6.5/10
144
3 user 1 critic

La reine Margot (1954)

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.

Director:

Jean Dréville
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Cast

Cast overview, first billed only:
Jeanne Moreau ... Marguerite de Valois, "La Reine Margot" / Queen Margot
Armando Francioli Armando Francioli ... Joseph Peyrac La Môle / Duke of Mole
Robert Porte Robert Porte ... Charles IX
Henri Génès ... Annibal de Coconas (as Henri Genès)
Françoise Rosay ... Catherine de Médicis / Catharine of Medici
André Versini André Versini ... Henri de Navarre / Henry of Navarra
Fiorella Mari Fiorella Mari ... Henriette
Daniel Ceccaldi ... Henri d'Anjou
Patrizia Lari Patrizia Lari ... Carlotta
Nicole Riche Nicole Riche ... Gilonne
Louis Arbessier Louis Arbessier ... L'amiral de Coligny
Guy Kerner Guy Kerner ... Le duc de Guise
Jean-Roger Caussimon ... Le gouverneur de la prison / Prison Governor
Jean Témerson Jean Témerson ... L'aubergiste de 'La belle étoile' (as Jean Temmerson)
Olivier Mathot Olivier Mathot ... Pierre
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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.

Plot Summary | Add Synopsis

Plot Keywords:

16th century | based on novel | See All (2) »

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

France | Italy

Language:

French

Release Date:

25 November 1954 (France) See more »

Also Known As:

Bartholomäusnacht See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono

Color:

Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Referenced in Day for Night (1973) See more »

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User Reviews

 
French filmmaking used to be much, much better
22 July 2002 | by jgcorreaSee all my reviews

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.


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