| Photos (see all 1 | slideshow) |
| Alain Emery | ... | Folco, the boy | |
| Laurent Roche | |||
| Clan-Clan | |||
| Pascal Lamorisse | |||
| Francois Perie | |||
| Charles Guillaume | |||
| Alain Colomb Daunant | |||
| Denys Colomb Daunant | (as Denys Colomb de Daunant) | ||
| Charles Fouhetty | |||
| Pierre Bestieux | |||
| Pierre Moureaux-Nery | |||
| Jean-Pierre Grenier | ... | Narrator (original version) (as J. P. Grenier) | |
| rest of cast listed alphabetically: | |||
| Frank Silvera | ... | Narrator- English | |
Directed by | |||
| Albert Lamorisse | |||
Writing credits | ||
| Albert Lamorisse | (original scenario) | |
| Denys Colomb Daunant | (adaptation) (as Denys Colomb de Daunant) | |
| Albert Lamorisse | (commentary) and | |
| James Agee | (commentary) | |
Produced by | |||
| Albert Lamorisse | .... | producer | |
Original Music by | |||
| Maurice Leroux | (music score) (as Maurice Le Roux) | ||
Cinematography by | |||
| Edmond Séchan | |||
Film Editing by | |||
| Georges Alépée | |||
Sound Department | |||
| Regine Artarit | .... | sound editor | |
Camera and Electrical Department | |||
| Nicole de Bourgues | .... | assistant camera (as Bourgues) | |
| Jean-Louis Malige | .... | assistant camera (as Malige) | |
| Moureaux-Nery | .... | assistant camera | |
| Pervenchon | .... | assistant camera | |
| Rosfelder | .... | assistant camera | |
| Recent Posts (updated daily) | User |
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| Soundtrack | clairewood |
| Remastered 35mm version at Nuart Theatre | Soundsforafilm |
| DVD / VHS Edition | gruenfelder-1 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Short section | IMDb France section |
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In the mid-fifties, Albert Lamorisse produced two beautiful, but strangely distant films, "The RedBalloon" and "White Mane". "Red Balloon" has been available and remained somewhat popular, while "White Mane" all but disappeared. Its re-emergence is welcome, as it offers intensely compelling black and white imagery, cinematography that is a cross between Ansel Adams and Atget, in its rich tones, dramatic light, and epic feel.
Red Balloon, offers an interesting contrast. Paris is all muted earth tones and grays, with the balloons offering the only vivid colors. It is also interesting to remember that World War II was less than a decade earlier.
Little Pascal, the director's son, is seen in both films, always appealing never "cute", but somehow distant. We don't really know him except as "the little boy".
The two films are wonderful artifacts from a time when film was more art than marketing.