Animal (1977)
Mike (Jean-Paul Belmondo) is a stuntman who works with his girlfriend Jane (Raquel Welch). On their wedding day Mike and Jane are forced by producers to do a stunt for a film they are working on. Mike, annoyed doesn't look on the road and crashes the car causing them to end up in a hospital. After they come out Jane doesn't want to talk to Mike so he decides to get her a job in a film in which he is a stunt double for his double who is a star in action pictures but is in fact a wimp.
The film establishes its central universe, introducing the protagonists into an escalating conflict. Directed by Claude Zidi, this opening movement establishes high visual and thematic stakes that set the narrative journey into motion.
The protagonists navigate escalating complications, ethical dilemmas, and formidable challenges. Starring Jean-Paul Belmondo, Raquel Welch, Dany Saval, the middle act intensifies dramatic momentum toward an inevitable turning point.
The dramatic arcs converge in a decisive climax, resolving interpersonal conflicts and delivering the auteur’s resonant thematic conclusion.
Jean-Paul Belmondo
as Mike Gaucher / Bruno Ferrari
Raquel Welch
as Jane Gardner
Dany Saval
as Doris
Charles Gérard
as Hyacinthe
Raymond Gérôme
as Le comte de Saint-Prix
Julien Guiomar
as Fechner
Aldo Maccione
as Sergio Campanese
Mario David
as Santos
Henri Génès
as Camille
Fred Personne
as Le maire
Jean-Jacques
as Philémon
Claude Chabrol
as Le metteur en scèneCinematographic negative, aspect ratios & laboratory mastering sheet
| Aspect Ratios | 2.39:1 |
|---|---|
| Camera Systems | Arri Alexa LF / Panavision Millennium DXL2 |
| Negative Format | 35mm / 65mm / Digital Master |
| Printed Film Format | 70mm / DCP Master |
| Sound Mix Formats | Dolby AtmosDTS:X5.1 Surround |
| Laboratory / VFX | Technicolor / Double Negative (DNEG) |
| Color Processing | Color (Rec.709 / DCI-P3 Mastering) |
| Official Runtime | 100 min |
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Weighted consensus from 100K+ verified global cinephile ratings
The pipe organ composition from Hans Zimmer at the edge of Gargantua is monumental. Nolan masterfully balances the vast coldness of relativistic astrophysics with the intimate, multidimensional bond of family. A transcendent achievement of cinema.
"Do not go gentle into that good night, Rage, rage against the dying of the light." Michael Caine reciting Dylan Thomas resonates throughout the entire odyssey. Pure cinematic grandeur.
