| Jack Nicholson | ... | David Staebler | |
| Bruce Dern | ... | Jason Staebler | |
| Ellen Burstyn | ... | Sally | |
| Julia Anne Robinson | ... | Jessica | |
| Scatman Crothers | ... | Lewis (as Benjamin 'Scatman' Crothers) | |
| Charles LaVine | ... | Grandfather | |
| Arnold Williams | ... | Rosko | |
| John P. Ryan | ... | Surtees (as John Ryan) | |
| Sully Boyar | ... | Lebowitz | |
| Josh Mostel | ... | Frank | |
| William Pabst | ... | Bidlack | |
| Garry Goodrow | ... | Nervous Man (as Gary Goodrow) | |
| Imogene Bliss | ... | Magda | |
| Ann Thomas | ... | Bambi | |
| Tom Overton | ... | Spot Operator | |
| Maxwell 'Sonny' Goldberg | ... | Sonny | |
| Van Kirksey | ... | Messenger #1 | |
| Tony King | ... | Messenger #2 | |
| Jerry Fujikawa | ... | Agura | |
| Conrad Yama | ... | Fujito | |
| Scott Howard | ... | Auctioneer | |
| Henry Foehl | ... | Auctioneer | |
| Frank Hatchett | ... | Dancer | |
| Wyetta Turner | ... | Dancer |
Directed by | |||
| Bob Rafelson | |||
Writing credits | ||
| Jacob Brackman | (screenplay) | |
| Bob Rafelson | (story) and | |
| Jacob Brackman | (story) | |
Produced by | |||
| Steve Blauner | .... | executive producer | |
| Bob Rafelson | .... | producer | |
| Harold Schneider | .... | associate producer | |
Cinematography by | |||
| László Kovács | (director of photography) (as Laszlo Kovacs) | ||
Film Editing by | |||
| John F. Link | (as John F. Link II) | ||
Casting by | |||
| Fred Roos | |||
Production Design by | |||
| Toby Carr Rafelson | |||
Makeup Department | |||
| Dorothy Byrne | .... | hair stylist | |
Second Unit Director or Assistant Director | |||
| Joseph M. Ellis | .... | second assistant director (as Joe Ellis) | |
| Michael Haley | .... | second assistant director | |
| Tim Zinnemann | .... | assistant director (as Tim Zinneman) | |
Art Department | |||
| Mark Wade | .... | property | |
| Tony Wade | .... | property | |
Sound Department | |||
| James Nelson | .... | sound effects | |
| Tom Overton | .... | sound mixer | |
Camera and Electrical Department | |||
| Richmond L. Aguilar | .... | gaffer | |
| James O. Blair | .... | gaffer (as Jim Blair) | |
| Bobby Byrne | .... | camera operator (as Robert Byrne) | |
| Paul Caven | .... | electrician | |
| Dick Colean | .... | first assistant camera | |
| Dave Friedman | .... | still photographer | |
| Leonard Lookabaugh | .... | dolly grip (as Len Lookabaugh) | |
| Carl Manoogian | .... | key grip | |
| Aaron Pazanti | .... | best boy | |
Costume and Wardrobe Department | |||
| G. Tony Scarano | .... | wardrobe (as Tony Scarano) | |
Editorial Department | |||
| Terry Chambers | .... | assistant editor | |
| Peter Denenberg | .... | assistant editor (as Pete Denenberg) | |
Transportation Department | |||
| Joe Berman | .... | transportation | |
Other crew | |||
| Marilyn La Salandra | .... | production coordinator (as Marilyn LaSalandra) | |
| Suzanna Schiff | .... | assistant to director | |
| Anna Tait | .... | location auditor | |
| Meta Wilde | .... | script continuity | |
|
|
|
|
|
| All Good Things | My Own Private Idaho | Toto the Hero | 8½ | Munich |
|
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
IMDb User Rating: |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
A classic from of the New American Cinema The King of Marvin Gardens is one of the most underrated films of the 70. The film stars Bruce Dern and Jack Nicholson (cast against type as an introverted depressive) as a pair of estranged brothers reunited in Atlantic City to try to get scam artist Dern's ill-conceived property development dreams off the ground. Ellen Bursten rounds out the cast as an ageing beauty queen struggling with the realisation that her young protégé, played by the previously and subsequently unknown Julia Ann Robinson, has surpassed her. Shot in a bleak, wintry Atlantic City that contrasts sharply with Dern's vision of a happy ending for the quartet in Hawai'i, the film is a compelling and meditative character study that doesn't shy away from or glamorise the problems of the people who inhabit it. The three leads give superb performances as characters who are all in their disparate ways seeking redemption. Made in the brief period of the 1970s when the big American studios were hoodwinked into financing films that were singular, intelligent, and challenging, The King of Marvin Gardens is a must see for any fan of the cinema.