Stendhal's epic tale of a young French officer in the Napoleonic wars, and his aunt - a duchess of legendary beauty and resourcefulness.






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Series cast summary:
 Gina Sanseverina (6 episodes, 1982)
 Count Mosca (6 episodes, 1982)
 Fabrizio del Dongo (6 episodes, 1982)
Georges Wilson ...
 Prince Ernesto IV (6 episodes, 1982)
Yann Babilée ...
 Young Prince of Parma (5 episodes, 1982)
Piero Vida ...
 General Fabio Conti (5 episodes, 1982)
Pascale Reynaud ...
 Clelia Conti (4 episodes, 1982)
 Rassi (4 episodes, 1982)
Nelly Borgeaud ...
 Princess Clara Paolina (4 episodes, 1982)
Franco Ressel ...
 General Fontana (4 episodes, 1982)
 Abbé Blanes (3 episodes, 1982)
Giancarlo Badessi ...
 Pernice (3 episodes, 1982)
Mario Feliciani ...
 Monsignor Landriani (3 episodes, 1982)
 Ludovico (3 episodes, 1982)
Muzzi Loffredo ...
 Marchesa Raversi (3 episodes, 1982)
 Marchesa del Dongo (3 episodes, 1982)
Paola Rinaldi ...
 Cecchina (3 episodes, 1982)
Luigi De Filippi
(3 episodes, 1982)
Marc Porel ...
 Lieutenant Robert (2 episodes, 1982)
Hans-Michael Rehberg ...
 Marchese del Dongo (2 episodes, 1982)
Giancarlo Prati ...
 Ascanio del Dongo (2 episodes, 1982)
Renato D'Amore ...
 Barbone (2 episodes, 1982)
Giorgio Alessandroni
(2 episodes, 1982)
Bruno Righi
(2 episodes, 1982)
Piero Morgia
(2 episodes, 1982)
Michele Dell'Ongaro
(2 episodes, 1982)


Stendhal's epic tale of a young French officer in the Napoleonic wars, and his aunt - a duchess of legendary beauty and resourcefulness.

Plot Summary | Add Synopsis


Drama | History




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Release Date:

25 October 1982 (USA)  »

Also Known As:

The Charterhouse of Parma  »

Company Credits

Show detailed on  »

Technical Specs


(6 episodes)

Sound Mix:


Aspect Ratio:

1.33 : 1
See  »

Did You Know?


Version of La Chartreuse de Parme (1948) See more »

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User Reviews

About our ancestor and father,Stendhal
26 July 2008 | by (CGSM,Soseaua Nationala 49) – See all my reviews

In my adolescence, Stendhal was to me an author of swashbucklers. Yet I was profoundly impressed by his style, by the charm of his two most known novels. So I did not revere him yet, but the style already made the profoundest impression upon me. I looked it upon as the ideal style (I repeat, I mean the style of his novels, of his narrations).

Then came a few sentences from a Nietzsche's book. That rehabilitated to me Stendhal as a classic novelist, if I am to use this label. Then there was a lesson at school, when our teacher resumed for us, briefly, LE ROUGE ….Again, I was very impressed—this time, by the very content of the novel, its richness and density and intrinsic interest.

The entire rehabilitation came from an essay by Genette, read in '97 (and reread later …). That essay lead me to join the cult, the club of our master. In short, the others' perspectives on his books greatly improved my knowledge of him. I was as impressed with his books as with others' enthusiasm for him.

I belong to those who find much more interesting his novels themselves, than the man who wrote them (i.e., I am not interested in his two main novels as personal ,private documents or confessions, but as fiction). I loathe _biographism. I loathe biographic explanations and approaches in literary criticism. I tax it as cheap, petty exploitation.

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