| Diana Ross | ... | Tracy | |
| Billy Dee Williams | ... | Brian | |
| Anthony Perkins | ... | Sean | |
| Jean-Pierre Aumont | ... | Christian Rosetti | |
| Beah Richards | ... | Florence | |
| Nina Foch | ... | Miss Evans | |
| Marisa Mell | ... | Carlotta Gavina | |
| Lenard Norris | ... | Wil | |
| Jerome Arnold | ... | Campaign Worker | |
| Pemon Rami | ... | Campaign Worker | |
| Obelo | ... | Campaign Worker | |
| Ira Rogers | ... | Stalker | |
| Kristine Cameron | ... | Instructress | |
| Ted Liss | ... | Sweatshop Foreman | |
| Bruce Vilanch | ... | Dress Manufacturer | |
| Don Howard | ... | Dress Manufacturer | |
| Albert Rosenberg | ... | Dress Manufacturer | |
| Marvin Corman | ... | Cab Driver | |
| E. Rodney Jones | ... | Radio Announcer (voice) | |
| Dan Daniel | ... | Giuseppe (as Daniel Daniele) | |
| Princess Galitzine | ... | Princess Galitzine | |
| Jacques Stany | ... | Auctioneer - Fashion Show | |
| Achille Brugnini | ... | Salesman (as Achille Brunini) | |
| Edward Van Sickle | ... | Ad Agency Executive (as Edward Van Sycle) | |
| Giovanni Di Benedetto | ... | Ad Agency Executive (as Gianni Di Benedetto) | |
| Roger Browne | ... | Ad Agency Executive (as Roger Bill Brown) | |
| C. Mitchell | ... | Ad Agency Executive | |
| rest of cast listed alphabetically: | |||
| Denise Gordy | ... | (uncredited) | |
| Jesse Kitten | ... | Unemployed Lathe Operator (uncredited) | |
| Robert Townsend | ... | Extra (uncredited) | |
Directed by | |||
| Berry Gordy | |||
| Tony Richardson | (uncredited) | ||
Writing credits(in alphabetical order) | ||
| Toni Amber | story | |
| John Byrum | screenplay | |
Produced by | |||
| Jack Ballard | .... | producer | |
| Rob Cohen | .... | producer | |
Original Music by | |||
| Michael Masser | |||
Cinematography by | |||
| David Watkin | |||
Film Editing by | |||
| Peter Zinner | |||
Casting by | |||
| Joe Scully | |||
Art Direction by | |||
| Kevin Biles | (art director: act 2 musical) | ||
| Aurelio Crugnola | |||
| Leon Ericksen | (as Leon Erickson) | ||
Costume Design by | |||
| Diana Ross | |||
Makeup Department | |||
| Franco Corridoni | .... | makeup artist | |
| Maria Teresa Corridoni | .... | key hair stylist | |
| Wally Schwartz | .... | makeup artist | |
| Jerry Turnage | .... | makeup supervisor (as Jerry Tournage) | |
Production Management | |||
| David McCann | .... | post-production supervisor | |
| Mario Olivieri | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Piero Amati | .... | second assistant director | |
Sound Department | |||
| Don H. Matthews | .... | sound recordist (as Don Matthews) | |
| Richard Portman | .... | sound re-recording mixer | |
| Kay Rose | .... | sound editor | |
Casting Department | |||
| Pemon Rami | .... | casting | |
Music Department | |||
| Lee Holdridge | .... | musical director | |
Other crew | |||
| Sioux Richards | .... | script supervisor | |
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| Imitation of Life | Purple Rain | The Bodyguard | The Devil Wears Prada | Factory Girl |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb USA section |
Ghetto girl from Chicago wants to be a fashion designer, but her politician boyfriend wants her instead to help him take care of the unfortunates at home (which is more important, after all, than working with coat-hangers, but can't he see that a big salary from the Mrs. might be used to strengthen his campaign?). As good as Diana Ross was in "Lady Sings the Blues", I was restless with that film for a number of reasons (it followed the standard bio-flick pattern, it was heavy-handed and drab). However, "Mahogany" exists purely on adrenaline, and Ross is hyped-up, high on life, and her kicky fashion scenes are both entertaining and gaudy. The love story with Billy Dee Williams is relaxed, Anthony Perkins is loose and campy as a gay shutterbug who puts the moves on La Ross, and the decadent, glamorous surroundings are fun escapism. As for the finale, it is truly gauche...but at least it has the courage to follow through with its happily-ever-after convictions, even if the poverty-stricken crowds cheering at the end have no idea they're being condescended to. *** from ****