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Last Known Address

Last Known Address

Thriller · Crime · 1970

Marceau Léonetti, a competent and energetic officer stops by chance the son of an influential lawyer driving under the influence of alcohol. A few months later, the lawyer falsely accuses Léonetti as being violent and incompetent. As a result Marceau is transferred to a small police station, where he meets young and beautiful Jeanne. Soon they are faced with a tough investigation.

Movie details

Last Known Address

1970 Thriller · Crime 1h 42m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Marceau Léonetti, a competent and energetic officer stops by chance the son of an influential lawyer driving under the influence of alcohol. A few months later, the lawyer falsely accuses Léonetti as being violent and incompetent. As a result Marceau is transferred to a small police station, where he meets young and beautiful Jeanne. Soon they are faced with a tough investigation.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Last Known Address?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

José Giovanni

Written by

José Giovanni

Lino Ventura

Lino Ventura

Principal Inspector Marceau Leonetti

Marlène Jobert

Marlène Jobert

Jeanne Dumas, the new auxiliary

Michel Constantin

Michel Constantin

Greg, the henchman

Paul Crauchet

Paul Crauchet

Jacques Loring, Martin's neighbor

Alain Mottet

Alain Mottet

Frank Lambert, Leonetti's colleague and friend

Béatrice Arnac

Béatrice Arnac

Silvia

Guy Heron

Guy Heron

Soramon

Court is in session

Put Last Known Address on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.