| Pierre Brasseur | ... | Docteur Génessier | |
| Alida Valli | ... | Louise | |
| Juliette Mayniel | ... | Edna Grüber | |
| Edith Scob | ... | Christiane Génessier | |
| François Guérin | ... | Jacques Vernon | |
| Alexandre Rignault | ... | Inspector Parot | |
| Béatrice Altariba | ... | Paulette | |
| Charles Blavette | ... | L'homme de la fourrière (as Blavette) | |
| Claude Brasseur | ... | Un inspecteur | |
| Michel Etcheverry | ... | Le docteur Lherminier - médecin légiste / Forensic surgeon | |
| Yvette Etiévant | ... | La mère (as Yvette Etievent) | |
| René Génin | ... | Emile Tessot | |
| Lucien Hubert | ... | Un homme au cimetière | |
| Marcel Pérès | ... | Un homme au cimetière | |
| rest of cast listed alphabetically: | |||
| France Asselin | ... | (uncredited) | |
| Charles Bayard | ... | Un homme à la conférence (uncredited) | |
| Gabrielle Doulcet | ... | Une admiratrice (uncredited) | |
| Corrado Guarducci | ... | (uncredited) | |
| Brigitte Juslin | ... | (uncredited) | |
| Charles Lavialle | ... | Le concierge (uncredited) | |
| Max Montavon | ... | (uncredited) | |
| Jimmy Perrys | ... | Un homme à la morgue (uncredited) | |
Directed by | |||
| Georges Franju | |||
Writing credits | ||
| Jean Redon | (novel) | |
| Pierre Boileau | (adaptation) (as Boileau-Narcejac) & | |
| Thomas Narcejac | (adaptation) (as Boileau-Narcejac) & | |
| Jean Redon | (adaptation) & | |
| Claude Sautet | (adaptation) | |
| Pierre Gascar | (dialogue) | |
Produced by | |||
| Jules Borkon | .... | producer | |
Original Music by | |||
| Maurice Jarre | |||
Cinematography by | |||
| Eugen Schüfftan | (as Eugen Shuftan) | ||
Film Editing by | |||
| Gilbert Natot | |||
Production Design by | |||
| Auguste Capelier | |||
Art Direction by | |||
| Margot Capelier | |||
Costume Design by | |||
| Marie Martine | (gowns) (as Marie-Martine) | ||
Makeup Department | |||
| Georges Klein | .... | makeup artist | |
| Marcelle Testard | .... | hair stylist | |
Production Management | |||
| Margot Capelier | .... | assistant production manager | |
| Pierre Laurent | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Claude Sautet | .... | assistant director | |
Art Department | |||
| Claude Moesching | .... | assistant art director | |
| Jacques Mély | .... | assistant art director | |
| Albert Volper | .... | set dresser | |
Sound Department | |||
| Antoine Archimbaud | .... | sound | |
Special Effects by | |||
| Charles-Henri Assola | .... | special effects (as Henri Assola) | |
Camera and Electrical Department | |||
| Pierre Brard | .... | assistant camera | |
| Jean-Louis Castelli | .... | still photographer | |
| Robert Schneider | .... | camera operator | |
Editorial Department | |||
| Denise Natot | .... | assistant editor | |
Music Department | |||
| Maurice Jarre | .... | musical director | |
Other crew | |||
| Ginette Diamant-Berger | .... | script supervisor | |
| Marcel Lesourd | .... | animal trainer | |
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| Kings & Queen | La corta notte delle bambole di vetro | Torso | Persepolis | Deep Red |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb France section |
This film is dark and somber with a spare, eerie music score that suits perfectly the macabre, surreal story. A brilliant but deranged surgeon, having caused his daughter's disfigurement in a car accident, loses touch with reality and tries to restore her beauty in a most repulsive manner. Undeterred by failure, the mad doctor continues his gruesome work, hoping to find a miracle cure that will reconstruct the girl's facial features and also relieve him of his tremendous burden of guilt. The once-lovely girl realizes that she will never enjoy a normal life or see her beloved fiancé again, and her mute telephone calls to him just to hear his voice show how empty and lonely her life has become. There are some scenes that are horribly graphic but quite well done and a few moments that are poignant and touching amid the cruelty and butchery of the movie's central theme. Each character in this grim, unhappy feature is victimized in some fashion, but in spite of its subject matter, this cult classic is lean, first-rate storytelling.