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The Statement (2003)

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Tale of a former Nazi executioner who becomes a target of hitmen and Police investigators.

Director:

Norman Jewison

Writers:

Ronald Harwood (screenplay), Brian Moore (novel)
4 wins. See more awards »

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Cast

Cast overview, first billed only:
Michael Caine ... Pierre Brossard
Tilda Swinton ... Annemarie Livi
Jeremy Northam ... Colonel Roux
Alan Bates ... Armand Bertier
Charlotte Rampling ... Nicole
John Neville ... Old Man
Ciarán Hinds ... Pochon
Frank Finlay ... Commissaire Vionnet
William Hutt William Hutt ... Le Moyne
Matt Craven ... David Manenbaum
Noam Jenkins ... Michael Levy
Peter Wight ... Inspector Cholet
Malcolm Sinclair ... Cardinal of Lyon
Colin Salmon ... Father Patrice
David de Keyser David de Keyser ... Dom André (as David De Keyser)
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Storyline

1992. The French government has passed a law punishing crimes against humanity allowing them to prosecute Nazi collaborators from WWII. Magistrate Annemarie Livi has been assigned the case of Pierre Brossard, a police officer in Dombey, France in June, 1944, when he helped round up a group of Jewish persons and personally chose seven of them to be executed. Brossard was captured and held in police custody in 1955 following a trial where he was sentenced to death for being a collaborator, before he was able to escape. Brossard has since received a Presidential pardon for those crimes. Livi enlists the help of Colonel Roux of the French Army to assist in this case in she not trusting the police who assisted the Vichy regime during the war. While Roux informs her that he is aware of an unknown Jewish organization that is also tracking and wanting to execute Brossard, Livi knows that the pardon was arranged by someone who must have been an associate of Brossard - who she refers to as "The... Written by Huggo

Plot Summary | Add Synopsis

Taglines:

At the end of World War II, many of those involved in war crimes were prosecuted. Some got away. Until now.

Genres:

Thriller | Drama

Motion Picture Rating (MPAA)

Rated R for violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Canada | France | UK

Language:

English | German | Italian | Latin | French

Release Date:

27 February 2004 (UK) See more »

Also Known As:

A Confissão See more »

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Box Office

Budget:

$27,000,000 (estimated)

Opening Weekend USA:

$37,220, 14 December 2003

Gross USA:

$765,637

Cumulative Worldwide Gross:

$1,079,822
See more on IMDbPro »

Company Credits

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Technical Specs

Sound Mix:

Dolby Digital | SDDS

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Penultimate theatrical movie of Sir Alan Bates (Armand Bertier). See more »

Goofs

When the statement is shown being typed, the typist underlines the name Pierre Brossard except for the P. When it is shown completed, the name is underlined completely. See more »

Quotes

Pierre Brossard: Pray that we meet again... in this world.
See more »

Connections

Features Only You (1994) See more »

Soundtracks

Au revoir mon coeur
Written by Y. Murray / P. Zaza
Published by Parry Music, Inc. (SOCAM)
Courtesy of The Music People
Chorale "An Wasseflussen Babylon", BWV 653
Composed by Johann Sebastian Bach (as J.S. Bach)
(P) Point Classics, courtesy of Morning Music Limited
See more »

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User Reviews

A note about the (lack of) accents
3 February 2004 | by big poohSee all my reviews

In looking through the other comments here and listening to responses as I left the theater after watching 'The Statement,' I've noticed a lot of criticism about the use of English actors using English accents in a movie set in France.

I won't venture to discuss the merit of this choice, but I wanted to point out, in case anyone is that interested, that this is an old stage tradition. The same thing came up when 'Enemy at the Gates' came out, where English actors played Russian characters without affecting Russian accents. It's not uncommon to assign, across the board, English actors/accents to the linguistic majority of a production. I don't know if this stems from the historical preeminence of the London stage or because English accents are thought to be less problematic for American audiences or what, but I do know that this is something that happens quite often and originated in live theatre.


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