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Casque d'Or (1952)

Casque d'or (original title)
Not Rated | | Crime, Drama, Romance | 18 August 1952 (USA)
In an open-air dance hall, the members of Leca's gang are relaxing with their ladies. One of them, Marie, aka "Casque d'Or" (Golden Helmet) meets Manda, a carpenter. Her man Roland belongs ... See full summary »

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Writers:

(scenario), (scenario) | 1 more credit »
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Won 1 BAFTA Film Award. Another 1 win & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
...
Claude Dauphin ...
Raymond Bussières ...
Odette Barencey ...
Loleh Bellon ...
Solange Certin
...
Le patron de la guinguette / Guinguette
Dominique Davray ...
Jacqueline Dane
Paul Barge ...
L'inspecteur Juliani / Police Insp. Giuliani
Paul Azaïs ...
Ponsard
Jean Clarieux ...
Paul
Tony Corteggiani ...
Le commissaire / Superintendent
Émile Genevois ...
Billy (as Emile Genevois)
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Storyline

In an open-air dance hall, the members of Leca's gang are relaxing with their ladies. One of them, Marie, aka "Casque d'Or" (Golden Helmet) meets Manda, a carpenter. Her man Roland belongs to the jealous kind, and Leca himself has his eye on her. A story of love, death, friendship and jealousy during the Belle Epoque. Written by Yepok

Plot Summary | Add Synopsis

Taglines:

L'histoire d'une femme dont chaque amour fut...

Genres:

Crime | Drama | Romance

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

18 August 1952 (USA)  »

Also Known As:

Casque d'Or  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Optiphone)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The original plotline for the film was about an executioner and a criminal, instead of the heartfelt romance that ultimately made up the plot. See more »

Connections

Featured in Mémoires pour Simone (1986) See more »

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User Reviews

A great film of passion
20 September 2002 | by (New York City) – See all my reviews

Casque d'or is one of the greatest films about passion I have ever seen. The intensity of the feeling between Simone Signoret and Serge Reggiani, particularly the former, is overwhelming. These people are outsiders from the very beginning, being part of the criminal underworld from which they will never escape. The honest, bourgeois world is permanently closed to them. Children in French secondary school write essays about this film as if it were a classic French novel. It certainly is a classic, and it could not have been made in any country other than France.


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