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Réjeanne Padovani (1973)

The unexpected return of his ex-wife and the assembly of a group of protesters both threaten to wreck a corrupt contractor's inauguration party for his new superhighway.



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Cast overview, first billed only:
Jean Lajeunesse ...
Vincent Padovani
Luce Guilbeault ...
Rejeanne Padovani
J. Léo Gagnon ...
Georges Bouchard, Road Minister
Therese Cadorette ...
Mrs. Aline Bouchard
René Caron ...
Mayor Jean-Guy Biron
Hélène Loiselle ...
Mrs. Biron
Jean Pierre Lefebvre ...
Jean-Pierre Caron
Frédérique Collin ...
Hélène Caron
Roger Lebel ...
Leon Desaulniers
Margot Mackinnon ...
Stella Desaulniers
Céline Lomez ...
Pierre Thériault ...
Dominique Di Moro
Paule Baillargeon ...
Louise Thibaudeau
Jean-Pierre Saulnier ...
Maurice Del Veccio
Carlo Ferrara


Mob boss and highway developer Vincent Padovani is hosting a dinner party at his luxurious home celebrating the opening of the new Trans-Quebec highway he just finished work on. In attendance are the Quebec MP who awarded the contract, his secretary and legal adviser, an out-of-work hitman, and the mayor of Montreal. Two events occur that threaten to disturb the evening: first, they learn from a journalist of a planned protest of the highway by a group of people who had their houses demolished during the construction. Second is the return of Padovani's estranged wife, Rejeanne, who left him for a rival mob boss. She shows up unannounced and begging to see her children and Padovani is left no choice but to handle the situation. Written by pr1mal_1

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neo noir | See All (1) »


Crime | Drama


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Release Date:

3 October 1973 (Canada)  »

Also Known As:

Ordningen är återställd  »

Filming Locations:

Box Office


CAD 225,000 (estimated)

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User Reviews

incredibly specific and angry
25 January 2009 | by (Canada) – See all my reviews

Let's try to forget, for just a moment, that this is a Canadian fiction film that actually has something to say about the real world, that it actually vents rather than channels collective anger - to the point of casting lookalikes of the then-current Montreal power structure, and portraying them as unutterable monsters to a man. And let's not get into how genuine or enduring or correct Arcand's radicalism might be; let's talk about what a fantastic movie he makes out of it. The camera seems to hide in the corners of this mausoleum-like mansion, lingering over entrances and exits until they become the content: the conduction of power and command. There's no mistaking the class commentary of the parallel parties in the dining room and basement. But the king's messengers - inarticulate, glowering, self-absorbed - are far from helpless victims. Nor does Arcand idealize the women who wander from partner to partner seeking their cut of the good life. This movie absolutely nails the sensual allure of wealth and comfort even as the emptiness is laid bare - a percussive shock cut to a close up of pants being unzipped almost steals the whole movie. Until the denouement, that is, where we learn all too clearly the consequences of underestimating the evil powers at play: appeals to human decency will not cut the mustard. In other words, this tiny, claustrophobic movie is actually an epic of human tragedy - a visionary one, and just about perfect too.

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