| Photos (See all 10 | slideshow) |
| Brooke Shields | ... | Violet | |
| Keith Carradine | ... | Bellocq | |
| Susan Sarandon | ... | Hattie | |
| Frances Faye | ... | Nell | |
| Antonio Fargas | ... | Professor | |
| Matthew Anton | ... | Red Top | |
| Diana Scarwid | ... | Frieda | |
| Barbara Steele | ... | Josephine | |
| Seret Scott | ... | Flora | |
| Cheryl Markowitz | ... | Gussie | |
| Susan Manskey | ... | Fanny | |
| Laura Zimmerman | ... | Agnes | |
| Miz Mary | ... | Odette | |
| Gerrit Graham | ... | Highpockets | |
| Mae Mercer | ... | Mama Mosebery | |
| Don Hood | ... | Alfred Fuller | |
| Pat Perkins | ... | Ola Mae | |
| Von Eric Thomas | ... | Nonny | |
| Sasha Holliday | ... | Justine | |
| Lisa Shames | ... | Antonia | |
| Henry Braden | ... | Harry | |
| Patrick M. Burke | ... | Fanny's Customer | |
| C.C. Courtney | ... | Naval Officer | |
| Joe Catalanotto | ... | Hattie's Customer | |
| Philip H. Sizeler | ... | Senator | |
| Don Lutenbacher | ... | Violet's First Customer | |
| Hobe May | ... | Farmer | |
| rest of cast listed alphabetically: | |||
| Stocker Fontelieu | ... | Brothel Patron (uncredited) | |
| Bill Holliday | ... | Gussie's client (uncredited) | |
Directed by | |||
| Louis Malle | |||
Writing credits | ||
| Polly Platt | (story) | |
| Polly Platt | (screenplay) | |
| Louis Malle | story | |
Produced by | |||
| Louis Malle | .... | producer | |
| Polly Platt | .... | associate producer | |
Original Music by | |||
| Gerald Wexler | |||
Cinematography by | |||
| Sven Nykvist | |||
Film Editing by | |||
| Suzanne Fenn | |||
Casting by | |||
| Gary Chason | |||
| Juliet Taylor | |||
Production Design by | |||
| Trevor Williams | |||
Set Decoration by | |||
| James L. Berkey | (as Jim Berkey) | ||
Makeup Department | |||
| Dave Grayson | .... | makeup artist | |
| Charlene Johnson | .... | hair stylist | |
| Charlene Roberson | .... | makeup artist | |
Production Management | |||
| Tony Wade | .... | unit production manager | |
| Lindsley Parsons Jr. | .... | executive production manager: Paramount (uncredited) | |
Second Unit Director or Assistant Director | |||
| Donald Heitzer | .... | assistant director (as Don Heitzer) | |
| Toby Lovallo | .... | second assistant director | |
| John M. Poer | .... | assistant director | |
Art Department | |||
| Mark Wade | .... | property master | |
| Richard Speed | .... | carpenter's apprentice (uncredited) | |
Sound Department | |||
| Donald F. Johnson | .... | sound mixer (as Don Johnson) | |
| Dick Vorisek | .... | sound re-recordist | |
| Skip Godwin | .... | sound engineer (uncredited) | |
Camera and Electrical Department | |||
| Maureen Lambray | .... | special photography | |
| Michael McGowan | .... | camera operator (as Mike McGowan) | |
Costume and Wardrobe Department | |||
| Mina Mittelman | .... | costume supervisor | |
Editorial Department | |||
| Suzanne Baron | .... | supervising editor | |
| Ruth Blakeslee | .... | assistant editor | |
| Mateel Hoppe | .... | assistant editor | |
| Alice Miller | .... | assistant editor | |
| Donald Freeman | .... | final colorist (uncredited) | |
Music Department | |||
| Raymond Burke | .... | musician: clarinet | |
| Louis Cottrell | .... | musician: clarinet | |
| Bob Greene | .... | musician: piano solo | |
| Ferdinand 'Jelly Roll' Morton | .... | composer: additional music | |
| Kid Thomas | .... | musician: trumpet | |
| Jerry Wexler | .... | music adaptor | |
| Jerry Wexler | .... | music supervisor | |
Transportation Department | |||
| Greg Van Dyke | .... | transportation coordinator (uncredited) | |
Other crew | |||
| Alan Greedy | .... | script supervisor | |
| Al Rose | .... | researcher | |
| Karen Moore | .... | assistant to director (uncredited) | |
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| Lolita | Eyes Wide Shut | L'amant | Furyô anego den: Inoshika Ochô | Lust och fägring stor |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
Very disturbing reality break. Child prostitution was prevalent in North America well into the early 20th century. This gives a good insight into demise of many children during this period. We were totally devoid of child protection agencies. Although many narrow minded artistically challenged people will label this movie as child pornography it is not. There is no suggestion of condoning or promoting of such. Louis Malle used a combination of shock and graphically disturbing scenes to get his message across. To have censored this movie would have been a throw back to the dark ages for artistic freedom. Although the acting leaves something to be desired it is a must watch for those wanting to see a dramatization of the hopelessness of the lives of children in the early Southern States.