Children of Paradise
(1945)
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Children of Paradise
(1945)
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| Watch Trailer 0Share... |
| Cast overview, first billed only: | |||
| Arletty | ... |
Caire Reine, dite Garance
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| Jean-Louis Barrault | ... |
Jean-Baptiste Debureau
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Pierre Brasseur | ... | |
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Pierre Renoir | ... |
Jéricho
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María Casares | ... |
Nathalie
(as María Casarès)
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Gaston Modot | ... |
Fil de Soie
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Fabien Loris | ... |
Avril
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Marcel Pérès | ... |
Le directeur des Funambules
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Palau | ... |
Le régisseur des Funambules
(as Pierre Palau)
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Etienne Decroux | ... |
Anselme Debureau
(as Étienne Decroux)
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Jane Marken | ... |
Mme Hermine
(as Jeanne Marken)
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Marcelle Monthil | ... |
Marie
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Louis Florencie | ... |
Le gendarme des 'Adrets'
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Habib Benglia | ... |
L'employé des bains turcs
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Rognoni | ... |
Le directeur du Grand Théâtre
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This tale centers around the love between Baptiste, a theater mime, and Claire Reine, an actress and otherwise woman-about-town who calls herself Garance. Garance, in turn, is loved by three other men: Frederick, a pretentious actor; Lacenaire, a conniving thief; and Count Eduard of Monteray. The story is further complicated by Nathalie, an actress who is in love with Baptiste. Garance and Baptiste meet when Garance is falsely accused of stealing a man's watch. Garance is forced to enter the protection of Count Eduard when she is innocently implicated in a crime committed by Lacenaire. In the intervening years of separation, both Garance and Baptiste become involved in loveless relationships with the Count and Nathalie, respectively. Baptiste is the father of a son. Returning to Paris, Garance finds that Baptiste has become a famous mime actor. Nathalie sends her child to foil their meeting, but Baptiste and Garance manage one night together. Lacenaire murders Edouard. In the last ... Written by kevin kraynak <kevin@kraynakk.com>
It is an epic. One of the best films ever made. The script and the dialogues show that the genius of Jacques Prévert wasn't made only for written poetry but for poetry in motion as well.Carné's camera is precise and makes one feel like a real witness of the plot. All in all a lesson of how to make a film yesterday, today and tomorrow.