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The Marquise of O (1976)
"Die Marquise von O..." (original title)

PG  |   |  Drama, History  |  19 May 1976 (France)
7.3
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Ratings: 7.3/10 from 1,410 users   Metascore: 85/100
Reviews: 10 user | 10 critic | 4 from Metacritic.com

A German Marquise has to deal with a pregnancy she cannot explain and an infatuated Russian Count.

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Won 1 BAFTA Film Award. Another 10 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Edith Clever ...
Die Marquise
...
Der Graf
Edda Seippel ...
Die Mutter, Die Obristin
Peter Lühr ...
Der Vater, Der Obrist
...
Der Bruder, Der Forstmeister
Eduard Linkers ...
Der Arzt
Ruth Drexel ...
Die Hebamme
Bernhard Frey ...
Leopardo
Hesso Huber ...
Der Türsteher
Erich Schachinger ...
Der General
Richard Rogner ...
Der Offizier
Thomas Straus ...
Der Kurier
Volker Prechtel ...
Der Pfarrer
Marion Müller ...
Die Kammerfrau
Heidi Möller ...
Die Kammerfrau
Edit

Storyline

During the attack on an Italian town by Russian forces, the Marquise of O., the daughter of the colonel in charge of the defence, is attacked by a group of Russian soldiers. A Russian Count comes to her rescue, and falls in love with her. While he is away, she discovers that she is pregnant, though she cannot explain how that happened. Her father repudiates her, and she has to reject the Count while trying to find out who the father of her child is. Written by Pruneau

Plot Summary | Add Synopsis

Genres:

Drama | History

Certificate:

PG | See all certifications »
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Details

Official Sites:

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Release Date:

19 May 1976 (France)  »

Also Known As:

The Marquise of O  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Goofs

When Julietta is banging on her father's door, the audio is not synchronized with the video. See more »

Connections

Version of Il seme della discordia (2008) See more »

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User Reviews

 
Melodramatic Twaddle
18 February 2001 | by (New York, USA) – See all my reviews

Eric Rohmer, the great filmmaker, tries his hand at the kind of film that is everything that a Rohmer film isn't. Gone is the New Wave Modernism; the natural settings, hand-held cameras and dialogue that captures the quintessential nature of being human. Replaced instead with dowdy costumes, unmoving camera, and formal sets. Perhaps the original German flows with eloquent charm, but the English subtitles seem to have been translated by school children.

Merchant Ivory this isn't, and neither is it Rohmer.


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