| Photos (See all 15 | slideshow) |
Directed by | |||
| Joseph L. Mankiewicz | |||
Writing credits | ||
| Anthony Shaffer | (play) | |
| Anthony Shaffer | (screenplay) | |
Produced by | |||
| Morton Gottlieb | .... | producer | |
| David Middlemas | .... | associate producer | |
| Edgar J. Scherick | .... | executive producer | |
Original Music by | |||
| John Addison | |||
Cinematography by | |||
| Oswald Morris | |||
Film Editing by | |||
| Richard Marden | |||
Production Design by | |||
| Ken Adam | |||
Art Direction by | |||
| Peter Lamont | |||
Set Decoration by | |||
| John Jarvis | |||
Costume Design by | |||
| John Furniss | |||
Makeup Department | |||
| Tom Smith | .... | makeup artist | |
| Joan White | .... | hair stylist | |
Production Management | |||
| Frank Ernst | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Kip Gowans | .... | assistant director | |
Sound Department | |||
| Ken Barker | .... | sound recordist | |
| John W. Mitchell | .... | sound recordist (as John Mitchell) | |
| Don Sharpe | .... | sound editor | |
| Graham V. Hartstone | .... | sound re-recording mixer (uncredited) | |
Special Effects by | |||
| Les Hillman | .... | special effects (as Leslie Hillman) | |
Camera and Electrical Department | |||
| Jimmy Turrell | .... | camera operator | |
Editorial Department | |||
| Mary Kessel | .... | assistant editor | |
Music Department | |||
| John Addison | .... | conductor | |
| John Addison | .... | music arranger | |
| Gary Hughes | .... | music arranger: songs (uncredited) | |
Other crew | |||
| Elaine Schreyeck | .... | continuity | |
| Allan B. Schwartz | .... | production executive | |
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| Sleuth | Fracture | Before the Devil Knows You're Dead | So Sweet, So Dead | Dial M for Murder |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Mystery section | IMDb USA section |
To me, "Sleuth" is a demonstration of the problem with the Oscars (certainly a problem in 1972, and perhaps now also). The problem was that, even before the casting was done for the film of Mario Puzo's "The Godfather," everyone knew that whoever played the leading role was going to receive the Best Actor Oscar, irrespective of the performance. To rate Brando's performance above the performances of Caine and Olivier that year is nothing short of ludicrous. All I can say is thank God that at least Joel Grey received the best support Oscar for "Cabaret" that year.
I first saw Anthony Schaffer's play on the London stage about two years prior to the release of the movie. The leading roles were taken by Paul Rogers and Donal Donnelly, two fine English actors who were superb in these parts. I remember thinking what a difficult thing it would be to make a film of this, but I was sure that someone would try it and make a mess of it. How wrong I was!
I note that "Sleuth" comes up as #250 in the IMDB top 250. I recently selected my top 100 and it comes up at #55. This is a magnificent movie that keeps one on the edge of the seat for its entire length. The performances of the two leads as they play the same game a number of times is stunning. Here is the man acknowledged as perhaps the greatest actor of the 20th century, and here is the Cockney up-start Caine (famous for his "kitchen-sink" roles such as in "Alfie") matching him at every turn and often soaring above him.
But in saying all this, I need to put in a plug for perhaps the finest supporting performances ever delivered. Alec Cawthorne, a man few have heard of outside "Sleuth," is mesmerising as Doppler, while John Matthews and Eve Channing, although having very minor parts, imbue every nuance of their performances with ethereal splendour.