| James Mason | ... | Warren Maxwell | |
| Susan George | ... | Blanche Maxwell | |
| Perry King | ... | Hammond Maxwell | |
| Richard Ward | ... | Agamemnon | |
| Brenda Sykes | ... | Ellen | |
| Ken Norton | ... | Mede | |
| Lillian Hayman | ... | Lucrezia Borgia | |
| Roy Poole | ... | Doc Redfield | |
| Ji-Tu Cumbuka | ... | Cicero | |
| Paul Benedict | ... | Brownlee | |
| Ben Masters | ... | Charles | |
| Ray Spruell | ... | Wallace | |
| Louis Turenne | ... | De Veve | |
| Duane Allen | ... | Topaz | |
| Earl Maynard | ... | Babouin | |
| Beatrice Winde | ... | Lucy | |
| Debbi Morgan | ... | Dite | |
| Irene Tedrow | ... | Mrs. Redfield | |
| Reda Wyatt | ... | Big Pearl | |
| Simone McQueen | ... | Madam Caroline | |
| Evelyn Hendrickson | ... | Beatrix | |
| Stanley J. Reyes | ... | Major Woodford (as Stanley Reyes) | |
| John Barber | ... | Le Toscan | |
| Durwyn Robinson | ... | Meg | |
| Kerwin Robinson | ... | Alph | |
| Deborah Ann Young | ... | Tense | |
| Debra Blackwell | ... | Blonde Girl | |
| Kuumba | ... | Black Mother | |
| Stocker Fontelieu | ... | Wilson | |
| rest of cast listed alphabetically: | |||
| Edwin Edwards | ... | Gambler (scenes deleted) | |
| Sylvester Stallone | ... | Young Man in Crowd (scenes deleted) | |
| Warren Kenner | ... | (uncredited) | |
| Laura Misch Owens | ... | Prostitute (uncredited) | |
| Rosemary Tichenor | ... | Slave-Buying Woman (uncredited) | |
Directed by | |||
| Richard Fleischer | |||
Writing credits | ||
| Kyle Onstott | (novel) | |
| Jack Kirkland | (play) | |
| Norman Wexler | (screenplay) | |
Produced by | |||
| Dino De Laurentiis | .... | producer | |
| Ralph B. Serpe | .... | executive producer (as Ralph Serpe) | |
Original Music by | |||
| Maurice Jarre | |||
Cinematography by | |||
| Richard H. Kline | (director of photography) | ||
Film Editing by | |||
| Frank Bracht | |||
Casting by | |||
| Lynn Stalmaster | |||
Production Design by | |||
| Boris Leven | |||
Set Decoration by | |||
| John P. Austin | (as John Austin) | ||
Costume Design by | |||
| Ann Roth | |||
Makeup Department | |||
| Sugar Blymyer | .... | hair stylist (as Maryce Blymyer) | |
| Hank Edds | .... | makeup artist (as George 'Hank' Edds) | |
Production Management | |||
| Peter V. Herald | .... | production manager | |
| Stanley Neufeld | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Frederic W. Brost | .... | first assistant director (as Fred Brost) | |
| Gary Daigler | .... | second assistant director (as Gary D. Daigler) | |
| Albert Shepard | .... | second assistant director | |
Art Department | |||
| Bill Wainess | .... | property master (as William Wainess) | |
Sound Department | |||
| James Nelson | .... | sound effects editor | |
| William Randall | .... | production sound | |
| Raul A. Bruce | .... | boom operator (uncredited) | |
| Donald C. Rogers | .... | technical director of sound (uncredited) | |
| John Wilkinson | .... | sound re-recording mixer (uncredited) | |
Special Effects by | |||
| Ira Anderson Jr. | .... | special effects | |
Stunts | |||
| Joe Canutt | .... | stunt coordinator | |
| Alan Oliney | .... | stunt coordinator | |
| Alan Oliney | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Gene Kearney | .... | head grip | |
| Ross A. Maehl | .... | gaffer (as Ross Maehl) | |
| Calvin Maehl | .... | best boy electric (uncredited) | |
Casting Department | |||
| Hector Freeman | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Jack Martell | .... | wardrobe | |
| Joan Joseff | .... | costume jeweller (uncredited) | |
| Andrea E. Weaver | .... | costumer: women (uncredited) | |
Editorial Department | |||
| Chris Kaeselau | .... | assistant editor | |
Music Department | |||
| Maurice Jarre | .... | conductor | |
| Milton Lustig | .... | music editor | |
Other crew | |||
| Dino De Laurentiis | .... | presenter | |
| Federico De Laurentiis | .... | assistant to producer | |
| Alvin Greenman | .... | script supervisor | |
| Robert F. Kocourek | .... | location auditor (as Robert Kocourek) | |
| Albert J. Salzer | .... | location contact | |
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| The Liberation of L.B. Jones | Band of Angels | Ali | Jungle Fever | Shanghai Joe |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
"Mandingo" is truly an amazing movie. One would think that this is as close you can get to actually seeing the slave-owning south on film.
"Mandingo" is probably lumped into the "cult/camp classic" category because this is a film no one would dare make today, unless the slaves got a major comeuppance at the end. They do not here. This film is a brutal look at slave owners and their slaves which will leave the audience gasping. Some of the lines are so daring by today's politically-correct standards, there's no doubt they'd get a lot of laughs. Kind of how 1977's "Fight For Your Life" gets laughs with all it's over-the-top racism, only not in such abundance. Sure to get some laughs is hearing the English actor who played "Bently" on "The Jeffersons" talk all nasty.
Perry King is Hammond, the slave owner's son, and he actually has a bit of a heart where the slaves are concerned. He and "Mandingo" (actually his name is "Mede," evidently a "Mandingo" is a name for a "breed" of strong/fighting slave) become friendly. Hammond also has a favorite female slave "wench" who he falls for. And he marries cousin Susan George, who is very bitchy and shows the slaves no respect. Mede is played by Ken Norton who is obviously not an actor but who looks the part.
The film has a sleazy realism to it. Even the plantation looks like a mess - the outside is all ragged and the inside isn't much better, and this is a rich man's plantation. This is definitely not "Tara."
Not to repeat the plot, but many amazing things happen, and there are plenty of incredible scenes. The big fight scene between Mede and another slave is especially bloody and brutal. The ending certainly won't anyone feel all nice and cozy. There are many familiar 70's movie faces all over the place.
This is a film that has kind of disappeared in the realm of today's political correctness. But seeking it out isn't tough, as it has to be seen by anyone with an interest in non-PC cinema, or any kind of "forbidden" movies.