IMDb > The Town Is Quiet (2000)
La ville est tranquille
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The Town Is Quiet (2000) More at IMDbPro »La ville est tranquille (original title)

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Jean-Louis Milesi (scenario and dialogue) &
Robert Guédiguian (scenario and dialogue)
View company contact information for The Town Is Quiet on IMDbPro.
Release Date:
17 January 2001 (France) See more »
A dark tale of working-class life in Marseilles, a city in crisis. Interesting characters include a... See more » | Add synopsis »
4 wins & 3 nominations See more »
User Reviews:
The unbearable brightness of seeing See more (19 total) »


  (in credits order) (complete, awaiting verification)
Ariane Ascaride ... Michèle

Jean-Pierre Darroussin ... Paul
Gérard Meylan ... Gérard
Jacques Boudet ... Paul's Father
Christine Brücher ... Viviane Froment
Jacques Pieiller ... Yves Froment
Pascale Roberts ... Paul's Mother

Julie-Marie Parmentier ... Fiona
Pierre Banderet ... Claude
Alexandre Ogou ... Abderramane
Véronique Balme ... Ameline
Frédérique Bonnal ... Mrs. Préférence Nationale
Jacques Germain ... Mister National Preference
Alain Lenglet ... Piano mover
Amar Toulé ... Momo, Abderramane's brother
Danielle Stefan ... Prostitute
Yann Trégouët ... Young man who provokes Gérard
Farid Ziane ... Farid
Philippe Leroy ... René (participation) (as Philippe Leroy-Beaulieu)
Julien Sevan Papazian ... Young pianist
Emilie Angélini ... Baby 1
Margaux Tartour ... Baby 2
Noé Tellier ... Baby 3
rest of cast listed alphabetically:
David Barris
Patrick Bonnel
Florence Janas
Franck Libert
Fouad Maaskri (as Fouad Masskri)
Maryline Nobili (as Marylin Nobili)
Joan Titus
Christiane Conil ... (uncredited)
Alexandra Langeron ... (uncredited)

Directed by
Robert Guédiguian 
Writing credits
Jean-Louis Milesi (scenario and dialogue) &
Robert Guédiguian (scenario and dialogue)

Produced by
Bruno Ghariani .... executive producer
Robert Guédiguian .... producer
Michel Saint-Jean .... producer
Gilles Sandoz .... producer
Cinematography by
Bernard Cavalié 
Film Editing by
Bernard Sasia 
Production Design by
Michel Vandestien 
Costume Design by
Catherine Keller 
Makeup Department
Mayté Alonso .... makeup artist
Production Management
Richard Allieu .... assistant production manager
Bruno Ghariani .... unit manager
Stephane Guarese .... post-production supervisor
Malek Hamzaoui .... production manager
Second Unit Director or Assistant Director
Carole Guenot .... assistant director
Jacques Reboud .... assistant director
Art Department
Loys Cappatti .... assistant decorator
Karim Hamzaoui .... assistant decorator
Olivier Pace .... assistant decorator
Sound Department
Nicolas Becker .... sound effects editor
Vincent Commaret .... sound editor
François Domerc .... boom operator
Laurent Lafran .... sound
Gérard Lamps .... sound re-recording mixer
Williams Schmit .... adr mixer
Williams Schmit .... foley mixer
Special Effects by
Pierre Olivier Persin .... special effects
Philippe van Herwijnen .... special effects
Catherine Mourlon .... stunts
Patrick Sendjakedine .... stunts
Camera and Electrical Department
Laurent Didier .... electrician
Mathilde Jaffre .... assistant camera
Marianne Lamour .... electrician
Costume and Wardrobe Department
Chantal Castelli .... assistant costume designer
Editorial Department
Pascale Alibert .... trainee assistant editor
Valérie Meffre .... assistant editor
Lise Roure .... conforming editor

Production CompaniesDistributors

Additional Details

Also Known As:
"La ville est tranquille" - France (original title)
See more »
133 min | Italy:143 min | Argentina:136 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
References Nashville (1975)See more »
Cry BabySee more »


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4 out of 4 people found the following review useful.
The unbearable brightness of seeing, 23 October 2001
Author: Philby-3 from Sydney, Australia

This is a production not so much of the French film industry as the Marseille `film co-operative' headed by Robert Guédiguian (`Marius et Jeanette', `A la place du cour'). The same group have been making low-budget films on the theme of working class life for 20 years, and on the evidence of this one they are just getting better. What distinguishes their films is not so much the left –wing viewpoint mixed with obscure French philosophy (sorry M. Foucault) both of which are present, but an interesting combination of super-realist, almost documentary presentation and a decidedly melodramatic storyline.

In this film Ariane Ascaride plays a woman in her late thirties, old before her time, who is the sole support of her family (hubby has been out of work for three years). She toils by night in the fish markets, but this is not enough. Her 16 year old daughter, Fiona (Julie-Marie Parmentier) has already both a baby and a serious heroin addiction. After finding her daughter doing oral sex for money in the living room of their tiny flat, Michèle goes on the game herself, with no great success, although she does enlist the rather dopey Paul (Jean-Pierre Darroussin), a docker turned taxi-diver, as a regular customer. She turns to an old acquaintance, Gérard (Gérard Meylan), to supply her with heroin for Fiona. Meanwhile, Viviane (Christine Brucher), a drama teacher from a more refined neighbourhood, becomes involved with Abderramane, (Alexandre Ogou) a young black ex-con she had met while teaching a group of prisioners. Needless to say, things do not go smoothly. The storylines are topped and tailed by the quest of a Armenian immigrant boy for a decent piano to match his precocious talent.

The film is beautifully crafted; the various stories are brought together in a powerful and shocking conclusion. The scenes between mother and daughter are painful to watch, but justifiably so. Their situation is really not much to do with politics and Foucault, after all drugs plague the middle class as well, but Michèle has only her daughter. Pitched against the personal tragedy there is the plight of the workers as a whole; cast out of employment by mechanisation on the docks they are driven into the arms of the neo-fascists, to whom, of course, they are mere cannon–fodder. But the political viewpoint of the film is suggestive rather than strident, more a background to the personal dramas than the main theme, which what happens to personal relationships when put under unbearable pressure.

Despite the drama and tragedy, there is some subtle humour in the film. Where a flashback sequence is required at one point the director uses a clip from a movie made by him 20 years ago which happens to feature the same actors. There is the bumbling but kind-hearted cabbie, his retired left-wing parents and Michèle's husband to provide some amusement also. The look and feel of Marseille is conveyed beautifully; this reviewer last visited the place 25 years ago and got the distinct feeling that the tatty but colourful town of those days is now distinctly uglier and a great deal more dangerous. Guédiguian, however, has not given up on the place and he and his troupe continue to tell compelling stories of Marseille life.

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