IMDb > The Golden Coach (1952)

The Golden Coach (1952) More at IMDbPro »Le carrosse d'or (original title)

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Overview

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Director:
Writers:
Jean Renoir (story) and
Jack Kirkland (story) ...
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Contact:
View company contact information for The Golden Coach on IMDbPro.
Release Date:
5 January 1954 (USA) See more »
Genre:
Plot:
In Peru in the eighteenth century. Camilla, the star of a theater company, hesitates between three men... See more » | Add synopsis »
Plot Keywords:
Awards:
1 win See more »
User Reviews:
Where Gold Commands, Laughter Vanishes See more (16 total) »

Cast

  (in credits order) (verified as complete)

Anna Magnani ... Camilla
Odoardo Spadaro ... Don Antonio
Nada Fiorelli ... Isabella
Dante ... Arlequin
Duncan Lamont ... Ferdinand, Le Viceroy
George Higgins ... Martinez
Ralph Truman ... Duc de Castro
Gisella Mathews ... Marquise Irene Altamirano
Raf De La Torre ... Le Procureur
Elena Altieri ... Duchesse de Castro
Paul Campbell ... Felipe
Riccardo Rioli ... Ramon, le Toreador
William Tubbs ... Aubergiste (as William C. Tubbs)
Jean Debucourt ... Eveque de Carmol (de Comédie-Française)
rest of cast listed alphabetically:
Renato Chiantoni ... Capitaine Fracasse (uncredited)
Fedo Keeling ... Vicomte (uncredited)
Alfredo Kolner ... Florindo (uncredited)
Lina Marengo ... Vieille Comedienne (uncredited)
Cecil Mathews ... Le Baron (uncredited)
Alfredo Medini ... Polichinelle (uncredited)
Maja Niles ... Peruvian Noble (uncredited)
John Pasetti ... Capitaine des gardes (uncredited)
Juan Pérez ... (uncredited)
Rino ... Docteur Balanzon (uncredited)
Giulio Tedeschi ... Balthazar, le barbier (uncredited)
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Directed by
Jean Renoir 
 
Writing credits
Jean Renoir (story and screenplay) and
Jack Kirkland (story and screenplay) and
Renzo Avanzo (story and screenplay) and
Giulio Macchi (story and screenplay) and
Ginette Doynel (story and screenplay)

Prosper Mérimée (inspired by "Le Carrosse du Saint-Sacrement")

Produced by
Francesco Alliata .... producer
Renzo Avanzo .... associate producer
 
Cinematography by
Claude Renoir 
Ronald Hill (uncredited)
 
Film Editing by
David Hawkins 
 
Production Design by
Mario Chiari 
 
Set Decoration by
Gino Brosio 
 
Costume Design by
Maria De Matteis 
 
Production Management
Giuseppe Bordogni .... production manager (as G. Bordogni)
Valentino Brosio .... production manager (as V. Brosio)
 
Second Unit Director or Assistant Director
Giulio Macchi .... second assistant director
Marc Maurette .... second assistant director
Vito Pandolfi .... assistant director
Jean-Claude Sée .... assistant director
 
Art Department
Italo Tomassi .... construction department head (uncredited)
 
Sound Department
Joseph de Bretagne .... sound
Ovidio Del Grande .... sound assistant
 
Camera and Electrical Department
Joe D'Amato .... still photographer (as Aristide Massaccesi)
Rodolfo Lombardi .... camera operator
 
Music Department
Gino Marinuzzi Jr. .... conductor
Orchestra Sinfonica di Roma .... orchestra
Antonio Vivaldi .... music: musical score selected from the works of
 
Other crew
Joan Bridge .... technicolor color consultant
Lee Kresel .... dialogue director (English version)
Enzo Musumeci Greco .... master of arms (uncredited)
 

Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
"Le carrosse d'or" - France (original title)
See more »
Runtime:
103 min | West Germany:94 min
Country:
Language:
Color:
Color (Technicolor)
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Company:

Did You Know?

Quotes:
Marquise Irene Altamirano:He actually removed his peruke before her!See more »
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FAQ

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0 out of 1 people found the following review useful.
Where Gold Commands, Laughter Vanishes, 10 March 2013
Author: TypoMonq from United States

Renoir brought a new authorial voice to his work with The Diary of a Chambermaid which carried over into the "trilogy" of Carosse D'Or, French CanCan and Elena. The trilogy therefore is a bit of a misnomer despite Diary admittedly being more transitional than the three color productions which soon followed. Renoir introduces Carosse as a "fantasy" in the "spanish style" and it was at this time in his life where he was ready to dedicate himself to theater. The opening shot is a fantastic reflective juxtaposition of the theater stage and the cinema screen. Deep staging is important to the mise-en-scene, but there is little long take mobile framing. One-shot closeups, pov and shot-reverse-shot create a sense of psychological identification. The polyvocal system is less logical than Grande Illusion and more at the service of Magnani (much in the same way that Goddard was the focal point of Diary). A montage of shots connected through dissolves as well as the static camera solidify a sense of tableau fitting appropriately with the specularity of the commedia dell'arte theme. The viceroy is Camilla's muse sooner than the typical inverse. He provides a sensitivity that reminds of Le Baron in Bas Fonds... and his fascinations are just as patronizing and unsettling. There is a voyeuristic theme within the specular structure which raises questions about the great depth of field relating to privilege as opposed to realism. Renoir would take a new look at this at the end of Cancan when Gabin rehearses the performance in his mind from backstage. The Golden Coach is very much a film these for Renoir as he plays out the most important elements of his personal philosophy - that of internal and external truths and the masks that people wear to manage their relationship and mode of expression. For a fun, light film there is a lot of powerful expression in Carosse D'Or.

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