| Jean-Louis Barrault | ... | Dr. Cordelier / Opale | |
| Teddy Bilis | ... | Maître Joly | |
| Sylviane Margollé | ... | Jeune fille | |
| Jean Bertho | ... | Premier passant | |
| Jacques Ciron | ... | Deuxième passant | |
| Annick Allières | ... | Voisine | |
| Dominique Dangon | ... | Mère de la jeune fille | |
| Jean Topart | ... | Désiré | |
| Michel Vitold | ... | Docteur Séverin | |
| Micheline Gary | ... | Marguerite | |
| Jacques Danoville | ... | Commissaire Lardaut (as Jacques Dannoville) | |
| André Certes | ... | Inspecteur Salbris | |
| Jean-Pierre Granval | ... | Le patron de l'hôtel | |
| Céline Sales | ... | La première fille | |
| Jacqueline Morane | ... | Alberte | |
| Ghislaine Dumont | ... | Suzy | |
| Madeleine Marion | ... | Juliette | |
| Didier d'Yd | ... | Georges | |
| Primerose Perret | ... | Mary | |
| Raymond Jourdan | ... | L'infirme | |
| Jaque Catelain | ... | L'Ambassadeur | |
| Régine Blaess | ... | Femme de l'Ambassadeur | |
| Gaston Modot | ... | Blaise | |
| Jacqueline Frot | ... | Camille | |
| Monique Theffo | ... | Annie | |
| Claude Bourlon | ... | Lise (as Claudie Bourlon) | |
| Raymone | ... | Mme des Essarts | |
| Françoise Boyer | ... | Françoise | |
| rest of cast listed alphabetically: | |||
| Catherine Rouvel | ... | (scenes deleted) | |
| Bernard Fresson | ... | Extra (uncredited) | |
| Jean Renoir | ... | Himself (uncredited) | |
Directed by | |||
| Jean Renoir | |||
Writing credits(in alphabetical order) | ||
| Jean Renoir | ||
| Robert Louis Stevenson | novel "The Strange Case of Dr. Jekyll and Mr. Hyde" (uncredited) | |
Original Music by | |||
| Joseph Kosma | |||
Cinematography by | |||
| Georges Leclerc | |||
Film Editing by | |||
| Renée Lichtig | |||
Set Decoration by | |||
| Marcel-Louis Dieulot | |||
Costume Design by | |||
| Monique Dunand | |||
Production Management | |||
| Albert Hollebeke | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Maurice Beuchey | .... | first assistant director | |
| Monique Dunand | .... | assistant director | |
Art Department | |||
| Yves-André Hubert | .... | technician | |
| Jean Serge | .... | art assistant | |
Sound Department | |||
| Joseph Richard | .... | sound engineer | |
Camera and Electrical Department | |||
| Bernard Girod | .... | framing camera operator | |
| Jean Graglia | .... | framing camera operator | |
| Pierre Guéguen | .... | framing camera operator (as Pierre Guegen) | |
| Pierre Lebon | .... | framing camera operator | |
| Gilbert Perrot-Minnot | .... | framing camera operator | |
| Arthur Raimondo | .... | framing camera operator (as Arthur Raymondo) | |
| Gilbert Sandoz | .... | framing camera operator | |
Other crew | |||
| Andrée Gauthey | .... | script | |
| Marinette Pasquet | .... | script | |
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| Dr. Jekyll and Mr. Hyde | Dr. Jekyll and Mr. Hyde | Dr. Jekyll and Mr. Hyde | The Strange Case of Dr. Jekyll and Miss Osbourne | The Strange Case of Dr. Jekyll and Mr. Hyde |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
Jean Renoir's Le Testament Du Docteur Cordelier is dismissed by many as a mere TV movie (it even begins with Renoir discussing the film in a television studio: around this time he regularly filmed introductions for TV broadcasts of his films), but despite being visually a little flat due to being shot quickly with multiple cameras both to save time and money and to allow the actors more freedom, it's an intriguing attempt to remove the over-familiarity which curses all other adaptations of its source material. It would be giving too much away to mention exactly which extremely famous novel it's based on (it's not even credited in the main titles), but despite being moved from Victorian Edinburgh to 50s Paris it's in many ways the most faithful screen adaptation to the original mystery structure of the novel. Of course, once you know the title any mystery is gone, so in a strange way changing the names, updating and relocating it is the only way to even attempt to preserve any element of surprise.
Some elements are more successful than others, and while it retains the all-important but oft overlooked front door/back door geography of the good Doctor's house, it's somewhat diminished by both entrances opening on respectable streets rather than occupying the borderline between the upper class streets and the slums. However, it is the only version that points out that far from being the victim of his good intentions, the doctor in question is in fact merely covering up his own very willing part in the crimes rather than trying to put an end to them: his only reason for wanting to end them is to end the pain that HE suffers rather than the pain that is inflicted on others. But the real triumph of the film is Jean-Louis Barrault's performance as Opale, a quite remarkable display of pure physicality offering a mass of twitches, swagger and curious movements that should skirt on the comic yet somehow combine with the character's arbitrary rage and purely opportunistic violence to create a disturbing portrait of malice that's a world away from the hypocritical and ultimately far more monstrous Dr Cordelier's public displays of rigid self-control. It may be a minor film, particularly in Renoir's canon, but it's a major performance that deserves to be much better known.