at Crackle

| Photos (see all 18 | slideshow) | Videos (see all 2 NEW) |
| Catherine Deneuve | ... | Carole | |
| Ian Hendry | ... | Michael | |
| John Fraser | ... | Colin | |
| Yvonne Furneaux | ... | Helen | |
| Patrick Wymark | ... | Landlord | |
| Renee Houston | ... | Miss Balch | |
| Valerie Taylor | ... | Madame Denise | |
| James Villiers | ... | John | |
| Helen Fraser | ... | Bridget | |
| Hugh Futcher | ... | Reggie | |
| Monica Merlin | ... | Mrs. Rendlesham | |
| Imogen Graham | ... | Manicurist | |
| Mike Pratt | ... | Workman | |
| rest of cast listed alphabetically: | |||
| Maxwell Craig | ... | Workman (uncredited) | |
| Roman Polanski | ... | Spoon Player (uncredited) | |
Directed by | |||
| Roman Polanski | |||
Writing credits | ||
| Roman Polanski | (original screenplay) & | |
| Gérard Brach | (original screenplay) | |
| David Stone | (adaptation and additional dialogue by) | |
Produced by | |||
| Gene Gutowski | .... | producer | |
| Robert Sterne | .... | associate producer | |
| Sam Waynberg | .... | associate producer | |
| Michael Klinger | .... | executive producer (uncredited) | |
| Tony Tenser | .... | executive producer (uncredited) | |
Original Music by | |||
| Chico Hamilton | (music composed by) | ||
Cinematography by | |||
| Gilbert Taylor | (director of photography) | ||
Film Editing by | |||
| Alastair McIntyre | |||
Art Direction by | |||
| Seamus Flannery | |||
Makeup Department | |||
| Gladys Leakey | .... | hairdresser | |
| Tom Smith | .... | make-up | |
Second Unit Director or Assistant Director | |||
| Ted Sturgis | .... | first assistant director | |
Art Department | |||
| Alf Pegley | .... | props | |
| Frank Willson | .... | assistant art director | |
Sound Department | |||
| Stephen Dalby | .... | sound supervisor | |
| Leslie Hammond | .... | sound mixer | |
| Gerry Humphreys | .... | sound recordist | |
| Tom Priestley | .... | sound editor | |
| Lionel Strutt | .... | sound re-recording mixer (uncredited) | |
Camera and Electrical Department | |||
| Alan Hall | .... | camera operator | |
| Laurie Turner | .... | stills | |
| Stanley A. Long | .... | camera operator (uncredited) | |
Editorial Department | |||
| Karen Heward | .... | assistant editor | |
Music Department | |||
| Chico Hamilton | .... | music conducted by | |
| Gábor Szabó | .... | music orchestrator (as Gabor Szabo) | |
Other crew | |||
| Terry Glinwood | .... | production controller | |
| Michael Klinger | .... | presenter | |
| Tony Tenser | .... | presenter | |
| Dee Vaughan | .... | continuity | |
| Maurice Binder | .... | title designer (uncredited) | |
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| The Living and the Dead | Psycho | Sei donne per l'assassino | Lo strano vizio della Signora Wardh | Peeping Tom |
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This film, the first Polanski made in English, works so well, and for so many different reasons, that I felt like I had to watch it again as soon as it ended.
From the first moments of the movie, Polanski sets up the key conflict, cutting between shots of Catherine Denuve's gorgeous face and of the things she is seeing, all of which are almost frighteningly ugly by comparison. After fifteen minutes of this, it becomes clear why Denuve's Carol is unable to cope with anything in the world around her, and why she is so dependent on her sister and her attractive female co-worker, who provide the film's only beauty other than Denuve. When her sister leaves her alone, her surroundings decay further into ugliness, sending her deeper into her madness. I loved the way that despite Carol's growing insanity, Polanski keeps going back to closeups of her face, which remains beautiful. So beautiful, in fact, that no one can seem to notice that she is clearly very deranged.
The only question the film left me with is this: How could Carol possibly survived for an entire lifetime up till the point where the film began?