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Cast

Catherine Deneuve
as Marion Steiner

Gérard Depardieu
as Bernard Granger

Jean Poiret
as Jean-Loup Cottins

Heinz Bennent
as Lucas Steiner

Andrea Ferreol
as Arlette Guillaume

Maurice Risch
as Raymond Boursier

Paulette Dubost
as Germaine Fabre

Jean-Louis Richard
as Daxiat

Sabine Haudepin
as Nadine Marsac

Christian Baltauss
as Bernard's Replacement

Laszlo Szabo
as Lt. Bergen

Richard Bohringer
as Gestapo Officer

Pierre Belot
as Hotel Porter

René Dupré
as M. Valentin

Martine Simonet
as Martine Sénéchal

Alain Tasma
as Marc

Rose Thiery
as Jacquot's Mother

Jacob Weizbluth
as Rosen

Jean-Pierre Klein
as Christian Leglise

Franck Pasquier
as Jacquot/Eric

Jean-José Richer
as Rene Bernardini

Jessica Zucman
as Rosette Goldstern

Marcel Berbert
as Merlin

Renata
as Greta Borg

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News & Interviews for The Last Metro (Le Dernier Métro)

Critic Reviews for The Last Metro (Le Dernier Métro)

Audience Reviews for The Last Metro (Le Dernier Métro)

• Aug 05, 2014

  When I see Shosanna (Mélanie Laurent) in <i>Inglourious Basterds</i> (2009), I am reminded of Marion Steiner (Catherine Deneuve) in <i>Le Dernier Métro</i>. Both gorgeous French-speaking women, both looking terrific in a red dress, both intrepid femmes facing catastrophes once upon a time in Nazi-occupied France, both having a lover, both being owner of a prestigious theater (one for movies, one for plays), they share striking similarities. Shosanna is Tarantino's French prototype of Steiner. Both movies have moments of tense suspense derived from the Nazi oppression, both share a similar running time, and finally both have the climax set inside the theater. But Deneuve is better and more beautiful than Laurent. Seriously speaking now, what a great movie. After finishing a decaying series of films centered around a man growing up and having troubles with relationships, Truffaut's vision has finally reached its pinnacle of maturity, releasing what is simultaneously his most ambitious film and arguably his most accessible. Set in WWII, when France was split in half by a political line dividing the Free Zone from the Occupied Zone, an actress and owner of a theater hides his Jewish husband in the basement, unbeknown to the entire cast and crew of the play, given that the husband is presumed to have fled from the country. However, Steiner hires a man for the leading role, Bernard Granger, played by the great Gérard Depardieu as the sexy young beast, and romantic tension escalates. The film is about many things at once: the Nazi occupation, the tragedies of war, theater, art, love, affairs and friend relationships. Truffaut captures the architecture of the theater with an impressionistic POV, where the color red reacts to the numerous conflicts of the characters and the constant darkness that happened in the theater due to electrical power shutdowns mirrored the intensity of the political situation. However, the film is not devoid of a tremendous entertainment value and Truffaut's typical form of Nouvelle Vague humor which is more noticeable in the epilogue itself. The simulation of art vs. reality to mirror both realms with the ending play scene is one of the smartest endings of the decade hands down, which is the one seemingly being disliked by the ones who saw the movie. My strongest guess is that they didn't get this reality-vs.-fiction duality, which is often interchangeable. 85/100
  Edgar C Super Reviewer
• Mar 24, 2013

  It looses some points for a messy ending, but just about everything else is brilliant. Truffaunt spends almost the whole running time moving effortlessly between exploring Nazi Occupied France, backstage shenanigans at a theatre, entrenched antisemitism, and censorship. Its weird to see Depardieu as a young, handsome womanizer.
  

  Alec B Super Reviewer
• Aug 20, 2011

  One of Truffaut's best!
  Alex H Super Reviewer
• Mar 16, 2011

  a phenomenal film except for its two weaknesses, but those two are fairly big and really hold the film back from masterpiece status. One, at no point did i buy that marion and bernard were falling for each other, so this major plot element is completely unconvincing, and two, the end "monologue" where the "wrap up" is sort of flown through doesnt fit the brilliant tone and depth of the rest of the film. overall, its still a very excellent movie during the french resistance, which manages to use the resistance as a coincidental setting to the real story rather than getting lost in the wartime politics. very good.
  danny d Super Reviewer

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