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Olivier, Olivier (1992)

R | | Drama | 3 March 1993 (USA)
A nine-year-old boy disappears without a trace. Six years later, he reappears in Paris but there are doubts about his real identity.

Director:

Writers:

, (adaptation) | 3 more credits »
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2 wins & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
Frédéric Quiring ...
Marcel
Faye Gatteau ...
Nadine petite
Emmanuel Morozof ...
Olivier petit
Brigitte Roüan ...
Elisabeth Duval
...
Serge Duval
Carole Lemerle ...
Babette petite
Jean-François Stévenin ...
l'inspecteur Druot
Jean-Bernard Josko ...
le flic
Lucrèce La Chenardière ...
la voisine
Madeleine Marie ...
La grand-mère
Françoise Lorente ...
la droguée
Alexis Derlon ...
Micky
...
Olivier
Mathias Jung ...
Simard
Marina Golovine ...
Nadine
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Storyline

A nine-year-old boy disappears without a trace. Six years later, he reappears in Paris but there are doubts about his real identity. Written by Volker Boehm

Plot Summary | Add Synopsis

Taglines:

Life is never as innocent as it seems.

Genres:

Drama

Motion Picture Rating (MPAA)

Rated R for sexuality, and for language | See all certifications »
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Details

Country:

Language:

Release Date:

3 March 1993 (USA)  »

Box Office

Gross:

$1,300,000 (USA)
 »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Connections

References E.T. the Extra-Terrestrial (1982) See more »

Soundtracks

Boris Godounov
(extract)
Music by Modest Mussorgsky (as M. Moussorgski)
(from the movie Boris Godounov (1989) directed by Andrzej Zulawski)
See more »

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User Reviews

 
Deceptive Script
26 March 1999 | by (Cleveland, Ohio USA) – See all my reviews

Agnieszka Holland's "Olivier, Olivier" shares some things with Alfred Hitchcock's "Vertigo." Both are mysteries, both are suspenses, and both have deceptive scripts. In truly great mysteries, no matter how complex and intricate the plot may be, at the end one can go back, rethink. analyze and discover every plot element falls into place. All the clues and information which transpired are justified and neatly explained. Not so with the aforementioned. The first time viewers can be fooled into thinking every element is in place. But see it a number of times and one begins to discover deliberate false clues placed ino the action to throw off the viewer and manipulate his thinking. These clues are dishonest, for they are not internally justified, only an unfair device to "stack the deck"--to make the viewer think one way only to have a surprise element later on. But if the device use is a fake clue, this seriously undermines the work. These two films do just that; on first viewing they seem great. Watch it a few more times and note the "unfair play" these scripts have--all the pieces do not fall into place in the end, and indeed, they reveal themselves to be seriously flawed concepts. It is indeed a let down to make this discovery, but there it is. "Olivier, Olivier" is, like "Vertigo," a gem with a smooth surface and a cracked core.


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