| Michael Redgrave | ... | Andrew Crocker-Harris | |
| Jean Kent | ... | Millie Crocker-Harris | |
| Nigel Patrick | ... | Frank Hunter | |
| Wilfrid Hyde-White | ... | Frobisher (as Wilfrid Hyde White) | |
| Brian Smith | ... | Taplow | |
| Bill Travers | ... | Fletcher | |
| Ronald Howard | ... | Gilbert | |
| Paul Medland | ... | Wilson | |
| Ivan Samson | ... | Lord Baxter | |
| Josephine Middleton | ... | Mrs. Frobisher | |
| Peter Jones | ... | Carstairs | |
| Sarah Lawson | ... | Betty Carstairs | |
| Scott Harold | ... | Rev. Williamson | |
| Judith Furse | ... | Mrs. Williamson | |
| rest of cast listed alphabetically: | |||
| Michael Caborne | ... | Boy in Upper 5th Science Class (uncredited) | |
| Vivienne Gibson | ... | Mrs. Saunders (uncredited) | |
| John Greenwood | ... | Gilbert's Senior Boy (uncredited) | |
| Joan Haythorne | ... | Mrs. Wilson (uncredited) | |
| Michael Newell | ... | Bryant (uncredited) | |
| Brian Nissen | ... | Head Boy (uncredited) | |
| Anton Rodgers | ... | Pupil (uncredited) | |
| Johnnie Schofield | ... | Taxi Driver (uncredited) | |
| Dora Sevening | ... | Mrs. Sanders (uncredited) | |
| Russell Waters | ... | School Doorman (uncredited) | |
| Ian Whittaker | ... | Pupil (uncredited) | |
Directed by | |||
| Anthony Asquith | |||
Writing credits | ||
| Terence Rattigan | (by) | |
| Terence Rattigan | (screenplay) | |
Produced by | |||
| Teddy Baird | .... | producer | |
| Earl St. John | .... | executive producer | |
Cinematography by | |||
| Desmond Dickinson | (director of photography) | ||
Film Editing by | |||
| John D. Guthridge | |||
Casting by | |||
| Weston Drury Jr. | (uncredited) | ||
Art Direction by | |||
| Carmen Dillon | |||
Makeup Department | |||
| Biddy Chrystal | .... | hair stylist | |
| W.T. Partleton | .... | makeup artist (as W. Partleton) | |
Production Management | |||
| Andrew Allan | .... | production manager | |
Second Unit Director or Assistant Director | |||
| George Pollock | .... | assistant director | |
| Bert Batt | .... | third assistant director (uncredited) | |
| Stanley Hosgood | .... | second assistant director (uncredited) | |
Art Department | |||
| Bert Gaiters | .... | property master (uncredited) | |
| Jack Stephens | .... | set dresser (uncredited) | |
Sound Department | |||
| John Dennis | .... | sound recordist | |
| Dino Di Campo | .... | sound editor | |
| Gordon K. McCallum | .... | sound recordist (as Gordon McCallum) | |
| E.G. Daniels | .... | assistant boom operator (uncredited) | |
| Peter Davies | .... | first assistant dubbing mixer (uncredited) | |
| C. Le Mesurier | .... | sound camera operator (uncredited) | |
| Dudley Messenger | .... | boom operator (uncredited) | |
Camera and Electrical Department | |||
| H.A.R. Thomson | .... | camera operator (as Russell Thomson) | |
| Cornel Lucas | .... | still photographer (uncredited) | |
| Reginald H. Morris | .... | focus puller (uncredited) | |
| Tony Young | .... | clapper loader (uncredited) | |
Costume and Wardrobe Department | |||
| Yvonne Caffin | .... | dress supervisor | |
| Dorothy Edwards | .... | wardrobe supervisor: women (uncredited) | |
| Bob Rayner | .... | wardrobe supervisor: men (uncredited) | |
Other crew | |||
| Maggie Unsworth | .... | continuity (as Margaret Sibley) | |
| Arthur Alcott | .... | production controller (uncredited) | |
| Ken Green | .... | publicity manager (uncredited) | |
| Jean Hall | .... | assistant continuity (uncredited) | |
| Norman Hudis | .... | floor publicist (uncredited) | |
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| The Browning Version | Notes on a Scandal | Good | Doubt | Easy A |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb UK section |
Based on Terence Rattigan's play, this is a moving story of a public (private) schoolmaster's disappointments as his life slips away from him, and his increasing sense of isolation from everyone around him as even his wife makes clear her bitterness towards him. Michael Redgrave's performance is masterfully poignant. The film was made in an era when the values inherent in the film still had considerable currency, helping the film to achieve a degree of authenticity which it is doubtful could be achieved today. (I have not seen the more recent version, though, so it may be that I am wrong). If you are interested in the human condition, or simply want to see a masterful portrayal of human pain then you should watch this film.