IMDb > Rachel, Rachel (1968)
Rachel, Rachel
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Rachel, Rachel (1968) More at IMDbPro »

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Overview

User Rating:
7.3/10   1,656 votes »
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Down 36% in popularity this week. See why on IMDbPro.
Director:
Writers:
Stewart Stern (screenplay)
Margaret Laurence (novel)
Contact:
View company contact information for Rachel, Rachel on IMDbPro.
Release Date:
26 August 1968 (USA) See more »
Genre:
Tagline:
Who was she? Sometimes she was a child skipping rope. Sometimes she was a woman with a passionate hunger. And one day the woman and the child came together... See more »
Plot:
Rachel is a 35 year old school teacher who has no man in her life and lives with her mother. When a man from the big city returns and asks her out... See more » | Add synopsis »
Awards:
Nominated for 4 Oscars. Another 8 wins & 3 nominations See more »
NewsDesk:
Paul Newman: 1925 - 2008
 (From IMDb News. 27 September 2008, 8:49 AM, PDT)

User Reviews:
...how we carry it all with us... See more (33 total) »

Cast

  (in credits order)

Joanne Woodward ... Rachel Cameron

James Olson ... Nick Kazlik
Kate Harrington ... Mrs. Cameron

Estelle Parsons ... Calla Mackie

Donald Moffat ... Niall Cameron

Terry Kiser ... Preacher
Frank Corsaro ... Hector Jonas
Bernard Barrow ... Leighton Siddley

Geraldine Fitzgerald ... Rev. Wood
Nell Potts ... Rachel as a child
Shawn Campbell ... James
Violet Dunn ... Verla
Beatrice Pons
Dortha Duckworth (as Dorothea Duckworth)
Simm Landres
Izzy Singer ... Lee Shabab

Tod Engle ... Nick as a child
Connie Robinson
Sylvia Shipman
Larry Fredericks
Bruno Engler ... Bartender (as Bruno Engl)
Wendell P. MacNeal IV (as Wendell Mac Neal)
rest of cast listed alphabetically:
Pete Bostrom ... (uncredited)
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Directed by
Paul Newman 
 
Writing credits
Stewart Stern (screenplay)

Margaret Laurence (novel "A Jest of God")

Produced by
Arthur S. Newman Jr. .... associate producer (as Arthur Newman)
Paul Newman .... producer
Harrison Starr .... associate producer
 
Original Music by
Jerome Moross 
 
Cinematography by
Gayne Rescher 
 
Film Editing by
Dede Allen 
 
Casting by
Shirley Rich 
 
Art Direction by
Robert Gundlach 
 
Set Decoration by
Richard Merrell 
 
Costume Design by
Domingo A. Rodriguez  (as Domingo Rodriguez)
 
Makeup Department
Colleen Callaghan .... key hair stylist
Robert Phillipe .... makeup artist (as Bob Phillipe)
 
Production Management
Florence Nerlinger .... assistant production manager
 
Second Unit Director or Assistant Director
Alan Hopkins .... assistant director
Edward Folger .... assistant director (uncredited)
Alex Hapsas .... assistant director (uncredited)
Robert J. Koster .... second assistant director (uncredited)
 
Art Department
Merle Eckert .... construction (as Merle Eckhart)
Merce Eckhart .... constructor
Sante Fiore .... scenic
Thomas Wright .... property master (as Tommy Wright)
 
Sound Department
Alan Heim .... sound editor
Jack C. Jacobsen .... sound (as Jack Jacobsen)
Dick Vorisek .... sound re-recordist
Robert Rogow .... boom operator (uncredited)
 
Camera and Electrical Department
Larry Barr .... key grip
Willie Meyerhoff .... chief gaffer (as Willy Meyerhoff)
Dick Mingalone .... camera operator
Muky .... still photographer
Tom Priestley Jr. .... assistant camera (as Tom Priestley)
 
Costume and Wardrobe Department
Bev Langer .... wardrobe
 
Editorial Department
Lynn Lewis Lovett .... assistant editor (as Lynn Lewis)
Robert Q. Lovett .... associate editor
 
Music Department
Jerome Moross .... musical director
Frank Kulaga .... music scoring mixer (uncredited)
 
Other crew
Roberta Hodes .... script
Larry Sturhahn .... production consultant
Phillip M. Goldfarb .... production assistant (uncredited)
George Manasse .... production assistant (uncredited)
 

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Additional Details

Also Known As:
Runtime:
101 min
Country:
Language:
Color:
Color (Technicolor)
Sound Mix:
Certification:
Canada:PG (Ontario) | Finland:K-16 | Sweden:15 | UK:X (original rating) | USA:R | USA:Approved (Suggested for Mature Audiences)
Filming Locations:

Did You Know?

Trivia:
Nell Potts, who plays Rachel as a young girl, is actually Joanne Woodward and 'Paul Newman' (I)'s real daughter.See more »
Goofs:
Continuity: Rachel's hair pattern changes in two continuous shots on the hospital bed. The front camera angle shows her hair in front of her ears but the side camera shows her hair behind her ears.See more »
Quotes:
Rachel Cameron:Back to our respective cages.See more »
Movie Connections:
Referenced in Stella (1990)See more »

FAQ

This FAQ is empty. Add the first question.
15 out of 24 people found the following review useful.
...how we carry it all with us..., 2 June 2006
Author: mandala-4 from United States

This is only the third time I've seen this film (2006), having first seen it when it came out in 1968 and again in 1975. At each of those times the movie reflected stages of transition in my own life, and that is what makes it so riveting, scarily so, even today almost 40 years after I first saw it.

This movie, like Midnight Cowboy and others, effectively demonstrates how small-town repression and childhood experiences invariably seep into our adult lives and influence them in ways not always recognizable or to our benefit. Here is a repressed girl in a repressive small town (often New England is a symbol of suffocating, inbred, isolated, deep-level collective cultural phantoms.) doing her best to essentially stay that way, despite the well-intentioned but misdirected efforts of Calla (did Estelle Parsons play the cantankerous sister in "I Never Sang for my Father"?). That church scene would make me feel downright creepy in I were conned into attending it. The flashbacks to childhood, especially the dying boy and her own experience in the basket in the mortuary prep room, are chillingly effective in conveying the grip her youth's experiences still have on her.

As for the picture the man shows Woodward, I thought it was his dead twin brother, or it could have been his son. But the phone call she later made indicated he had no family, so it's anyone's guess as who's picture it is. I still think it's the brother. And that may bring Rachel dangerously close to the hold that her childhood could still have on her.

Finally, Rachel's decision to go to Oregon (a symbol of liberation from past miasmas, a "coming into one's own light a la the free-standing Kouros, a Jungian "individuation") makes this film very satisfying to watch. We're still left wondering--how much of her baggage does she take with her? But I left thinking that she was free enough to decide that consciously and independently.

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