Dominique Aury (novel)
Jeffrey O'Kelly (writer)
(more)
8 August 1984 (France) more
James Pembroke, a powerful industrialist, has become a nuisance to his rivals. That is the reason why they have decided to neutralize him... more | add synopsis
Visuals without Vision more (2 total)
| Sandra Wey | ... | 'O' | |
| Rosa Valenty | ... | Dotty Pembroke | |
| Manuel de Blas | ... | James Pembroke II | |
| Carole James | ... | Carol Pembroke | |
| Eduardo Bea | |||
| Rubén Blanco | |||
| Christian Cid | ... | Larry Pembroke | |
| Tomás Picó | |||
| Alicia Príncipe | |||
| Frank Sussman | |||
| Frank Braña | |||
| Walter Finley | |||
| Emilio Linder | |||
| Elmer Modling | |||
| Luis Suárez | |||
| Irene Teppa | |||
| rest of cast listed alphabetically: | |||
| Catherine Basseti | |||
| Agustín Bravo | |||
| Malgozarta Dobosz | |||
| Pepita Full James | |||
| Mariano Vidal Molina | |||
Directed by | |||
| Éric Rochat | |||
Writing credits(in alphabetical order) | ||
| Dominique Aury | novel "L'Histoire d'O" (as Pauline Réage) | |
| Jeffrey O'Kelly | writer | |
| Éric Rochat | writer | |
Produced by | |||
| Éric Rochat | .... | producer | |
| Carlos Silva Da Silva | .... | executive producer (as Carlos Da Silva) | |
Original Music by | |||
| Stanley Myers | |||
| Hans Zimmer | |||
Cinematography by | |||
| Andrés Berenguer | |||
Film Editing by | |||
| Alfonso Santacana | |||
Casting by | |||
| Carlos da Silva | |||
Production Design by | |||
| Jean Claude Hoerner | |||
Costume Design by | |||
| Claude Challe | |||
Makeup Department | |||
| Cristóbal Criado | .... | makeup artist | |
| Luis Criado | .... | assistant makeup artist | |
| Adrian Delgado | .... | hair stylist | |
| María Luisa García | .... | hair stylist | |
Second Unit Director or Assistant Director | |||
| Iñigo Botas | .... | third assistant director | |
| Roberto Parra | .... | first assistant director | |
| Manuel Pinilla | .... | second assistant director | |
Art Department | |||
| Antonio Cañete | .... | sculptures | |
| Elias Piñon | .... | paintings | |
| Aurelio Teno | .... | sculptures | |
Sound Department | |||
| Antonio Bloch | .... | sound | |
| José María Bloch | .... | boom operator | |
| Eduardo Fernández | .... | sound re-recording mixer | |
Camera and Electrical Department | |||
| Avelino Carla | .... | first assistant camera | |
| José Ramón Delgado | .... | video assist operator | |
| Casimiro Dengra | .... | gaffer | |
| Arturo López | .... | second assistant camera | |
| Simón López | .... | still photographer | |
| Eduardo Noé | .... | camera operator | |
Costume and Wardrobe Department | |||
| Sara Fernandez | .... | wardrobe | |
Music Department | |||
| Ron Asprey | .... | musician: saxophone solo | |
| Alan Murphy | .... | musician: guitar solo | |
Other crew | |||
| Rosa M. Amigo | .... | production assistant | |
| Juan Estelrich | .... | production assistant | |
| Filine Ledeboer | .... | assistant to producer | |
| Karen Morgan | .... | dialogue coach: English | |
| Isabel Ruiz Capillas | .... | script supervisor (as Maribel Ruiz Capilla) | |
| José Maria Sanchez | .... | accountant | |
Thanks | |||
| Simon Azoulay | .... | special thanks | |
| Domingo Cordoba | .... | special thanks | |
| Vincent Dare | .... | special thanks | |
| Junko Shimada | .... | special thanks | |
Histoire d'O: Numéro 2 (France)
Historia de O, II parte (Spain)
Story of O, Part II (Philippines: English title)
Die Geschichte der O. - 2.Teil (West Germany) [de]
I istoria tis 'O' noumero 2 (Greece) [el]
O:n tarina (Finland) (video title) [fi]
more
Australia:107 min | France:95 min
France:-18 | France:-12 (re-rating) | Australia:R | UK:(Banned) | West Germany:18
The film was twice refused a certificate by the BBFC. more
Referenced in Death Wish 4: The Crackdown (1987) more
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| Joy et Joan | Parties chaudes | Soumission | Les besoins de la chair | Les félines |
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| Full cast and crew | Company credits | IMDb Drama section |
| IMDb France section | Add this title to MyMovies |
Yet another sequel than cannot stand up to the original, this sequel to the Story of O can at least boost some interesting visuals, regarding sets and costumes. However, the visuals are empty, meaningless - there is no vision behind it. The submission and domination appear less serious and menacing than in the original, and more playful and almost politically correct. While this may make the film less objectionable, it also makes it pointless; it remains a piece of 1980s' hedonism.