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Three Lives and Only One Death (1996)
"Trois vies et une seule mort" (original title)

 -  Comedy | Crime  -  11 October 1996 (USA)
7.2
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Ratings: 7.2/10 from 683 users  
Reviews: 7 user | 17 critic

Take a walk into the weird world of filmmaker Raul Ruiz as he takes us to Paris for a twisted ride. A man which shares four names and four personalities (which is the real one?) is the link... See full summary »

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Title: Three Lives and Only One Death (1996)

Three Lives and Only One Death (1996) on IMDb 7.2/10

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Test your knowledge of Three Lives and Only One Death.
2 wins & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
...
Mateo Strano / Georges Vickers / Butler / Luc Allamand
...
Maria Gabri-Colosso, "Tania la Corse"
...
María
...
Martin
...
Cécile
...
Hélène
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André
Jean-Yves Gautier ...
Mario
Jacques Pieiller ...
Tania's Husband
Pierre Bellemare ...
Radio Narrator
Smaïn ...
Luca
...
Bum #1
Roland Topor ...
Bum #2
Jacques Delpi ...
Bum #3
Jean Badin ...
Antoine José
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Storyline

Take a walk into the weird world of filmmaker Raul Ruiz as he takes us to Paris for a twisted ride. A man which shares four names and four personalities (which is the real one?) is the link between four different, yet similar, stories involving love, lust, crime, and time. Written by Steve Richer <sricher@sympatico.ca>

Plot Summary | Add Synopsis

Genres:

Comedy | Crime

Certificate:

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Details

Country:

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Language:

Release Date:

11 October 1996 (USA)  »

Also Known As:

Three Lives and Only One Death  »

Company Credits

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Technical Specs

Sound Mix:

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Color:

(Eastmancolor)
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Did You Know?

Trivia

Last filmed starring by Marcello Mastroianni that was released before his death in 1996. See more »

Quotes

Radio Announcer: Extreme happiness is a form of misery.
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Soundtracks

An die Musik, D.547
Words by Franz von Schober
Music by Franz Schubert
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User Reviews

 
Surrealistic, strange, talky, flat, confusing.
4 April 2004 | by See all my reviews

Raul Ruiz has crafted a genuinely surrealistic film, dealing with such subjects as identity, time, chance and the cyclical pattern of events, but for all his camera tricks (some of which are outstanding), his storytelling is rather flat, and his characters talk too much. Ruiz asks for too much patience and too many allowances on the part of the viewer, without giving his stories the kicker that would justify them; his one big revelation was all but spoiled in pretty much every review of the film, not to mention its own title. (*1/2)


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