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The Triplets of Belleville (2003)

Les triplettes de Belleville (original title)
2:04 | Trailer
When her grandson is kidnapped during the Tour de France, Madame Souza and her beloved pooch Bruno team up with the Belleville Sisters--an aged song-and-dance team from the days of Fred Astaire--to rescue him.


Sylvain Chomet


Sylvain Chomet
Nominated for 2 Oscars. Another 20 wins & 39 nominations. See more awards »





Cast overview, first billed only:
Jean-Claude Donda Jean-Claude Donda ... Le Géneral de Gaulle / Les commentateurs Sportifs / Le clochard / les Réclames (voice)
Dirk Denoyelle Dirk Denoyelle ... Les commentateurs Sportifs / Le clochard (Dutch version) (voice)
Monica Viegas Monica Viegas ... Madame Souza (voice)
Graziellia de Villa Graziellia de Villa ... Madame Souza (Englsh version) (voice)
Michel Robin ... 'Champion' adulte (voice)
Noël Baye Noël Baye ... 'Champion' adulte (English version) (voice)
Suzy Falk Suzy Falk ... Triplette (voice)
Michèle Caucheteux Michèle Caucheteux ... Triplet #3 (voice)
Nicole Shirer Nicole Shirer ... Triplette (voice)
Germaine Charest Germaine Charest ... Triplette (voice)
Helen Wambolt Helen Wambolt ... Triplette / Singing voice (voice)
Evelyn Snow Evelyn Snow ... Triplette / Singing voice (voice)
Ron Séguin Ron Séguin ... Triplette / Singing voice (voice)
Helga Van Der Heyden Helga Van Der Heyden ... Additional voice (voice) (as Helga Van der Heyden)
Jeron Amin Dewulf Jeron Amin Dewulf ... Additional voice (voice) (as Jeron Dewulf)


Madame Souza, an elderly woman, instills in her grandson Champion (for who she acts as his guardian) a love of cycling. As a young man, he does become a dedicated road racer with his grandmother as his trainer. During a mountainous leg of the Tour de France in which Champion is racing, he goes missing. Evidence points to him being kidnapped. Indeed, he and two of his competitors were kidnapped, the kidnappers who want to use the threesome's unique skills for nefarious purposes. With Champion's overweight and faithful pet dog Bruno at her side, Madame Souza goes looking for Champion. Their trek takes them overseas to the town of Belleville. Without any money, Madame Souza and Bruno are befriended and taken in by three eccentric elderly women, who were once the renowned jazz singing group The Triplets of Belleville. The triplets help Madame Souza and Bruno try to locate and rescue Champion. Written by Huggo

Plot Summary | Add Synopsis

Motion Picture Rating (MPAA)

Rated PG-13 for images involving sensuality, violence and crude humor | See all certifications »

Parents Guide:

View content advisory »

Did You Know?


The song performed by Madame Souza in the piano is called Uma Casa Portuguesa (A Portuguese House), and was originally performed by Amália Rodrigues, the queen of Fado music. See more »


Near the End, where the Triplets and Souza are going across the bay over the bridge, you see a ship passing under it into the harbour. However, when the Mafia goes over the edge into the funnel of the ship, It is leaving the harbour, not entering it. See more »


[first lines]
Madame Souza: Is that it, then? Is it over, do you think? What have you got to say to Grandma?
See more »

Crazy Credits

After the credits have rolled we see the Pedalo rent guy waiting on the beach, looking out to sea and checking his wrist watch. See more »


Featured in Troldspejlet: Episode #30.4 (2003) See more »


End Title Theme
Lyrics by Sylvain Chomet and music by Benoît Charest
Performed by Matthieu Chedid (as -M-)
See more »

User Reviews

Sublime vileness
2 February 2004 | by Chris KnippSee all my reviews

This stranger-than-usual animation is an ornate, intriguing piece of work, with a unique visual style somewhat resembling certain English cartoonists' (Ronald Searle's, for example) but very remote indeed from either Disney or South Park or Japanese anime. There are times as you watch, especially at first, before the repetition and the overkill of intricate detail begin to pall, when the originality and visual richness clearly approach the sublime. The combination of computer and traditional hand animation methods, carried out at such a level of complexity that the film required five years to complete, is an unquestionable triumph. But you may very well be put off when you realize that overall Sylvain Chomet's first full-length animated film has no discernible point or message; that its central figures are mournful, ugly, and unfriendly; that there is little plot, virtually no dialogue, and that the void left thereby is filled with a great deal of annoying noise and repulsive imagery. The twittering visual machinery of wiggling, yapping, howling dogs, of awkward, caricatured creatures of all sorts endlessly in motion, turns into a series of nightmarish repetitions that can easily become as off-putting as they are wearying.

I wanted to like this movie. Its originality and adeptness as a work of animation remain impressive. It gives new meaning to the very word `animation': every scene is a study of the nature and arts of motion. There are observations whose keenness is unique. As cultural commentary it certainly provides much material for debate. The vision of France a half century ago is quaint and intriguing. But the mournfulness, the sadomasochistic undertones, and the meanness build over time; and when the triplets dined on plates and pots full of still squirming frogs, my sympathies checked out. The undercurrents of nastiness both in the personalities of the principals and the depiction of American culture do not leave an endearing impression.

The plot is simple and can be seen as little more than a rough framework on which to hang the intricate doodlings, the recreation of a grotesque nostalgic vision of postwar France, and the endless experiments with the very nature of animation, which are perhaps ultimately the film's real point. An old French granny, Madame Souza, whose walk clatters from a big orthopedic shoe, lives in a rickety house somewhere in Fifties Paris or its environs. She has in her care a large dog, Bruno, and a large, lean, boy, Champion, her orphaned grandson, who dreams of racing in the Tour de France. She herself ruthlessly supervises his training, which is shown in meticulous detail and includes, at home, the use of a variety of Rube Goldberg contraptions to feed and condition him after he has returned from his exhausting day on the roads. Champion grows up with grotesquely hypertrophied leg muscles and tiny upper body, and competes as planned in the Tour de France. But during the race he's kidnapped by sinister box-shaped gangsters and taken to the city of Belleville, over in the new world. Madame de Souza and Bruno set out in pursuit, crossing the sea in a boat, complete with dramatic storm. Once in Belleville, a blatantly anti-American vision of New York perhaps including elements of Montreal (the inhabitants and even the Statue of Liberty are grossly fat), old granny makes the acquaintance of a trio of eccentric and fleshy former women vaudeville singers (whom we've seen do their scat-singing act on an ancient TV broadcast) and these `Triplettes de Belleville' help Madame recapture Champion from the kidnappers. One writer has suggested the plot is an allegory of how Hollywood steals the best European talents and sucks them dry. If so, the theft is foiled this time.

No movie has ever shown the curious way big cumbersome dogs can manage to get up on a bed with somebody already lying in it. This trick is shown several times. It remains one of the keenest pieces of observation I've ever seen in an animation. The intricacy of detail of Champion's training process is hard to get out of one's head; the depiction of a grueling, relentless exercise routine is unforgettable. Others will like moments like the great storm at sea, though the effects used there seemed to me out of sync with the more linear style of the rest. A momentary TV appearance of what is obviously Glenn Gould intricately nattering away at some Bach keyboard fugue, no doubt beamed to France from the Canadian Broadcasting System, provided one of many delicious little period details during the film's first half. There are also cameos squeezed in by Django Reinhardt, Josephine Baker, and Fred Astaire (who is eaten up by one of his tap shoes). Likewise the visions of period Tour de France training crews and roadside fans are priceless. It's difficult to do justice to such an intricate effort. The devil and the wonder are both in the details. Despite the lack of dialogue as a central element and its replacement by incidental noise (as well as occasional jaunty jazz), a feature that links The Triplets with the comic films of Jacques Tati, there really is a lot of quick French at times, and I have the feeling that in omitting subtitles, the filmmakers or distributors have robbed Anglophone viewers of some of the richest details; that there's French stuff here we can never hope to grasp. For the devotee, this is definitely one for repeated viewings. There's a lot to take in -- if you've got the stomach for it. Once may be enough for many, but anybody interested in animation needs that once. Not suitable for young children or anyone easily weirded out.

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France | Belgium | Canada | UK | Latvia | USA


French | Portuguese | English

Release Date:

13 February 2004 (USA) See more »

Also Known As:

The Triplets of Belleville See more »


Box Office


$9,500,000 (estimated)

Opening Weekend USA:

$108,080, 30 November 2003

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


| (Buenos Aires Festival Internacional de Cine Independiente)

Sound Mix:

Dolby Digital



Aspect Ratio:

1.66 : 1
See full technical specs »

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