Status
Released
original language
fr
Budget
$ 0
Revenue
$ 0
Georges Danton
Maximilien Robespierre
Camille Desmoulins
Lucile Desmoulins
Lacroix of Eure-et-Loir
François Héron
François-Joseph Westermann
Eléonore Duplay
Antoine de Saint-Just
Louison Danton
André Amar
Martial Herman
Robert Lindet
Georges Couthon
Étienne-Jean Panis
Bertrand Barère de Vieuzac
Pierre Philippeaux
Jean-Marie Collot d'Herbois
Lazare Carnot
Antoine Fouquier-Tinville
François-Louis Bourdon
Jacques-Nicolas Billaud-Varenne
Marc-Guillaume-Alexis Vadier
Chief of guards
Duplay's servant
Jacques-Louis David
Fabre d'Églantine
Marie-Jean Hérault de Séchelles
Jean-Lambert Tallien
Louis Legendre
Philippe-François-Joseph Le Bas
Danton's Supporter (uncredited)
Written by Geronimo1967 on 2025-06-20
Georges Danton (Gérard Depardieu) returns from his post French revolutionary rural existence to a Paris where the excesses and indifferences of the monarchy have now been replaced by those of the committees responsible for governing the country. He is determined to galvanise the population to rise against this new form of tyranny, but that means confronting his ailing friend Robespierre (Wojciech Pszoniak) who is trying to keep the revolution from imploding and, initially at any rate, to keep Danton alive. With the cauldron in danger of boiling over though, and with conspirators whispering in just about every ear, it soon becomes clear to Robespierre that the only way he can be sure of Danton is to relieve him of his head. This won’t be easy, though. He has friends but he also has the ear of the increasingly disgruntled masses, so it’s going to take some clever legerdemain if he is to pull it off without bringing everything down on top of his own head instead, or maybe even as well. It’s a good looking film, this, with plenty of attention to the detail. It’s also quite an effective evaluation of the pointlessness of oratory when you are either speaking into the wind, or when you are philosophising about grand ideology whilst folks can’t get bread, let alone cake, to feed their family. There is a well portrayed survival of the fittest, and/or most duplicitous, illustrated here and it busily demonstrates that mob rule really only ever encourages other mobs to have a go, too. This also has another distinct benefit in that as a biopic, there is a great deal of latitude available to Andrzej Wajda. That’s not least because accurate records of who did what, where and to whom don’t exist so he can fill his boots, creatively, in the telling of a story of betrayal, hypocrisy and survival. An on-form Depardieu delivers his set piece speeches passionately and in the end offers us a convincing appraisal of the decline and fall of a man of principle in a mire of intellectual squalor.