Directed by | |||
| Alain Resnais | |||
Writing credits | ||
| Henri Bernstein | (play) | |
| Alain Resnais | (adaptation) | |
Produced by | |||
| Marin Karmitz | .... | producer | |
| Catherine Lapoujade | .... | executive producer | |
Original Music by | |||
| M. Philippe-Gérard | |||
Cinematography by | |||
| Charles Van Damme | (as Charlie Van Damme) | ||
Film Editing by | |||
| Albert Jurgenson | |||
Production Design by | |||
| Jacques Saulnier | |||
Costume Design by | |||
| Catherine Leterrier | |||
Makeup Department | |||
| Christophe Carita | .... | hair stylist: Azema | |
| Dominique de Vorges | .... | makeup artist | |
| Sylvie Mathevet | .... | hair stylist | |
Production Management | |||
| Catherine Lapoujade | .... | production manager | |
| Dominique Toussaint | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Florence Malraux | .... | assistant director | |
| Philippe Worms | .... | second assistant director | |
Art Department | |||
| Pierre Galliard | .... | property master | |
| Philippe Turlure | .... | assistant set decorator | |
Sound Department | |||
| Jocelyne Cartier-Stern | .... | post-synchronization (as Jocelyne Cartier) | |
| Daniel Couteau | .... | foley artist | |
| Gérard Manneveau | .... | foley artist | |
| Jacques Maumont | .... | sound mixer | |
| Henri Morelle | .... | sound | |
| Olivier Villette | .... | boom operator | |
Camera and Electrical Department | |||
| Patrick Biré | .... | grip | |
| Gilbert Duhalde | .... | camera operator | |
| François Hernandez | .... | second assistant camera | |
| Alain Huylebroeck | .... | electrician | |
| Eric Kerbiriou | .... | grip | |
| Thierry Labille | .... | electrician | |
| Bernard Largemain | .... | key grip | |
| Jean-Claude Le Bras | .... | gaffer (as Jean-Claude LeBras) | |
| Jean-Louis Sonzogni | .... | apprentice camera operator | |
| Arthur Cloquet | .... | first assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| Jenny E. Davidson | .... | apprentice costumer | |
| Hélène Robin | .... | costumer | |
Editorial Department | |||
| Jean-Pierre Besnard | .... | associate editor | |
| Thomas Bouffioulx | .... | digital intermediate - restoration | |
| Martine Fleury | .... | assistant editor | |
Other crew | |||
| Vladimir Barjansky | .... | warranty | |
| Sylvette Baudrot | .... | script supervisor | |
| Sylvie Chevereau-Marchais | .... | production administrator | |
| Marguerite Lemarchand | .... | production secretary | |
| Jean-Michel Nicollet | .... | stage curtain creator | |
| Jean-Pierre Nossereau | .... | location manager | |
| Georges Pansu | .... | title designer | |
| Eva Simonet | .... | press attache | |
| Caroline Thivel | .... | script supervisor trainee | |
|
|
|
|
|
| The Dreamy Mouth | Madame Bovary | Kings & Queen | Marcel Proust's Time Regained | Sunshine |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
For someone who made his name as an avant gardist and surfer of the New Wave Alain Resnais seems to be a closet dernier gardist with a penchant for stilted boulevard theater of another age. In his current release, Pas Sur le bouche he preserves almost intact an operetta from a bygone age and here, as long ago as 1986, he ploughs a similar furrow and even uses two actors from his regular repertory - Arditi and Azema - who will re-surface in Pas sur le bouche. Assuming that oiling the wheels of creaky vehicles is worth doing at all then Resnais does it as well as anyone and it would be bordering on the impossible to assemble a cast containing, in addition to Sabine Azema, Pierre Arditi (to say nothing of his sister), Fanny Ardant and Andre Dussolier and not produce a finished product worth watching. It also says a lot for panellists and juries that one of them saw fit to bung Azema a major Best Actress gong for her work here. It's difficult to nominate an audience for this but it would seem to be pitched at something between the semi-precious Gilbert Adair crowd and the popcorn brigade. 7/10