| Marcello Mastroianni | ... | Missing Politician | |
| Jeanne Moreau | ... | The Woman | |
| Gregory Patrikareas | ... | Alexandre the Reporter (as Gregory Karr) | |
| Ilias Logothetis | ... | Colonel | |
| Dora Hrisikou | ... | The Girl | |
| Vasilis Bouyiouklakis | ... | Production Manager | |
| Dimitris Poulikakos | ... | Chief Photographer | |
| Gerasimos Skiadaressis | ... | Waiter | |
| Tasos Apostolou | ... | Perchman | |
| Akis Sakellariou | ... | Sound Operator | |
| Athinodoros Prousalis | ... | Hotel-keeper | |
| Mihalis Giannatos | ... | Shopkeeper | |
| Christoforos Nezer | ... | Parliament's President | |
| Yilmaz Hassan | ... | Hanged Man | |
| Benjamin Ritter | ... | Sound Operator | |
| Konstadinos Laggos | ... | Little Boy | |
| Thodoris Atheridis | ... | Married man (as Thodoros Atheridis) | |
| Nadia Mourouzi | ... | Alexandre's Friend | |
| Photos Lambrinos | ... | TV Program manager | |
| Rodolphe Moronis | ... | TV CEO | |
| Freddy Vianellis | ... | TV Reporter | |
| Giannis Dantis | ... | Accordionist | |
| Dominique Ducos | ... | Driver TV Team | |
| Yannis Vranas | ... | Orthodox priest | |
| rest of cast listed alphabetically: | |||
| Giannis Voglis | ... | Missing Politician (uncredited) | |
Directed by | |||
| Theodoros Angelopoulos | |||
Writing credits(in alphabetical order) | ||
| Theodoros Angelopoulos | idea | |
| Theodoros Angelopoulos | ||
| Tonino Guerra | ||
| Petros Markaris | ||
| Thanassis Valtinos | ||
Produced by | |||
| Theodoros Angelopoulos | .... | producer | |
| Phoebe Economopoulos | .... | executive producer | |
| Kostas Lambropoulos | .... | assistant producer | |
| Bruno Pésery | .... | producer | |
| Angelo Rizzoli Jr. | .... | co-producer | |
| Nikos Sekeris | .... | assistant producer | |
| Ruth Waldburger | .... | co-producer | |
Original Music by | |||
| Eleni Karaindrou | |||
Cinematography by | |||
| Giorgos Arvanitis | |||
| Andreas Sinanos | |||
Film Editing by | |||
| Yannis Tsitsopoulos | |||
Casting by | |||
| Harris Papadopoulos | |||
Production Design by | |||
| Robert Boyle | |||
Art Direction by | |||
| Mikes Karapiperis | |||
Costume Design by | |||
| Giorgos Patsas | |||
| Rita Riggs | |||
Production Management | |||
| Emilios Konitsiotis | .... | production manager | |
| Pierre-Alain Schatzmann | .... | production manager | |
| Serena Severini | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Takis Katselis | .... | assistant director | |
Sound Department | |||
| Marinos Athanasopoulos | .... | sound | |
Other crew | |||
| Marie-Christine Malbert | .... | unit publicist | |
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| Eternity and a Day | Love Actually | The Quiet American | The Terminal | An American Rhapsody |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
Having only ever seen one Angelopoulos film before - The Travelling Players, which thrilled me about as much as paint drying on a wall - I was unprepared for the revelation that is The Suspended Step of the Stork. Shot over a decade ago, this long metaphysical tale of desperate refugees and disenchanted politicians has become more contemporary with each intervening year. As if a lone Greek film-maker had somehow prophesied the horrors of Bosnia, Afghanistan and Iraq - and the creeping paralysis that has overtaken Western democracy.
It begins in a refugee camp on the Greek-Albanian border, where a TV journalist spots an elderly man (Marcello Mastroianni) and decides he is a leading politician who went missing years before. Tracing the man's 'widow' (Jeanne Moreau) the reporter gropes his way towards the film's central dilemma. What could make a progressive intellectual lose all faith in humanity, to the extent that he gives up not only his political career but also his very identity?
This sounds like dry stuff indeed, and so it might be without the alchemical power of Angelopoulous's camera. There are sequences here that beg for inclusion in an anthology of all-time cinema greats. The tracking-shot along a disused train, each carriage inhabited by a penniless refugee family. The wedding across the river, with bride and groom stranded on opposite sides by the arbitrary idiocy of national borders, which veers perilously close to kitsch but never succumbs.
Moreau is magnificent, Mastroianni his genial hangdog self, but neither actor could ever mistake this film for a star vehicle. If there is a star here, it's the soul of humanity itself. A soul neither living nor dead, but held in suspended animation.