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Schwarze britische Komödie aus dem Jahr 1949. Der mittellose Louis Mazzini will aus Rache an das Erbe seiner reichen und unfreundlichen Verwandten. Dazu muss er aber erst acht von ihnen aus dem Weg räumen. Als er am Ziel ist, wird er festgenommen - für einen Mord den er nicht begangen hat. Alle acht Opfer wurden von Alec Guinness gespielt.
Avis de la communauté (3)
Describing Kind Hearts and Coronets to someone unfamiliar with it can feel like trying to pitch a black comedy masterpiece that shouldn’t work—but absolutely does. Here’s a way to frame it: It’s a darkly comedic British film about Louis Mazzini, a charming and ruthless young man who schemes to inherit a noble title by systematically murdering the eight relatives standing between him and the dukedom. The twist? All eight of those relatives—men and women—are played by the same actor, Alec Guinness, in a brilliant display of versatility. On paper, it might sound like an absurd concept: a single actor portraying an entire aristocratic family, and the audience rooting for the protagonist who is committing murder after murder. But the film is a razor-sharp satire of class, privilege, and ambition, told with wit, elegance, and an almost surreal detachment. It’s not gruesome or grim; instead, it’s a sophisticated, darkly funny exploration of morality, entitlement, and revenge, carried by Dennis Price’s suave, composed antihero and Alec Guinness’s tour-de-force performance as the absurdly varied D’Ascoyne family. It’s a film that surprises you with its cleverness and makes you laugh at things you probably shouldn’t, all while reveling in its absurd premise. If you enjoy satire, dry humor, or just brilliantly written and performed films, this one’s a gem.
Very good and funny movie, remarkable script and an outstanding Alec Guinness
Amazing to see Alec Guinness play eight different roles--I had no idea. That was a whole lot of fun, but the rest of the movie never quite came together for me. I think the biggest factor was Dennis Price's lack of charisma in the main role--if you're going to spend the whole movie killing innocent people, I need to have some stake in the fight. I don't necessarily need to like the character, but there needs to be a sense of understanding. (I didn't love Monsieur Verdoux, for example, but I think Chaplin tried to address this concern.) Here, it all just felt unpleasant and unrewarding. I do wish I saw Joan Greenwood in more things though.