| Robert Mitchum | ... | Jerry Ryan | |
| Shirley MacLaine | ... | Gittel 'Mosca' Moscawitz | |
| Edmon Ryan | ... | Frank Taubman | |
| Elisabeth Fraser | ... | Sophie | |
| Eddie Firestone | ... | Oscar | |
| Billy Gray | ... | Mr. Jacoby | |
| rest of cast listed alphabetically: | |||
| Ken Berry | ... | Larry, Mosca's Dance Teacher (uncredited) | |
| Colin Campbell | ... | (uncredited) | |
| Shirley Citron | ... | (uncredited) | |
| Cia Dave | ... | (uncredited) | |
| Michael Enserro | ... | (uncredited) | |
| Harold Fong | ... | Chinese Waiter (uncredited) | |
| Harold Gould | ... | Bit (uncredited) | |
| Ann Morgan Guilbert | ... | Molly - Dance Student's Mother (uncredited) | |
| Ralph Hart | ... | Student (uncredited) | |
| Victor Lundin | ... | Beat Singer (uncredited) | |
| Malachy McCourt | ... | (uncredited) | |
| Moria Turner | ... | (uncredited) | |
| Virginia Whitmire | ... | (uncredited) | |
Directed by | |||
| Robert Wise | |||
Writing credits | ||
| William Gibson | (play) | |
| Isobel Lennart | (screenplay) | |
Produced by | |||
| Walter Mirisch | .... | producer | |
| Robert Wise | .... | co-producer | |
Original Music by | |||
| André Previn | |||
Cinematography by | |||
| Ted D. McCord | (director of photography) (as Ted McCord) | ||
Film Editing by | |||
| Stuart Gilmore | |||
Casting by | |||
| Lynn Stalmaster | |||
Production Design by | |||
| Boris Leven | |||
Set Decoration by | |||
| Edward G. Boyle | |||
Makeup Department | |||
| Alice Monte | .... | hair stylist | |
| Frank Westmore | .... | makeup artist | |
Production Management | |||
| Allen K. Wood | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Jerome M. Siegel | .... | assistant director | |
| John Flynn | .... | second assistant director (uncredited) | |
Art Department | |||
| Frank Agnone | .... | property | |
| Frank Agnone | .... | props (uncredited) | |
| C. Randall Berkeley | .... | props (uncredited) | |
| Harry Kemm | .... | assistant art director (uncredited) | |
| William Maldonado | .... | set coordinator (uncredited) | |
Sound Department | |||
| Lambert E. Day | .... | sound (as Lambert Day) | |
| Wayne Fury | .... | sound effects editor | |
Camera and Electrical Department | |||
| Richard Batcheller | .... | camera operator (uncredited) | |
| Jack Chandler | .... | camera assistant (uncredited) | |
| Jack Harris | .... | still photographer (uncredited) | |
| Karl Reed | .... | grip (uncredited) | |
| Don Stott | .... | gaffer (uncredited) | |
| Bob Uhl | .... | camera assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Bert Henrikson | .... | wardrobe | |
| Orry-Kelly | .... | costumes: Miss MacLaine | |
| Irene Caine | .... | wardrobe (uncredited) | |
| Joan Joseff | .... | costume jeweller (uncredited) | |
Editorial Department | |||
| Marshall M. Borden | .... | assistant film editor | |
Music Department | |||
| Richard Carruth | .... | music editor | |
| Uan Rasey | .... | musician: trumpet soloist (uncredited) | |
Other crew | |||
| Leon Charles | .... | dialogue coach | |
| Fred Coe | .... | stage producer | |
| Dixie McCoy | .... | script supervisor | |
| Robert Wise | .... | presenter | |
| Renée Leff | .... | dialogue coach (uncredited) | |
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| News articles | IMDb Drama section | IMDb USA section |
Robert Mitchum and Shirley MacLaine are well-cast in this engaging love story set in NYC and shot in gritty, atmospheric black and white. Mitchum's wonderfully-modulated performance as a middle-aged lawyer on the rebound, and MacLaine's as the effervescent young dancer he becomes involved with, mesh very appealingly. The Broadway-caliber dialogue is more sophisticated, and the emotional level more intimate, than the films the two were typically making at the time. If "The Grass is Greener", a Mitchum (and Cary Grant and Deborah Kerr!) film from the same period and also an adaptation of a stage play, is a tepid example of how *not* to bring a play to the screen, "Two for the Seesaw" is a vibrant example of how to use film to endow a play with an intimacy that would be impossible to achieve onstage. Major kudos to Mitchum, MacLaine, and the director, Robert Wise.