83.webp 150w, https:\/\/archifilm.fr\/wp\/wp-content\/uploads\/2024\/06\/La-Garconniere-Wilder-1450x800-c.webp 1440w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<p>Dans un article du <em><a href=\"https:\/\/fr.wikipedia.org\/wiki\/The_New_York_Times\">New York Times<\/a><\/em> de 1960, Billy Wilder raconte qu&rsquo;\u00e0 l&rsquo;origine il avait con\u00e7u l&rsquo;histoire pour le th\u00e9\u00e2tre, mais qu&rsquo;\u00e0 cause de la difficult\u00e9 de montrer l&rsquo;immensit\u00e9 des bureaux sur une sc\u00e8ne, <a href=\"https:\/\/fr.wikipedia.org\/wiki\/I._A._L._Diamond\">I. A. L. Diamond<\/a> et lui en ont fait un film. <\/p>\n\n\n\n<p>Les sc\u00e8nes du bureau collectif o\u00f9 travaille Baxter au d\u00e9but du film ont \u00e9t\u00e9 tourn\u00e9es sur un plateau qui n&rsquo;est pas tr\u00e8s grand. Afin de donner l&rsquo;illusion de l&rsquo;immensit\u00e9 du bureau, la perspective a \u00e9t\u00e9 forc\u00e9e, les tables sont de plus en plus petites \u00e0 mesure qu&rsquo;on s&rsquo;\u00e9loigne de la cam\u00e9ra ainsi que les figurants qui sont eux aussi de plus en plus petits jusqu&rsquo;\u00e0 utiliser, au fin fond du studio, des images d\u00e9coup\u00e9es. Toutes les s\u00e9quences de ce d\u00e9cor ont \u00e9t\u00e9 tourn\u00e9es en moins de deux jours.<\/p>\n\n\n\n<p>\u00c0 la fin du film, lorsque Fran retourne en courant chez Baxter, il n&rsquo;y a qu&rsquo;une s\u00e9rie de trois maisons derri\u00e8re elle. Pour allonger son trajet, la sc\u00e8ne a \u00e9t\u00e9 tourn\u00e9e en plusieurs plans ce qui fait qu&rsquo;elle passe en r\u00e9alit\u00e9 plusieurs fois devant la m\u00eame maison. Pour l&rsquo;appartement Billy Wilder a vu plusieurs appartements sur <a href=\"https:\/\/fr.wikipedia.org\/wiki\/Central_Park_West\">Central Park West<\/a>, le d\u00e9cor recr\u00e9e un m\u00e9lange de ce qu&rsquo;il y a vu. <sup><a href=\"https:\/\/fr.wikipedia.org\/wiki\/La_Gar%C3%A7onni%C3%A8re_(film,_1960)#cite_note-Crowe_56-8\"><\/a><\/sup><\/p>\n<\/div><\/div>\n\n\n\n<p class=\"has-text-align-center\">_<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong>D\u00e9cors du film d&rsquo;Alexandre Trauner<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-center\"><iframe width=\"840\" height=\"472\" src=\"https:\/\/www.youtube.com\/embed\/jz2j8ZTV_C8?si=LnKXSLFIuDnpAL5j&amp;start=613\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"><\/iframe><\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><a href=\"http:\/\/www.archifilm.fr\/wp\/?redirect_to=random\">Consulter une autre fiche tir\u00e9e au hasard<\/a><\/h2>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>_ Bande annonce _ Mots cl\u00e9s Billy Wilder, Alexandre Trauner, Jack Lemmon, Shirley MacLaine, Fred MacMurray, com\u00e9die, New York open space, bureau, gar\u00e7onni\u00e8re, appartement, cloison, rue, ascenseur _ R\u00e9sum\u00e9 (d&rsquo;apr\u00e8s wikip\u00e9dia) C. C. Baxter, dit \u00ab&nbsp;Brin d&rsquo;amour&nbsp;\u00bb, est un petit employ\u00e9 d&rsquo;une importante compagnie d&rsquo;assurances, tr\u00e8s gentil, seul et c\u00e9libataire au milieu de New York, &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/archifilm.fr\/wp\/?p=689\" class=\"more-link\">Lire la suite de<span class=\"screen-reader-text\">\u00ab\u00a0Gar\u00e7onni\u00e8re (La), Billy Wilder, 1960\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-689","post","type-post","status-publish","format-standard","hentry","category-ressources"],"featured_media_urls":[],"_links":{"self":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/689","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=689"}],"version-history":[{"count":14,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/689\/revisions"}],"predecessor-version":[{"id":757,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=\/wp\/v2\/posts\/689\/revisions\/757"}],"wp:attachment":[{"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=689"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=689"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archifilm.fr\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}