| Photos (see all 9 | slideshow) |
| Isabelle Adjani | ... | Adèle Hugo / Adèle Lewry | |
| Bruce Robinson | ... | Lt Albert Pinson | |
| Sylvia Marriott | ... | Mrs. Saunders | |
| Joseph Blatchley | ... | The Bookseller | |
| Ivry Gitlis | ... | Hypnotist | |
| Louise Bourdet | ... | Victor Hugo's servant | |
| Cecil De Sausmarez | ... | Mr. Lenoir | |
| Ruben Dorey | ... | Mr. Saunders | |
| Clive Gillingham | ... | Keaton | |
| Roger Martin | ... | Doctor Murdock | |
| M. White | ... | Colonel White (as Mr White) | |
| Madame Louise | ... | Madame Baa | |
| Jean-Pierre Leursse | ... | Black penpusher | |
| rest of cast listed alphabetically: | |||
| Geoffroy Crook | ... | George, servant at Johnstone's (uncredited) | |
| Chantal Durpoix | ... | Young whore (uncredited) | |
| Raymond Falla | ... | Judge Johnstone (uncredited) | |
| David Foote | ... | David, a young boy (uncredited) | |
| Jacques Frejabue | ... | Cabinetmaker (uncredited) | |
| Carl Hathwell | ... | Lt. Pinson's Batman (uncredited) | |
| Edward J. Jackson | ... | O'Brien (uncredited) | |
| Aurelia Mansion | ... | Widow with dog (uncredited) | |
| Thi-Loan Nguyen | ... | Madmoiselle Tilly, assistant of hypnotist (uncredited) | |
| François Truffaut | ... | Officer (uncredited) | |
| Ralph Williams | ... | Canadian (uncredited) | |
Directed by | |||
| François Truffaut | |||
Writing credits(in alphabetical order) | ||
| Jan Dawson | English adaptation | |
| Jean Gruault | writer | |
| Frances Vernor Guille | story (as Frances V. Guille) | |
| Adèle Hugo | diary | |
| Suzanne Schiffman | writer | |
| François Truffaut | writer | |
Produced by | |||
| Marcel Berbert | .... | producer | |
| Claude Miller | .... | producer | |
| François Truffaut | .... | producer (uncredited) | |
Original Music by | |||
| Maurice Jaubert | |||
Cinematography by | |||
| Néstor Almendros | (as Nestor Almendros) | ||
Film Editing by | |||
| Martine Barraqué | (as Martine Barraque) | ||
| Yann Dedet | |||
| Jean Gargonne | |||
| Michèle Neny | (as Michele Neny) | ||
| Muriel Zeleny | |||
Production Design by | |||
| Jean-Pierre Kohut-Svelko | (as Jean-Pierre Kohut) | ||
Costume Design by | |||
| Jacqueline Guyot | |||
Makeup Department | |||
| Chantal Durpoix | .... | hair stylist | |
| Thi-Loan Nguyen | .... | makeup artist (as Thi Loan N'Guyen) | |
Production Management | |||
| Patrick Millet | .... | production manager | |
| Roland Thénot | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Carl Hathwell | .... | second assistant director | |
| Suzanne Schiffman | .... | assistant director | |
Art Department | |||
| Daniel Braunschweig | .... | property master | |
Sound Department | |||
| Michel Laurent | .... | sound | |
| Jacques Maumont | .... | sound mixer | |
| Jean-Pierre Ruh | .... | sound | |
Camera and Electrical Department | |||
| Florent Bazin | .... | assistant camera | |
| Charlie Freess | .... | key grip (as Charles Freess) | |
| Jean-Claude Gasché | .... | chief electrician (as Jean-Claude Gasche) | |
| Dominique Le Rigoleur | .... | assistant camera | |
| Jean-Claude Rivière | .... | assistant camera (as Jean-Claude Riviere) | |
Music Department | |||
| Patrice Mestral | .... | conductor | |
| François Porcile | .... | musical consultant | |
Other crew | |||
| Jacques Noureddine | .... | saxophone solo | |
| Christine Pellé | .... | script supervisor (as Christine Pelle) | |
| Georges Aminel | .... | voice (uncredited) | |
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Thirty years later it is hard to imagine "The Story of Adele H" without the then twenty-year old Isabelle Adjani as the title character. But at the time Truffaut's decision to cast the young French theatre star was very risky. Not because there was any doubt about Adjani's acting, but because casting someone who was arguably the most beautiful actress in the world as a character driven mad by unrequited love raised a potential credibility issue. Would viewers believe that the advances of a woman so beautiful, passionate, and intelligent were rejected? And could someone like that elicit sympathy from the average viewer.
But Truffaut knew what he was doing because Adjani's Adele Hugo is 100% convincing. And rather than going for audience sympathy they go for audience frustration as the viewer is increasingly exasperated over Adele's self-destructive behavior. Adjani's breathtaking beauty actually is an asset as Truffaut wants us convinced that the world holds open unlimited possibilities for Adele if only see can let go of her obsession. Adjani plays the character with such intensity that you are finally relieved when Adele's madness has reached the stage where she is no longer aware of her own suffering.
Apparently Adele Hugo (Victor Hugo's daughter) had other issues going on well before her obsessive quest for Lt. Pinson's love began. Her sister had drowned and her parents had always strongly favored the sister over Adele. She has recurrent nightmares about drowning and sees marriage to Pinson as the only way to escape from her father. Visually, Truffaut's stays with blacks, browns and blues; with much of each frame filled with shadows; not exactly dreary but consistent with a character who has found little non-fantasy happiness during her life.
The camera loves Adjani, a good thing as she is on screen for over 90% of the film. She was the youngest nominee ever for best actress. It was the best performance of the 1970's, probably no one but Adjani could have conveyed such inner emotional violence. It is that extremely rare visual performance that does not need subtitles or even sound.
As Roger Ebert noted: "Truffaut finds a certain nobility in Adele. He quotes one of the passages in her diaries twice: She writes that she will walk across the ocean to be with her lover. He sees this, not as a declaration of love, but as a statement of a single-mindedness so total that a kind of grandeur creeps into it. Adele was mad, yes, probably - but she lived her life on such a vast and romantic scale that it's just as well Pinson never married her. He would have become a disappointment".