Two riders ride to Paris carrying a message for their respective lords. One is a faithful servant of Henry of Navarre, the other of the Duke of Guise.
The 91st Academy Awards won't be the first without a host, but it will be the first time since 1989.
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Title: La reine Margot (1954)
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Cast
| Cast overview, first billed only: | |||
| Jeanne Moreau | ... | Marguerite de Valois, "La Reine Margot" / Queen Margot | |
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Armando Francioli | ... | Joseph Peyrac La Môle / Duke of Mole |
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Robert Porte | ... | Charles IX |
| Henri Génès | ... | Annibal de Coconas (as Henri Genès) | |
| Françoise Rosay | ... | Catherine de Médicis / Catharine of Medici | |
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André Versini | ... | Henri de Navarre / Henry of Navarra |
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Fiorella Mari | ... | Henriette |
| Daniel Ceccaldi | ... | Henri d'Anjou | |
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Patrizia Lari | ... | Carlotta |
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Nicole Riche | ... | Gilonne |
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Louis Arbessier | ... | L'amiral de Coligny |
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Guy Kerner | ... | Le duc de Guise |
| Jean-Roger Caussimon | ... | Le gouverneur de la prison / Prison Governor | |
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Jean Témerson | ... | L'aubergiste de 'La belle étoile' (as Jean Temmerson) |
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Olivier Mathot | ... | Pierre |
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Plot Summary
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Storyline
Two riders ride to Paris carrying a message for their respective lords. One is a faithful servant of Henry of Navarre, the other of the Duke of Guise.
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DramaCertificate:
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Details
Language:
FrenchRelease Date:
25 November 1954 (France) See more »Also Known As:
Bartholomäusnacht See more »Company Credits
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Technical Specs
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Sound Mix:
MonoColor:
Color (Eastmancolor)Aspect Ratio:
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The comparison, here, is unavoidable. This is the first version, dated 1954, with a fine cast led by Jeanne Moreau in her very beginnings, a competent mise-en-scène (Jean Dréville), a fine score (as usual) by Paul Misraki, a fine Eastmancolor photography by Henri Alekan and, last but not least, a script by silent-screen pioneer, Abel Gance, the celebrated author of Napoléon. Now, what could we say of the so-called remake 40 years later? Hardly anything to do with Dumas Père or, for that matter, good cinema. most surely the writer would be as horrified as I was with such self-boosting display of an ego trip by Monsieur Chéreau, a kind of sub-Peter Brook theatrical régisseur in France. Nota Bene that the St. Bartholomew's Day massacre was re-enacted in this Gance/Dréville version, a more subtle, although more sarcastic, even cruder picture than its ill-timed successor.