Popeye the sailor man goes to the seaside village of Sweethaven to look for his long-lost father, Poopdeck Pappy. While there, he falls in love with Olive Oyl, who is engaged to the bullying Captain Bluto, who works for a mystery man called the Commodore, collecting taxes. Popeye and Olive find a foundling who can predict the future, and name him Swee'Pea. The baby is kidnapped and taken out to the Commodore's ship, and when Popeye goes to the rescue, he learns that his Pappy is the Commodore. Bluto has tied Pappy up and is using Swee'Pea to help him find the old man's treasure. After Popeye learns the secret of gaining super strength by eating spinach, he and Bluto fight to the finish, the treasure is found, and Bluto ends up swimming out to sea. (texte officiel du distributeur)


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Toutes les critiques de l’utilisateur·trice

français Un échec hollywoodien monumental en son temps. Une coproduction à gros budget entre Paramount et Disney, avec Altman à la barre de la réalisation. Les créateurs ont réussi de manière admirable à transformer l'apparence, le langage et les gestes des personnages animés en acteurs. Mais cela ne les rend ni sympathiques ni enjoués comme dans les contes de fées. Visuellement et dans leur comportement, ils sont plutôt désagréables. Tout comme les chansons de comédie musicale. Peut-être qu'il aurait fallu un réalisateur plus « familial » comme Spielberg, un créateur avec le sens de la magie des contes de fées et de la perception du monde par les enfants. Et peut-être qu'il ne l'aurait pas amélioré non plus. ()


Toutes les critiques de l’utilisateur·trice

anglais Yes, at the beginning there was a bit of nostalgia when the theme song of the series I loved as a child started playing, but as soon as the actors appeared, it went downhill. Robin Williams is amazing and he created the character brilliantly. Shelley Duvall is equally great, but what's the point if you simply can't watch it for those two hours? It's silly, it's also a musical, and what's worse is that it tries way too hard to resemble the animated character, as well as to cram too much into it. A lot happens, but you still wish it would just end. ()



Toutes les critiques de l’utilisateur·trice

anglais Directed by Robert Altman and starring Robin Williams, the burlesque musical Popeye (1980) was one of two rare co-productions between Disney and Paramount (the other being the phenomenal The Kite Runner). It was made in Disney’s so-called “dark age”, which is demonised in the official historiography because the then-boss Ron W. Miller steered the studio away from its values, which are still extolled to this day. But like other projects made under Miller’s management, Popeye is a distinctive and ambitious work, and an underrated, though bizarre, gem. According to the narrow-minded interpreters of Altman’s filmography, however, this spectacularly phantasmagorical project is often considered to be a misstep or a film made only for the money. It is in fact a unique attempt to translate a cartoon world, with its characteristic rhythmic dynamics, visual chaos, nonsensical logic and physical elasticity of the characters, into a live-action format. Furthermore, on closer inspection the narrative, which presents to viewers not only the titular protagonist, but also an entire maritime town with all kinds of odd characters, comes across as a cheerfully absurdist paraphrase of Altman’s iconic mosaics of tragicomic life stories. As in his early gem Brewster McCloud, Altman shows off both his neglected comedic side and his subversion of classic Hollywood formats, particularly burlesque, musicals and big-budget costume flicks. It is no coincidence that Paul Thomas Anderson, a great admirer of Altman, incorporated a wonderful homage to Popeye into his own similarly polarizing gem, Punch-Drunk Love (2002). ()

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