| Jean-Pierre Léaud | ... | Marc | |
| Catherine-Isabelle Duport | ... | Michèle (as Catherine Duport) | |
| Jacqueline Bir | ... | The Woman | |
| Paul Roland | ... | The Boss | |
| Leon Dony | |||
| Lucien Charbonnier | |||
| Georges Aubrey | |||
| John Dobrynine | |||
| Bernard Graczyk | |||
| Marthe Dugard | |||
| Maxane | |||
| Jacques Courtois | |||
| Paul Frère | ... | Paul Frère | |
| Paul Delrivière |
Directed by | |||
| Jerzy Skolimowski | |||
Writing credits(in alphabetical order) | ||
| Andrzej Kostenko | ||
| Jerzy Skolimowski | ||
Produced by | |||
| Bronka Ricquier | .... | producer | |
Original Music by | |||
| Krzysztof Komeda | (as K.T. Komeda) | ||
Cinematography by | |||
| Willy Kurant | |||
Film Editing by | |||
| Bob Wade | |||
Production Management | |||
| Maurice Urbain | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Jean-Emile Caudron | .... | assistant director | |
Sound Department | |||
| Philip Cape | .... | sound editor | |
| Philip Cape | .... | sound | |
Camera and Electrical Department | |||
| Jacques Assuérus | .... | camera operator | |
| Michel Baudour | .... | assistant camera | |
Other crew | |||
| Wilfried Coppens | .... | script supervisor | |
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| Camping Cosmos | Sukkar banat | Baisers volés | Meisjes | La confusion des genres |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Belgium section |
If you're in the States, it seems there's a 99% chance you won't get a chance to see this consistently entertaining film, save for the outside possibility it's shown in a big-city arthouse theater. As you might've read from the description above, it concerns Marc (a typically charming, uncharacteristically manic Jean-Pierre Leaud), an automobile-obsessed young hairdresser in Brussels struggling to obtain money needed to finance the car he needs for an upcoming race. With no assistance from his coworkers, Marc enlists the help of Michele, the loyal girlfriend he keeps at arm's length (the likeable Catherine Duport) not only because of his immaturity, but his single-minded focus on car racing. As the earlier commentator said, a main reason for seeing this film is the charismatic presence of Leaud (it seems a tailor-made film for him), but another draw is the quiet intelligence Duport exudes, and the film's markedly mid-60's style. Krzysztof Komeda's energetic, jazz-tinged score is conspicuous yet completely relevant. Jerzy Skolimowski managed to craft a funny, modish, and assured film in a language that he apparently didn't even speak! Certainly worth a viewing, if you get the chance.