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L'armée du crime
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Army of Crime (2009) More at IMDbPro »L'armée du crime (original title)

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Army of Crime -- In Robert Guédiguian's taut, internationally acclaimed thriller, set during the French Resistance, Armenian poet Missak Manouchian (Simon Abkarian) and his French wife (Virginie Ledoyen) lead a ragtag assortment of volunteers -- Jews, Poles, Hungarians, Italians, Spaniards and Armenians -- in an assassination plot against the German occupiers and their French allies.
Army of Crime -- Paris 1941. Twenty-two men and one woman fighting for an ideal and for freedom in the untold story of the French Resistance.


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Up 16% in popularity this week. See why on IMDbPro.
Serge Le Péron (original idea)
Robert Guédiguian (scenario) ...
View company contact information for Army of Crime on IMDbPro.
Release Date:
20 August 2010 (USA) See more »
The poet Missak Manouchian leads a mixed bag of youngsters and immigrants in a clandestine battle against the Nazi occupation... See more » | Add synopsis »
1 win See more »
User Reviews:
An excellent balance of character study and war-time clandestinity paying a respectful documentation to true-to-life people. See more (19 total) »


  (in credits order)

Simon Abkarian ... Missak Manouchian

Virginie Ledoyen ... Mélinée Manouchian
Robinson Stévenin ... Marcel Rayman
Lola Naymark ... Monique Stern

Grégoire Leprince-Ringuet ... Thomas Elek
Adrien Jolivet ... Henri Krasucki
Olga Legrand ... Olga Bancic
Alexandru Potocean ... Alexandre le mari d'Olga

Jean-Pierre Darroussin ... Inspecteur Pujol
Yann Trégouët ... Commissaire David
Pascal Cervo ... Inspecteur Bourlier
Paula Klein ... Madame Rayman
Boris Bergman ... Monsieur Rayman
Léopold Szabatura ... Simon Rayman
Ariane Ascaride ... Madame Elek
Garance Mazureck ... Marthe Elek
Yann Loubatière ... Bola Elek

George Babluani ... Patriciu

Miguel Ferreira ... Celestino Alfonso

Pierre Niney ... Henri Keltekian
Esteban Carvajal-Alegria ... Narek Tavkorian
Ivan Franek ... Feri Boczov
Horatiu Malaele ... Monsieur Dupont
Mirza Halilovic ... Petra
Christina Galstian ... Knar Aznavourian (as Christina Galstian Agooudjian)
Jurgen Genuit ... Raffenbach
Jean-Claude Bourbault ... Joseph Darnand

Wolfgang Pissors ... Monsieur Stern
Jutta Vielhaber ... Madame Stern
Maurice Durozier ... Docteur Kaldjian
Yasmine Ghazarian ... Cristina
Julien Bouanich ... Saas
Xavier Hosten ... Cristea
Rainer Sievert ... Officier Allemand Cormeilles
Veronika Beiweis ... Madame Frydman
Lola Accardi ... Amie Madame Frydman
Alain Gautré ... Inspecteur Barrachin
Bertrand Bossard ... Inspecteur Daime
Alain Cauchi ... Policiers
Philippe Le Mercier ... Policiers
Julia Brodier ... Employée Préfecture
Arnaud Le Bozec ... Gardiens de la Paix
Vincent Crouzet ... Gardiens de la Paix
Jean-Marc Coudert ... Policier métro
Emmanuel Chevallier ... Policier arrestation Rayman
Yves Buchin ... Policier tortionnaire
Hubertus Biermann ... Général Oberg
Jeremias Nussbaum ... Jeune Soldat Allemand
Simon Frenay ... Lycéen
Jean-Christophe Peupion ... Concierge Manouchian
Elise Arpentinier ... Concierge Elek
François Carton ... Fermier

Nicolas Robin ... Crieurs de Journaux
Quentin Thébault ... Crieurs de journaux
Marc Choquet ... Reporter Radio-Paris
Stéphane Rugraff ... Maître Nageur
Andrée Saldo ... La bigote
Serge Avedikian ... Micha Aznavourian
Pierre Banderet ... Lucien Rottée

Lucas Belvaux ... Joseph Epstein
Frédérique Bonnal ... La concierge
Patrick Bonnel ... Monsieur Elek
Christine Brücher ... La fermière
Alain Lenglet ... Le proviseur
Gérard Meylan ... Le flic résistant

Directed by
Robert Guédiguian 
Writing credits
Serge Le Péron (original idea)

Robert Guédiguian (scenario) and
Serge Le Péron (scenario) and
Gilles Taurand (scenario)

Gilles Taurand (adaptation and dialogue)

Produced by
Dominique Barneaud .... producer
Original Music by
Alexandre Desplat 
Cinematography by
Pierre Milon 
Film Editing by
Bernard Sasia 
Production Design by
Michel Vandestien 
Set Decoration by
Claire Vaysse (decoration)
Costume Design by
Juliette Chanaud 
Makeup Department
Fabrice Herbet .... special makeup effects artist
Pierre Olivier Persin .... special makeup effects artist
Jimmy Springard .... key hair stylist
Production Management
Malek Hamzaoui .... production manager
Svetlane Vaesken .... assistant production manager
Second Unit Director or Assistant Director
Justine Bosco .... third assistant director
Nicolas Bouaziz .... second assistant director
Jean-Christophe Delpias .... first assistant director
Sophie Groussin .... second assistant director
Charlotte Selman .... trainee assistant director
Art Department
Gérard David .... assistant art director
Pomme Delépine .... third assistant art director
Yann Dury .... assistant art director
Nicolas Lanvin .... swing gang
Pascal Lavoué .... property master
Sylvie Le Vessier .... painter
Gonzalez Stephane .... construction coordinator
Sound Department
Vincent Cosson .... foley recordist
Florian Fabre .... foley artist
Eric Grattepain .... foley artist
Laurent Lafran .... sound
Gérard Lamps .... sound re-recording mixer
Jonathan Martins .... sound assistant: auditorium
Valérie Meffre .... dialogue editor
Bridget O'Driscoll .... supervising sound editor
Xavier Thieulin .... sound mix technician
Special Effects by
Guy Monbillard .... special effects technician
Visual Effects by
Nicolas Borens .... digital compositor
Sophie Denize .... visual effects producer
Ludovic Iochem .... digital matte painting
Julien Meesters .... head of VFX studio
Hugues Namur .... visual effects supervisor
Jérémie Touzery .... matte painter
Alexandre Cauderlier .... stunts
Kevin Cauderlier .... stunts
Frédéric Dessains .... stunt performer
Jérôme Gaspard .... stunt performer
Emmanuel Lanzi .... stunt performer
John Medalin .... stunt performer
Olivier Sa .... stunt performer
Michaël Troude .... stunt performer
Camera and Electrical Department
Thomas Bigot .... grip
Vincent Buron .... first assistant camera
Marie Demaison .... assistant camera
Stéphanie Dupont .... still photographer (as Stéphanie Braunschweig)
Stéphane Ging .... additional grip
Malek Krimed .... first assistant camera
Costume and Wardrobe Department
Eléonore Cecconi .... additional wardrobe
Indiana Sylla .... costumer
Editorial Department
Marie Granel .... post-production assistant
Jacky Lefresne .... colorist
Léa Masson .... second assistant editor
Valérie Meffre .... assistant editor
Music Department
Fernand Capitani .... composer: additional music
Goussan Chahene .... composer: additional music
Alexandre Desplat .... conductor
Alexandre Desplat .... orchestration
Andrew Dudman .... score mixing engineer
Andrew Dudman .... score recording engineer
Xavier Forcioli .... music programmer
Xavier Forcioli .... music: production
Thomas Jamois .... soundtrack producer
Joel Rubin Jewish Music Ensemble .... orchestra
Dominique LeMonnier .... musician
Pascal Mayer .... music supervisor
Iuric Morar .... musician
Christophe Morin .... musician
Philippe Noharet .... musician
Oreste Rossi .... composer: additional music
Joel Rubin .... musician
Traffic Quintet .... musician
Anne Villette .... musician
Estelle Vilotte .... musician
Yeram .... musician
Transportation Department
Jalal Aqdim .... picture car assistant coordinator
Charles Heidet .... picture car coordinator
Other crew
Lise Ariotti .... production administrator
Marie-Christine Damiens .... press relations
Xavier Forcioli .... programmer
Marc Leroyer .... armourer/weapons master

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"L'armée du crime" - France (original title)
See more »
139 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Henri Krasucki, part of the Manouchian group, was the general secretary of the French Communist Party from 1982 to 1992.See more »
Anachronisms: When showed up to the press after being arrested in November 1943, a member of the group tells a policeman the FFI will avenge them when they come. The FFI (Forces Francaises de l'Interieur) was regrouping several resistance groups and was created in 1944.See more »
Tiens, tiens, tiensSee more »


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14 out of 21 people found the following review useful.
An excellent balance of character study and war-time clandestinity paying a respectful documentation to true-to-life people., 25 March 2010
Author: johnnyboyz from Hampshire, England

Director Robert Guédiguian uses a large, wide canvas for the characters in The Army of Crime, a deep; nourishing and really affecting French film from 2009 documenting the true story of a group of resistance fighters in Occupied France during The Second World War. Here is a thriller which, despite having its events based on true stories and plights, never for one second feels fabricated nor preordained; allowing for an array of characters to be beautifully balanced in their struggles with the overall situation, those around them and themselves. The film is a testament to the high level of quality films that have been consistently churned out of France in recent years, deeply affecting character pieces.

Without wanting to get into a petty discussion on whether The Army of Crime is better than 2009's other World War Two resistance-style thriller Inglourious Basterds, let it be known that as Tarantino's recent outing dealt with similar overall subject material; his characters were, certainly in the case of the heroine, running on a distinct character arc of revenge as those at the centre of all of it adopted roles equal to cartoon characters. The maiming and gratuity these people known as the Basterds were capable of was thrust unto us very early on as these gutsy; no-nonsense; Southern-drawl spouting sadists out to beat; kill; pillage and scalp as many Germans as they can find made itself apparent. Whilst it all sounds like a lot of fun, Army of Crime presents its leads, indeed some of whom are as young as the Basterds and as seemingly angry as the Basterds, but does so in a more natural and realistic light. Observing Robinson Stévenin's character named Marcel, here, as he transforms from a petulant youth whom has a girlfriend and whose hobbies include swimming into a creepy and unnerving individual, is more rewarding than having comic book creations already established to be of that ilk bully and push their way through specific obstacles.

But Guédiguian does his best to refrain from giving us a character to obviously align ourselves with, indeed resisting the use of a specific protagonist. Instead, he spreads around the plight of these people pretty evenly: men; women; French-born individuals; Armenian immigrants; youngsters and elder people, there is no prejudice towards one 'type' of person being braver or more heroic or getting more of a study. For some, this technique will feel sporadic; making the film come across a weighty and quite heavy piece without an individual to truly latch onto resulting in some audiences being turned off. Heading in, I had no knowledge of the true story element to proceedings; but it would go a long way in describing the natural sense Guédiguian gets across. Not knowing how everything turned out and not knowing what became of most involved is, I think, a pleasure amongst many to be had out of The Army of Crime.

The film's documenting of violence and how violence and the hatred of an occupying force in the Nazi soldiers can combine in propelling people to psychological places they might well have been unsure previously existed within themselves, is an interesting side-dish for The Army of Crime. Some characters slip into a brutal, hate-filled stupor easier than others; blasting their way through codes of morality in a rage of fury like nobody's business. For others, that transition is more difficult but not necessarily impossible. In the case study of young Frenchman Thomas Elek (Leprince-Ringuet), much is set up that his temperamental attitudes and short fuse exists and can rather easily get him into trouble. After being berated with an anti-Semitic remark by a fellow class-mate, he sits in the principal's office and is forced into hearing his highly attractive prospects for the future in front of him laid out, the light dim enough to have half his face covered by pitch darkness, the other half in brilliant light. The combination of the authoritarian individual speaking of the future and later roles the young man may very well adopt combined with that steely expression complete with use of lighting suggests a link to more than one possible future.

But Thomas is not as much-a live wire as the aforementioned Marcel, a rag-tag; leather jacket sporting; rough and ready looking young man whom gets highly agitated early on at a tailors over seemingly nothing. He hates the Germans; loves his swimming and maintains an odd, semi-aggressive relationship with girlfriend Monique (Naymark). There seems to be an initial element of seemingly harmless shenanigans behind the first time Marcel engages in illegal activity of a resistance sort, when hundreds of red pages are dropped from a two storey building encouraging rebellious behaviour against the Germans. But this occurrence plays a more important role in highlighting Marcel's advances through the film, in the process taking everything far more seriously and when the snatching of his father by the German's occurs, moves his plight into a more personal realm.

One individual, a middle aged man named Missak played by Simon Abkarian, is someone with prior experience of conflict between nations; he swears he will not kill anyone whilst involved in the resistance, and the pain on his face is agonising early on when he confesses to having to leave behind his fellow inmates at a local German built prison housing other arrested intellectuals, even if it meant saving his own life. The praise that he receives later on when a particular act of bravery, although essentially rendered heroism by those within the circles given the scenario, does further stoking to his morally torn core. Director Guédiguian even finds room to encompass that old 'two sides of the same coin' routine when, around a table (during which these exchanges usually happen), factions within the group demand different things out of the entire process; degrees of antagonism lead by a female character who wants her voice heard. The film is a rewarding exercise in both character study and slow burning drama.

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