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| William Holden | ... | Shears | |
| Alec Guinness | ... | Colonel Nicholson | |
| Jack Hawkins | ... | Major Warden | |
| Sessue Hayakawa | ... | Colonel Saito | |
| James Donald | ... | Major Clipton | |
| Geoffrey Horne | ... | Lieutenant Joyce | |
| André Morell | ... | Colonel Green (as Andre Morell) | |
| Peter Williams | ... | Captain Reeves | |
| John Boxer | ... | Major Hughes | |
| Percy Herbert | ... | Grogan | |
| Harold Goodwin | ... | Baker | |
| Ann Sears | ... | Nurse | |
| Heihachiro Okawa | ... | Captain Kanematsu (as Henry Okawa) | |
| Keiichiro Katsumoto | ... | Lieutenant Miura (as K. Katsumoto) | |
| M.R.B. Chakrabandhu | ... | Col. Broome Yai | |
| Vilaiwan Seeboonreaung | ... | Siamese Girl | |
| Ngamta Suphaphongs | ... | Siamese Girl | |
| Javanart Punynchoti | ... | Siamese Girl | |
| Kannikar Dowklee | ... | Siamese Girl |
Directed by | |||
| David Lean | |||
Writing credits(WGA) | ||
| Michael Wilson | (screenplay) originally uncredited and | |
| Carl Foreman | (screenplay) originally uncredited | |
| Pierre Boulle | (novel "Le pont de la rivière Kwaï") | |
Produced by | |||
| Sam Spiegel | .... | producer | |
Original Music by | |||
| Malcolm Arnold | (music by) | ||
Cinematography by | |||
| Jack Hildyard | (director of photography) | ||
Film Editing by | |||
| Peter Taylor | (chief editor) | ||
Art Direction by | |||
| Donald M. Ashton | |||
Makeup Department | |||
| Stuart Freeborn | .... | makeup artist | |
| George Partleton | .... | makeup artist | |
Production Management | |||
| Cecil F. Ford | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Gus Agosti | .... | assistant director | |
| Ted Sturgis | .... | assistant director | |
| John Kerrison | .... | second assistant director (uncredited) | |
Art Department | |||
| Geoffrey Drake | .... | assistant art director | |
| Peter Dukelow | .... | construction manager | |
Sound Department | |||
| Pam Bosworth | .... | additional sound editor | |
| Eric Boyd-Perkins | .... | additional sound editor | |
| Fred Burnley | .... | additional sound editor | |
| Rusty Coppleman | .... | additional sound editor | |
| John Cox | .... | sound | |
| Teddy Darvas | .... | additional sound editor | |
| Janet Davidson | .... | additional sound editor | |
| Joel Fein | .... | sound mixer (restoration) | |
| Don Hall | .... | sound editor (restoration) | |
| Norma Hawkes | .... | additional sound editor | |
| Gary Krivacek | .... | sound editor (restoration) | |
| Peter Miller | .... | additional sound editor | |
| Bob Minkler | .... | sound mixer (restoration) | |
| John W. Mitchell | .... | sound (as John Mitchell) | |
| Winston Ryder | .... | chief sound editor | |
| B. Tennyson Sebastian III | .... | sound mixer (restoration) (as Tennyson Sebastian) | |
| Peter Davies | .... | post-synchronisation (uncredited) | |
Stunts | |||
| Nosher Powell | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Archie Dansie | .... | chief electrician | |
| Peter Newbrook | .... | camera operator | |
| Ron Drinkwater | .... | clapper loader (uncredited) | |
| Gerry Fisher | .... | additional camera operator (uncredited) | |
| Gerry Fisher | .... | assistant camera (uncredited) | |
| Robert Merry | .... | lighting technician (uncredited) | |
Costume and Wardrobe Department | |||
| John Wilson-Apperson | .... | wardrobe (as John Apperson) | |
Editorial Department | |||
| George Hively | .... | editor (restoration) | |
| William Pine | .... | color timer (restoration) (as Bill Pine) | |
| Sati Tooray | .... | colorist (uncredited) | |
Other crew | |||
| Angela Martelli | .... | continuity | |
| Jim Painten | .... | producer of restoration | |
| L.E.M. Perowne | .... | technical advisor (as Major-Gen. L.E.M. Perowne) | |
| William Harrigan Jr. | .... | technical advisor (uncredited) | |
| Robert Haslam | .... | consultant: explosives (uncredited) | |
| Robert Haslam | .... | technical advisor (uncredited) | |
| Grady Johnson | .... | publicist (uncredited) | |
| Maurice Landsberger | .... | production accountant (uncredited) | |
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| Lawrence of Arabia | Merry Christmas Mr. Lawrence | The Great Raid | Empire of the Sun | The Guns of Navarone |
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Without belittling `Kwai,' it does seem, looking backwards at David Lean's career, to be a dress rehearsal for the more operatic, tightly controlled (and better written) `Lawrence of Arabia.' Alec Guiness's passionate, detailed performance as Colonel Nicholson, above all other factors, makes Kwai a still watchable and important experience. The screenplay, however, divides unevenly between those who must build the Bridge and those who must destroy it. Ebert, in his Great Movies article, correctly identifies William Holden's character in Kwai as undergoing an implausible transition from escaped POW to martini-guzzling playboy to selfless war hero. Verbatim: `Holden's character, up until the time their guerrilla mission begins, seems fabricated; he's unconvincing playing a shirker, and his heroism at the end seems more plausible.' That, I believe, is also Kwai's greatest weakness. Holden's relationship with Jack Hawkins (playing a parallel role to his General Allenby in Lawrence) seems pallid next to the mighty Guiness/Hayakawa standoff in fact, it seems to be in another movie altogether. Also, Malcolm Arnold's score, which I loved when I was a kid, seems now jarringly inappropriate from start to finish. I am too much influenced, I suppose, by the rock and roll jungle menace of Coppola's `Apocalypse Now.' Lastly, it is many decades past 1957. Images of whistling soldiers, marching proudly after months of captivity, then putting on an `entertainment' more expected in the world of Rodgers and Hammerstein, may ring very false to today's viewer. But keep your eyes fastened tight to Alec Guiness. Kwai is the Everest of his career, and very few actors climb that high.