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The Horseman on the Roof

The Horseman on the Roof

Adventure · Romance · History · 1995

In a time of war and disease, a young officer gallantly tries to help a young woman find her husband.

Movie details

The Horseman on the Roof

1995 Adventure · Romance · History 2h 15m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

In a time of war and disease, a young officer gallantly tries to help a young woman find her husband.

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 The Horseman on the Roof?

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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Angelique and the Sultan

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Set in the high courts of 16th Century France, where the wars of religion between Catholics and Protestants are raging. Marie de Mézières, a beautiful young aristocrat, is in love with Henri de Guise, but her hand in marriage is promised to the Prince of Montpensier.

Lady J

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Captain Ralls fights Dutch shipping magnate Mayrant Sidneye for the woman he loves, Angelique Desaix, and for a fortune in gold aboard the Red Witch.

Breathe

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Out of Africa

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The Time Traveler's Wife

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Tess

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Names above the title

The people responsible.

Directed by

Jean-Paul Rappeneau

Written by

Jean-Paul Rappeneau · Jean-Claude Carrière · Nina Companéez

Juliette Binoche

Juliette Binoche

Pauline de Théus

Olivier Martinez

Olivier Martinez

Colonel Angelo Pardi

Pierre Arditi

Pierre Arditi

Monsieur Peyrolle

François Cluzet

François Cluzet

Doctor

Jean Yanne

Jean Yanne

Hawker

Isabelle Carré

Isabelle Carré

Governess

Claudio Amendola

Claudio Amendola

Maggionari

Court is in session

Put The Horseman on the Roof on trial.

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

The defence The Prestige Tourist

“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.