| Anita Björk | ... | Miss Julie | |
| Ulf Palme | ... | Jean | |
| Märta Dorff | ... | Kristin, cook | |
| Lissi Alandh | ... | Countess Berta, Julie's mother | |
| Anders Henrikson | ... | Count Carl, Julie's father | |
| Inga Gill | ... | Viola | |
| Åke Fridell | ... | Robert | |
| Kurt-Olof Sundström | ... | Julie's Fiancé | |
| Max von Sydow | ... | Hand | |
| Margaretha Krook | ... | Governess (as Margareta Krook) | |
| Åke Claesson | ... | Doctor | |
| Inger Norberg | ... | Julie as a child | |
| Jan Hagerman | ... | Jean as a child | |
| rest of cast listed alphabetically: | |||
| Torgny Anderberg | ... | Supervisor (uncredited) | |
| Bibi Andersson | ... | Dancing girl (uncredited) | |
| Per-Axel Arosenius | ... | The count's friend (uncredited) | |
| Frithiof Bjärne | ... | Church assistant (uncredited) | |
| Ingrid Björk | ... | Bit part (uncredited) | |
| Helga Brofeldt | ... | Maid (uncredited) | |
| Sture Ericson | ... | Jean's father (uncredited) | |
| Georg Fernqvist | ... | The count's friend (uncredited) | |
| Hartwig Fock | ... | Sleeping man in church (uncredited) | |
| Svea Holst | ... | Jean's mother (uncredited) | |
| Holger Kax | ... | Count's friend / Neighbour (uncredited) | |
| Birger Lensander | ... | Man at the dance (uncredited) | |
| Martin Ljung | ... | Julie's dancing partner (uncredited) | |
| Signe Lundberg-Settergren | ... | Maid (uncredited) | |
| John Norrman | ... | Julie's dancing partner (uncredited) | |
| Maud Walter | ... | Bit part (uncredited) | |
Directed by | |||
| Alf Sjöberg | |||
Writing credits(in alphabetical order) | ||
| Alf Sjöberg | ||
| August Strindberg | play | |
Produced by | |||
| Rune Waldekranz | .... | producer (uncredited) | |
Original Music by | |||
| Dag Wirén | |||
Cinematography by | |||
| Göran Strindberg | |||
Film Editing by | |||
| Lennart Wallén | |||
Art Direction by | |||
| Bibi Lindström | |||
Makeup Department | |||
| Britt Jansson | .... | makeup artist | |
| Marcus Ström | .... | makeup artist | |
Production Management | |||
| Rune Waldekranz | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Kurt-Olof Sundström | .... | assistant director (uncredited) | |
Sound Department | |||
| Lars Lalin | .... | sound | |
| Lars Lalin | .... | sound re-recording mixer (uncredited) | |
| Per Lönndahl | .... | assistant sound (uncredited) | |
Camera and Electrical Department | |||
| K.J. Jocke Fredriksson | .... | grip (uncredited) | |
| Harry Karlsson | .... | electrician (uncredited) | |
| Bengt Westfelt | .... | camera operator (uncredited) | |
Music Department | |||
| Sixten Ehrling | .... | conductor | |
| Todd Benner | .... | music arranger (uncredited) | |
| Dag Wirén | .... | music arranger (uncredited) | |
Other crew | |||
| David Norberg | .... | location manager | |
| Vanja Dahlgren | .... | continuity clerk (uncredited) | |
| Alva Lundin | .... | title designer (uncredited) | |
| Ruth Rickardt | .... | continuity clerk (uncredited) | |
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| Dangerous Liaisons | The Garden of the Finzi-Continis | Les liaisons dangereuses | The Duchess | Madame Bovary |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Sweden section |
A magnificent piece of cinema and a great Strindberg production. It is the second movie by Sjöberg I see after Hetz, and it seems to me that he bestows an unparalleled sensibility to scenes and to individual characters. This comes as a blessing to Miss Julie, since the Strindberg characters are a more or less neurotic and unsympathetic lot, who needs all the empathy the viewer can muster. It is the story of a dangerous liaison between the noble Miss Julie and her manservant Jean. The story takes place after the damage is done, as during the night-long midsummer festivities the two contemplate running away. Now, the times that one of the two change their mind about running away or not cannot be counted on two hands, an it is a good example of why I normally cannot stand stageplays by people like Strindberg, and certain love/hate Bergman movies like Scenes from a Marriage and Saraband. But the immaculate rendering of feelings and passion that stream towards you again is the saving grace and lifts this movie to a much higher level than any of Bergman's gut wrenching offerings. Plus, there are some brilliant narrative goodies like the extremely elegant flashbacks, which intertwine seamless with the present, or the rhythm of calm scenes with emotional ones and the punctual reoccurance of the noisy meandering midsummer night party (acts sort of a Greek choir to the two mains). Also, fantastic camera work, composition etc. Max von Sydow has an unsympathetic bit part, many years before he played for Bergman in Seventh Seal. Already looking forward to seeing it again.