| Gérard Depardieu | ... | Charles Saganne | |
| Philippe Noiret | ... | Dubreuilh | |
| Catherine Deneuve | ... | Louise | |
| Sophie Marceau | ... | Madeleine of Saint-Ilette | |
| Michel Duchaussoy | ... | Baculard | |
| Roger Dumas | ... | Vulpi | |
| Jean-Louis Richard | ... | Flammarin | |
| Jean-Laurent Cochet | ... | Bertozza | |
| Pierre Tornade | ... | Charles' Father | |
| Saïd Amadis | ... | Amajar | |
| René Clermont | ... | Monsieur de Saint-Ilette | |
| Philippe Deplanche | |||
| Hippolyte Girardot | ... | Courette | |
| Sophie Grimaldi | ... | Lady of Saint-Ilette | |
| Florent Pagny | ... | Lucien | |
| Robin Renucci | ... | Hazan | |
| Salah Teskouk | ... | Embarek | |
| Mohamed Djamal Allam | |||
| Daniel Aubert | |||
| Teddy Bilis | ... | Baron Soucy | |
| Nicole Camus | |||
| Med Salah Cheurfi | |||
| Helga Hertzog | |||
| El Kebir | |||
| Grégoire Lavollay-Porter | |||
| Laurent Lavollay-Porter | |||
| Dahbia Maouch | |||
| Charles Marosi | |||
| Hadrami Ould Meidah | |||
| Myriam Perigois | |||
| Ernest von Rintelen | |||
| Catherine Rethi | |||
| Zakia Tahri | |||
| Lounès Tazairt | |||
| Tatiana Vialle | ... | Jeanne |
Directed by | |||
| Alain Corneau | |||
Writing credits(in alphabetical order) | ||
| Alain Corneau | adaptation | |
| Alain Corneau | dialogue | |
| Louis Gardel | adaptation | |
| Louis Gardel | dialogue | |
| Louis Gardel | novel | |
| Henri de Turenne | adaptation | |
| Henri de Turenne | dialogue | |
Produced by | |||
| Samuel Bronston | .... | producer | |
| Albina du Boisrouvray | .... | producer | |
Original Music by | |||
| Philippe Sarde | |||
Cinematography by | |||
| Bruno Nuytten | |||
Film Editing by | |||
| Thierry Derocles | |||
| Robert Lawrence | |||
Production Design by | |||
| Veniero Colasanti | |||
Costume Design by | |||
| Veniero Colasanti | |||
| Rosine Delamare | |||
| Corinne Jorry | |||
Production Management | |||
| Alain Artur | .... | unit production manager | |
| Georges Casati | .... | production manager | |
| Eric Dussart | .... | unit manager | |
| Bruno François-Boucher | .... | unit manager (as Bruno Boucher) | |
| Bernard Lorain | .... | production manager | |
| Patrick Meunier | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Eric Hubert | .... | third assistant director | |
Art Department | |||
| Michèle Abbé-Vannier | .... | assistant art director | |
| Louise Marzaroli | .... | assistant art director | |
Sound Department | |||
| Vincent Arnardi | .... | sound engineer audi | |
| Bernard Chaumeil | .... | boom operator | |
| William Flageollet | .... | sound | |
| Pierre Gamet | .... | sound mixer | |
| Jean-Paul Loublier | .... | sound re-recording mixer | |
| Claude Villand | .... | sound re-recording mixer | |
Camera and Electrical Department | |||
| Jean-Luc Bezeau | .... | grip | |
| Georges Pierre | .... | still photographer | |
| Gérard Rival | .... | grip | |
| Eric Thurot | .... | electrician | |
Editorial Department | |||
| Philippe Tourret | .... | color timer | |
Music Department | |||
| William Flageollet | .... | music engineer | |
| Xavier Gagnepain | .... | musician: cello solo | |
| London Symphony Orchestra | .... | orchestra (as The London Symphony Orchestra) | |
| Nat Peck | .... | orchestra director | |
| Carlo Savina | .... | conductor | |
Other crew | |||
| Patrick Santiago Meunier | .... | unit manager | |
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| Bitter Victory | The English Patient | Days of Glory | Christ Stopped at Eboli | The Passenger |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
The problem with this film is that nothing is left for the viewer to assume, deduce, or imagine. Everything which one might need to know in order to understand the full narrative is shown, in detail - and the audience doesn't need that: as a result the film lasts .... what? two and a half hours? .... at least half an hour of which is certainly dead matter. There are some very impressive incidents, but the impact is muffled. I can't help feeling too, that, given that Corneau seems to want to make the most of his setting and given what that setting is, even the photography represents a wasted opportunity. It's dramatic, but it could have stood you still. Imagination needed!