| Photos (see all 33 | slideshow) |
| Dustin Hoffman | ... | David Sumner | |
| Susan George | ... | Amy Sumner | |
| Peter Vaughan | ... | Tom Hedden | |
| T.P. McKenna | ... | Major John Scott | |
| Del Henney | ... | Charlie Venner | |
| Jim Norton | ... | Chris Cawsey | |
| Donald Webster | ... | Riddaway | |
| Ken Hutchison | ... | Norman Scutt | |
| Len Jones | ... | Bobby Hedden | |
| Sally Thomsett | ... | Janice Hedden | |
| Robert Keegan | ... | Harry Ware | |
| Peter Arne | ... | John Niles | |
| Cherina Schaer | ... | Louise Hood | |
| Colin Welland | ... | Reverend Barney Hood | |
| rest of cast listed alphabetically: | |||
| June Brown | ... | Mrs. Hedden (scenes deleted) | |
| Chloe Franks | ... | Emma Hedden (scenes deleted) | |
| Michael Mundell | ... | Bertie Hedden (scenes deleted) | |
| David Warner | ... | Henry Niles (uncredited) | |
Directed by | |||
| Sam Peckinpah | |||
Writing credits | ||
| David Zelag Goodman | (screenplay) and | |
| Sam Peckinpah | (screenplay) | |
| Gordon Williams | (novel "The Siege of Trencher's Farm") (as Gordon M. Williams) | |
Produced by | |||
| Daniel Melnick | .... | producer | |
| James Swann | .... | associate producer | |
Original Music by | |||
| Jerry Fielding | |||
Cinematography by | |||
| John Coquillon | (director of photography) | ||
Film Editing by | |||
| Paul Davies | |||
| Tony Lawson | |||
| Roger Spottiswoode | |||
Casting by | |||
| Miriam Brickman | |||
Production Design by | |||
| Ray Simm | |||
Art Direction by | |||
| Ken Bridgeman | |||
Makeup Department | |||
| Harry Frampton | .... | makeup artist | |
| Bobbie Smith | .... | hairdresser | |
| Peter Frampton | .... | makeup assistant (uncredited) | |
Production Management | |||
| Derek Kavanagh | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Terry Marcel | .... | assistant director | |
| Nick Farnes | .... | assistant director (uncredited) | |
| Michael Murray | .... | third assistant director (uncredited) | |
Art Department | |||
| Peter James | .... | set dresser | |
| Julia Trevelyan Oman | .... | production design consultant | |
Sound Department | |||
| John Bramall | .... | sound recordist | |
| Garth Craven | .... | sound editor | |
| Michael Ellis | .... | sound dialogue editor (uncredited) | |
| Norman Savage | .... | sound editor (uncredited) | |
Special Effects by | |||
| John Richardson | .... | special effects | |
| Peter Hutchinson | .... | special effects assistant (uncredited) | |
Stunts | |||
| Bill Cornelius | .... | stunt coordinator | |
| Peter Brayham | .... | stunts (uncredited) | |
| Joe Dunne | .... | stunts (uncredited) | |
| Sue Longhurst | .... | stunt double: Susan George (uncredited) | |
Camera and Electrical Department | |||
| Herbert Smith | .... | camera operator | |
| John Jay | .... | still photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Tiny Nicholls | .... | wardrobe | |
Editorial Department | |||
| Robert L. Wolfe | .... | editorial consultant (as Robert Wolfe) | |
Music Department | |||
| Jerry Fielding | .... | conductor (uncredited) | |
| Lennie Niehaus | .... | orchestrator (uncredited) | |
Other crew | |||
| Pamela Davies | .... | continuity | |
| Anthony Goldschmidt | .... | title designer | |
| Katherine Haber | .... | dialogue director (as Katy Haber) | |
| George Davis | .... | production accountant (uncredited) | |
| Brian Doyle | .... | unit publicist (uncredited) | |
| Susan Shaw | .... | body double: Susan George (uncredited) | |
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| Halloween | Giallo a Venezia | Furyô anego den: Inoshika Ochô | La coda dello scorpione | L'uccello dalle piume di cristallo |
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I think pretty much all of the people posting comments on this film have totally missed the point of the film. One reviewer sees the movie as sexist against women, others hate that plot points aren't wrapped up or it doesn't make sense that Amy enjoys the rape. A lot of people just don't seem to get this film. This film is not about entertainment. It's not interested in impressing you with artistic flare, and it doesn't care about wrapping sh-t up in a neat little package so you walk away with all the answers. People who complain about that kind of stuff might as well go and watch a Julia Roberts movie. This is Sam Peckinpah working out his demons, this is him breaking into your safe haven, slashing your face open. I personally have never been more disturbed or hurt by a film in my life, and because of this, I don't walk away in denial of its greatness. I'm able to say, "wow! That movie totally tapped in to these dormant emotions and feelings I've always had but either didn't realize or wasn't willing to admit to myself. Examples of Peckinpahs crushing insights are the entire female/male dynamic, the hurt we cause each other intentionally and unintentionally, the sickness of it all. This film hurt me so bad that I couldn't talk to my wife for about a week after. (Incidentally, the same thing happened in reverse when she watched Fight Club, which is really the perfect companion to this film.) This movie forces you to think, to face the ugliness of the world. It presents you with sh-t you don't want to face, feelings that you have buried in your subconscious so you will not have to deal with them. That is why I think so many people don't like this movie, because it has scarred them so badly that they can't even admit it hit a nerve, and thus dismiss it as "stupid, or retarded" I don't think I'll ever be able to watch this movie again, it was just too raw, too powerful, too hurtful. But I learned a lot about myself in the process, and was totally absorbed and thoughtful for a long time afterwards.
" I don't know how much movies should entertain. To me I'm always interested in movies that scar. The thing I love about JAWS is the fact that I've never gone swimming in the ocean again." -David Fincher