| Charles Blavette | ... | Antonio Canova dit 'Toni' | |
| Celia Montalván | ... | Josefa (as Celia Montalvan) | |
| Édouard Delmont | ... | Fernand (as Delmont) | |
| Max Dalban | ... | Albert (as Dalban) | |
| Jenny Hélia | ... | Marie (as Jenny Helia) | |
| Michel Kovachevitch | ... | Sebastian (as M. Kovachevicht) | |
| Andrex | ... | Gabi | |
| rest of cast listed alphabetically: | |||
| Paul Bozzi | ... | Le jouer de guitare (uncredited) | |
Directed by | |||
| Jean Renoir | |||
Writing credits | ||
| Jean Renoir | screenplay & | |
| Jacques Levert | story | |
| Carl Einstein | uncredited | |
Produced by | |||
| Marcel Pagnol | .... | executive producer | |
Original Music by | |||
| Paul Bozzi | (uncredited) | ||
Cinematography by | |||
| Claude Renoir | |||
Film Editing by | |||
| Suzanne de Troeye | (as S. de Troeye) | ||
| Marguerite Renoir | (as Marguerite) | ||
Production Design by | |||
| Leon Bourrely | |||
Set Decoration by | |||
| Marius Brouquier | |||
Production Management | |||
| Pierre Gault | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Georges D'Arnoux | .... | assistant director (as G. d'Arnoux) | |
| Luchino Visconti | .... | assistant director (uncredited) | |
Sound Department | |||
| Bardisbanian | .... | sound recordist | |
| René Sarazin | .... | assistant sound recordist (as Sarrazin) | |
Camera and Electrical Department | |||
| Roger Ledru | .... | assistant camera (as R. Ledru) | |
Other crew | |||
| Albert Assouad | .... | technical director | |
| Bébert | .... | technical consultant | |
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| Regain | Les invasions barbares | L'auberge espagnole | La femme du boulanger | Perlasca. Un eroe italiano |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
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There is more than a touch of the Pagnols here, both geographically and literally, indeed the print I saw even credited Pagnol as 1) a producer or (and more probably) 2, the use of his studio space. For reasons best known to himself Renoir chose to set a triangular love story in Pagnol turf, le midi and though the result is creditable it is difficult if not impossible to view a movie like this in the 21st century, with our knowledge that by the time it was shot Pagnol had seen his own trilogy on similar themes produced on both stage and screen. Nevertheless and despite ageing prints this remains well worth seeing and obligatory for the Renoir scholar. 6/10