| Walter Slezak | ... | Dr. Coppelius | |
| Claudia Corday | ... | Swanhilda / Coppelia | |
| Caj Selling | ... | Franz | |
| Eileen Elliott | ... | Brigitta | |
| Marcia Bellak | ... | Swanhilda's Friend #1 | |
| Kathy Jo Brown | ... | Swanhilda's Friend #2 | |
| Clara Cravey | ... | Swanhilda's Friend #3 | |
| Kathleen Garrison | ... | Swanhilda's Friend #4 | |
| Chris Holter | ... | Swanhilda's Friend #5 | |
| Sharon Kapner | ... | Swanhilda's Friend #6 | |
| Luis Prendes | ... | The Mayor | |
| Milorad Miskovitch | ... | Hungarian Dance Champion | |
| Carmen Rojas | ... | Spanish Doll | |
| Veronica Rusmin | ... | Roman Doll | |
| Aurelio Bogado | |||
| Richard Dodd | |||
| Xenia Petrowsky | |||
| Helena Villarroya | (as Helena Villaroya) | ||
| Victoria Held | |||
| James Eaton | |||
| Monica Morris | |||
| Maria Lu Wen Yen | |||
| Elvezio Brancaleoni | |||
| rest of cast listed alphabetically: | |||
| Terry-Thomas | ... | The Bull (voice) (uncredited) | |
Directed by | |||
| Ted Kneeland | |||
Writing credits | ||
| Charles Nuitter | libretto "Coppelia" and | |
| Arthur Saint-Leon | text based on ballet libretto "Coppelia" | |
| Jo Anna Kneeland | screenplay | |
| Jo Anna Kneeland | story | |
| Ted Kneeland | screenplay | |
| Ted Kneeland | story | |
| Víctor M. Tarruella | screenplay | |
Produced by | |||
| Frank J. Hale | .... | associate producer | |
| Ted Kneeland | .... | producer | |
| Alfred J. Piccolo | .... | associate producer | |
| Víctor M. Tarruella | .... | executive producer | |
| Samuel Bronston | .... | producer (uncredited) | |
Cinematography by | |||
| Cecilio Paniagua | |||
Film Editing by | |||
| Juan Serra | |||
Production Design by | |||
| Florence Lustig | |||
Art Direction by | |||
| Gil Parrondo | |||
Set Decoration by | |||
| Roberto Carpio | |||
Costume Design by | |||
| Roberto Carpio | |||
| Marian Ribas | |||
Makeup Department | |||
| Antonia López | .... | hair stylist | |
| Julián Ruiz | .... | makeup artist | |
Production Management | |||
| Ramón Plana | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Luis María Delgado | .... | second unit director (as Luis M. Delgado) | |
| Antonio Tarruella | .... | assistant director | |
Art Department | |||
| Alicia Markova | .... | artistic consultant (as Dame Alicia Markova) | |
| Francisco Rodríguez Asensio | .... | set constructor (as Francisco Asensio) | |
| Alan White | .... | advertising designer (uncredited) | |
Sound Department | |||
| Gus Mortensen | .... | sound mixing (as Gustave Mortensen) | |
Camera and Electrical Department | |||
| Federico G. Grau | .... | still photographer (as Federico Gomez Grau) | |
| Claudio Gómez Grau | .... | still photographer | |
| Ricardo Navarrete | .... | camera operator | |
| Eduardo Noé | .... | camera operator | |
| Ramiro Sabell | .... | second assistant camera | |
Costume and Wardrobe Department | |||
| Humberto Cornejo | .... | wardrobe | |
Music Department | |||
| Raymond Guy Wilson | .... | musical director | |
Other crew | |||
| José Luis Barbero | .... | script clerk | |
| Jo Anna Kneeland | .... | choreography | |
| Arthur Saint-Leon | .... | ballet: Original choreographer | |
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| The Nutcracker | The Children of Theatre Street | Little Ghost | Head | Fantasia |
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| Full cast and crew | Company credits | External reviews |
| IMDb Fantasy section | IMDb Spain section |
Stilted Spanish-made adaptation of the ballet libretto "Coppelia", busy on its feet and yet with little personality behind or in front of the camera. In a small village, the curious Dr. Coppelius keeps the townspeople at bay by setting off innocuous explosions; what he's really hiding is a fantastic workshop filled with life-size dolls of his own creation. When intrepid young sweethearts break into the doctor's house, they discover his secret, with the girl impersonating the doctor's latest invention. "Dr. Coppelius" was apparently a labor of love for Ted and Jo Anna Kneeland--he directed, she choreographed the dancing, and they both had a hand in the writing; yet, despite an imaginative art direction and production design, the film seems rather unwieldy, most especially during the dance sequences which are poorly-staged. Barely circulated in the late-1960s, the Kneelands tried for another release in 1976 (using the title "The Mysterious House of Dr. C."), adding horrendous narration and character voice-overs, two animated dream sequences, and songs to explain nearly every bit of human interaction. It's certainly a curio--and a good-looking one, with changing light cues in garish golds, blood reds, mad pinks, and frosty blues--yet the effort is best described as a misfire. ** from ****