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Tosca
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Tosca (2001) More at IMDbPro »

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Overview

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Down 13% in popularity this week. See why on IMDbPro.
Director:
Writers:
Luigi Illica (libretto) &
Giuseppe Giacosa (libretto) ...
(more)
Contact:
View company contact information for Tosca on IMDbPro.
Release Date:
14 November 2001 (France) See more »
Genre:
Plot:
Benoit Jacquot reinvents the way we view opera in this magnificent production of Puccini's story of Tosca's love for the painter Cavaradossi and the intervention of Scarpia. | Add synopsis »
NewsDesk:
(6 articles)
The best places to go al fresco this summer
 (From The Guardian - Film News. 28 June 2013, 10:00 PM, PDT)

Out opera star Patricia Racette talks being a "Diva on Detour"
 (From AfterEllen.com. 26 March 2013, 11:02 AM, PDT)

Review: Tosca (Opera at the Cinema)
 (From HeyUGuys. 22 November 2012, 6:00 AM, PST)

User Reviews:
An Opera Film By A Director Who Hates Opera!?! See more (15 total) »

Cast

  (in credits order)
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Directed by
Benoît Jacquot 
 
Writing credits
Luigi Illica (libretto) &
Giuseppe Giacosa (libretto)

Victorien Sardou (play "La Tosca")

Produced by
Douglas Cummins .... co-producer
Alfred Hürmer .... co-producer
Dagmar Jacobsen .... co-producer
Jean-Pierre Saire .... executive producer
Lévon Sayan .... associate producer
Frédéric Sichler .... co-producer
Patrizia Tallarico .... line producer
Daniel Toscan du Plantier .... producer
Alessandro Verdecchi .... co-producer
 
Cinematography by
Romain Winding 
 
Film Editing by
Luc Barnier 
 
Production Design by
Sylvain Chauvelot 
 
Set Decoration by
Joël Lavrut 
 
Costume Design by
Christian Gasc 
 
Makeup Department
Joëlle Dominique .... key hair stylist
Thi Thanh Tu Nguyen .... key makeup artist
 
Production Management
Pascale Hornus .... post-production supervisor
Anne Lessnick .... production manager
Nino Rissotti .... unit manager
Emily Zinth de Kentzingen .... unit manager
 
Second Unit Director or Assistant Director
Fernandino Ceriani .... assistant director: Rome
Raphaël Chevènement .... assistant director
Corinne Le Hong .... first assistant director
 
Art Department
Isabelle Partiot .... artistic coordinator
Volker Schäfer .... studio coordinator
 
Sound Department
Pascal Chauvin .... foley and sound designer
William Flageollet .... sound re-recording mixer
Olivier Goinard .... supervising sound editor
François-Joseph Hors .... sound recordist
Johannes Malfatti .... sound assistant
Nicolas Moreau .... sound editor
Pierre Picq .... boom operator
 
Special Effects by
Wolfgang Jäger .... special effects
Benjamin Kotter .... special effects
Ralph Salis .... special effects
 
Visual Effects by
Luc Augereau .... visual effects producer
Arnaud Fouquet .... digital artist
Aurélien Vernhes-Lermusiaux .... trainee: visual effects unit
 
Camera and Electrical Department
Rossi Handsley .... key grip
Rafael Jeneral .... video operator
Philippe Lardon .... camera operator
Stephan Rother .... gaffer
Sébastien Tran .... second assistant camera
Isabelle Weingarten .... still photographer
 
Casting Department
Burkhard Eick .... casting: extras and bit parts
Delia Eick .... casting: extras and bit parts
Carmen Senz .... casting: bit parts and extras
Carmen Senz .... extras casting
Stephan Senz .... casting: bit parts and extras
Stephan Senz .... extras casting
 
Costume and Wardrobe Department
Laurence Guindollet .... wardrobe assistant
 
Editorial Department
Caroline Dulac .... assistant editor
 
Music Department
Pamela Bullock .... assistant conductor
Nicoletta Conti .... assistant conductor
Terry Edwards .... chorus director
William Flageollet .... music mixer
Sam Okell .... assistant music editor
Jon Olive .... music editing technical consultant
Antonio Pappano .... musical director
Giacomo Puccini .... music by
Simon Rhodes .... music scoring mixer
The Tiffin Boys' Choir .... musician
Simon Toyne .... choir director
 
Other crew
Dominique Bandet .... production secretary
Geneviève Dufour .... script supervisor
Petra Gösling .... production administrator
Marie-Noëlle Hauville .... production administrator
 
Thanks
Tosca Toscan du Plantier .... dedicatee (as Tosca)
 

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Additional Details

Also Known As:
Runtime:
126 min
Country:
Language:
Sound Mix:
Certification:
Argentina:Atp | Finland:K-7 | France:U | Germany:6 | Switzerland:7 (canton of Geneva) | Switzerland:7 (canton of Vaud)

Did You Know?

Movie Connections:
Version of Tosca (1909)See more »

FAQ

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6 out of 8 people found the following review useful.
An Opera Film By A Director Who Hates Opera!?!, 26 July 2002
Author: david melville (dwingrove@qmuc.ac.uk) from Edinburgh, Scotland

Given the prohibitive costs of shooting and marketing a film - any film, on any subject - any director rash enough to try a "filmed opera" faces a double challenge. It is no longer enough to make an Opera Film: the sort popular in Italy in the 40s and 50s, when opera still enjoyed a wide audience. It is now necessary to make an Opera Film For People Who Hate Opera: one with enough populist appeal to win over millions of film-goers who are either indifferent to opera or can't bear it.

It's a well-nigh impossible trick, and only a handful of directors have come anywhere close to pulling it off. Still, I defy even the most tone-deaf of operaphobes to watch Powell and Pressburger's 1951 Tales of Hoffmann or Losey's 1979 Don Giovanni or Zeffirelli's 1982 La Traviata, and not adore every moment! As for Benoit Jacquot's new film of Tosca...well, he seems to have gone one better than all the others, and turned out the first-ever Opera Movie By A Director Who Obviously Hates Opera, So Why Did He Bother In The First Place?

With its thunderous blood-and-sex soaked libretto and romantically hysterical score, Giacomo Puccini's Tosca is perhaps the greatest melodrama - spoken or sung - ever to hit the stage. As TS Eliot once wrote of a novel by Wilkie Collins; "It has no merit beyond melodrama, but it has every merit that melodrama can have." No piece of musical theatre on earth is less suited to the odious cod-Brechtian 'distancing devices' that Jacquot employs in his deluded attempts to seem avant-garde. If you cannot wallow in the heart-thumpingly overwrought melodramatics of Tosca, you should not go near them at all.

So what can be the logic of splicing in black-and-white footage of the high-priced cast as they record the vocal score? Or those awful jiggly, grainy shots of those monuments in Rome where the action takes place? Or forcing Roberto Alagna and Angela Gheorgiu - the reigning Golden Couple on the international opera scene - to speak the dialogue 'live' while singing it on the soundtrack? This sort of hollow trickery can only outrage opera fans, while leaving the vast majority of the public as bewildered as they ever were.

So Jacquot is both a Philistine and a moron, and his film should be an out-and-out disaster BUT...lacking even the courage of his own puny convictions, most of the time he forgets to be Post-Modern and just gives us the melodrama straight. The result is nothing short of miraculous. As Floria Tosca, an opera diva struggling to save her lover from the clutches of an evil Chief of Police, Angela Gheorghiu is - vocally and dramatically - a rival to our memory of Maria Callas. With her torrent of raven hair, triumphal cheekbones and sulphurous eyes, her screen presence is an echo of Sigourney Weaver.

A pity that her most erotic love interest is not the romantic and revolutionary painter Mario Cavaradossi. (Roberto Alagna, aka Mr. Gheorghiu, lags far behind his wife in vocal skills and shows not the faintest sign of talent as an actor.) Rather, it is the evil police chief Baron Scarpia who deserves to win her heart. Not only a veteran of opera films - including Losey's sumptuous Don Giovanni - Ruggero Raimondi has also acted 'straight' roles, notably as a dotty French nobleman obsessed with immortality in the 1983 Alain Resnais film La Vie Est Un Roman. With his haggard eyes and glittering black greatcoat, Raimondi has an almost vampiric quality. Perhaps the sexiest, most seductive screen villain since Basil Rathbone.

And so - irony of ironies - this Opera Film By A Director Who Hates Opera turns out to be a near-classic, a close rival to Zeffirelli or Losey or Powell-Pressburger. Let's just hope that nobody ever gives Jacquot another opera to direct. Next time, he might really wreck it! Let's hope, on her next project, that Angela Gheorghiu wields her ever-increasing clout and hires a film-maker who actually knows what opera is. Isn't Gerard Corbiau in need of a job? Now that I'd love to see.

David Melville

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