Popularity: 2 (history)
Director: | Marcel Carné |
---|---|
Writer: | Jacques Prévert |
Staring: |
In a chaotic 19th-century Paris teeming with aristocrats, thieves, psychics, and courtesans, theater mime Baptiste is in love with the mysterious actress Garance. But Garance, in turn, is loved by three other men: pretentious actor Frederick, conniving thief Lacenaire, and Count Edouard of Montray. | |
Release Date: | Mar 15, 1945 |
---|---|
Director: | Marcel Carné |
Writer: | Jacques Prévert |
Genres: | Drama, Romance |
Keywords | pantomime, anarchist, count, love, thief, murder, mime, black and white, false accusations, hoodlum |
Production Companies | Société Nouvelle Pathé Cinéma |
Box Office |
Revenue: $1,457
Budget: $0 |
Updates |
Updated: Jul 30, 2025 Entered: Jul 29, 2025 |
Name | Character |
---|---|
Arletty | Claire Reine, dite Garance |
Jean-Louis Barrault | Baptiste Debureau |
Pierre Brasseur | Frédérick Lemaître |
Marcel Herrand | Pierre-François Lacenaire |
María Casares | Nathalie |
Louis Salou | Édouard comte de Montray |
Pierre Renoir | Jericho |
Jane Marken | Mme Hermine |
Gaston Modot | Fil de Soie |
Fabien Loris | Avril |
Marcel Pérès | Le directeur des Funambules |
Etienne Decroux | Anselme Debureau |
Marcelle Monthil | Marie |
Louis Florencie | Le gendarme des 'Adrets' |
Habib Benglia | L'employé des bains turcs |
Rognoni | Le directeur du Grand Théâtre |
Jacques Castelot | Georges |
Paul Frankeur | L'inspecteur de police |
Albert Rémy | Scarpia Barrigni |
Robert Dhéry | Célestin |
Pierre Palau | Le régisseur des Funambules |
Auguste Bovério | Le premier auteur de "L'auberge des Adrets" |
Paul Demange | Le deuxième auteur de "L'auberge des Adrets" |
Lucienne Legrand | La première jolie théâtreuse |
Maurice Schutz | L'encaisseur agressé par Lacenaire |
Joe Alex | (uncredited) |
Nicolas Bataille | Extra (uncredited) |
Gérard Blain | (uncredited) |
Bill Bocket | (uncredited) |
Albert Broquin | (uncredited) |
Jacques Josselin | (uncredited) |
Paul Temps | (uncredited) |
Michel Vadet | (uncredited) |
Roger Vincent | (uncredited) |
Rivers Cadet | Un bourgeois (uncredited) |
Jean Carmet | Un spectateur au paradis des Funambules (uncredited) |
Jean Diéner | Le troisième auteur de "L'Auberge des Adrets" (uncredited) |
Guy Favières | Un encaisseur agressé par Lacenaire (uncredited) |
Jean Gold | Le deuxième dandy (uncredited)) |
Gustave Hamilton | Le concierge du Grand Théâtre (uncredited) |
Jean Lanier | Iago - dans la représentation d' "Othello" (uncredited) |
Léon Larive | Le concierge des Funambules (uncredited) |
Marcel Melrac | Un gendarme (uncredited) |
André Numès | L'homme qui se fait voler sa montre (uncredited) |
Raphaël Patorni | Un dandy (uncredited) |
Lucien Walter | Le marchand de billets (uncredited) |
Cynette Quero | La deuxième jolie théâtreuse (uncredited) |
Name | Job |
---|---|
Madeleine Bonin | Editor |
Jacques Prévert | Screenplay |
Marcel Carné | Director |
Jacques Carrère | Sound Re-Recording Mixer |
Pierre Blondy | Assistant Director |
Maurice Thiriet | Original Music Composer |
Bruno Tireux | Assistant Director |
Léon Barsacq | Production Design, Art Direction |
Marc Fossard | Camera Operator, Director of Photography |
Mayo | Costume Design |
Fred Orain | Production Manager |
Robert Teisseire | Sound Engineer |
Raymond Gabutti | Production Design, Art Direction |
Roger Forster | Still Photographer |
Roger Hubert | Director of Photography |
Henri Rust | Editor |
Jean Monchablon | Sound |
Alexandre Trauner | Production Design |
Joseph Kosma | Additional Music |
Name | Title |
---|---|
Raymond Borderie | Producer |
Fred Orain | Producer |
Organization | Category | Person |
---|
Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 12 | 20 | 9 |
2024 | 5 | 16 | 24 | 9 |
2024 | 6 | 16 | 24 | 10 |
2024 | 7 | 18 | 38 | 10 |
2024 | 8 | 13 | 22 | 8 |
2024 | 9 | 10 | 18 | 5 |
2024 | 10 | 19 | 37 | 9 |
2024 | 11 | 13 | 23 | 8 |
2024 | 12 | 11 | 15 | 8 |
2025 | 1 | 12 | 18 | 8 |
2025 | 2 | 9 | 13 | 3 |
2025 | 3 | 5 | 11 | 1 |
2025 | 4 | 1 | 2 | 1 |
2025 | 5 | 1 | 3 | 1 |
2025 | 6 | 1 | 3 | 1 |
2025 | 7 | 1 | 2 | 1 |
2025 | 8 | 1 | 1 | 0 |
2025 | 9 | 1 | 2 | 0 |
2025 | 10 | 2 | 2 | 1 |
Trending Position
Year | Month | High | Avg |
---|---|---|---|
2025 | 7 | 916 | 916 |
Told in two acts with a curtain rising on both sections, this is quite a stylish, lavish even, and entertaining tale of a lady of the streets. "Garance" (Arletty) who sometimes uses her real name of "Claire Reine" is actually quite a decent woman who is wrongfully accused of pickpocketing in a busy ... market. Fortunately, the mime artist "Baptiste" comes to her rescue and quickly falls hook, line and sinker for the beautiful and charismatic woman. His problem is that she has no lack of suitors, and over the next three hours or so we are introduced to the lively and foppish "Lemaître" (Pierre Brasseur); the even more flamboyant but roguish "Lacenaire" (Marcel Herrand) and the aloof and sterile, but very wealthy "Comte de Montray" (Louis Salou). The plot itself isn't especially remarkable. A woman in the flushes of youth and attractiveness being sought after by a diverse collection of men. What makes this stand out is the marvellously applied mixture of heavily scored theatrical and cinematic styles. It's a love story and an adventure. How might things pan out for her as she ages, though? As her outward beauty begins to fade? Will any of them (or anyone else) still want her? Will she want them? The characters are quite roundly developed as director Marcel Carné takes his time to illustrate not just the persona of the heroine, but also those of her suitors whilst offering us a critique of a society in general that in early 19th century France mixed opulence with poverty, violence with tenderness. By using the different genres of theatre performances, Carné creatively provides us with a more subtle conduit between her series of trials and tribulations that allows us to tap into themes of culture and religion as well as human nature in many of it's guises. Arletty is on great form, as is Brasseur and given it was made just as the Nazi occupation was coming to it's own denouement, is quite an astonishingly artistic achievement that shows a nation with a healthy and defiant confidence in it's own identity and credentials.