Directed by | |||
| Peter R. Hunt | (as Peter Hunt) | ||
Writing credits | ||
| Richard Sale | (written by) | |
Produced by | |||
| Yoram Globus | .... | executive producer | |
| Menahem Golan | .... | executive producer | |
| Pancho Kohner | .... | producer | |
Original Music by | |||
| Valentine McCallum | |||
| Robert O. Ragland | |||
Cinematography by | |||
| Hanania Baer | (director of photography) | ||
Film Editing by | |||
| James T. Heckert | (as James Heckert) | ||
| Charles Simmons | (uncredited) | ||
Casting by | |||
| Perry Bullington | |||
Production Design by | |||
| William Cruse | |||
Art Direction by | |||
| Joshua Culp | (as Joshua S. Culp) | ||
Set Decoration by | |||
| Patricia Hall | |||
Costume Design by | |||
| Shelley Komarov | |||
Makeup Department | |||
| Rom Peaker | .... | hair assistant | |
| Rom Peaker | .... | makeup assistant | |
| Claudia Thompson | .... | hair supervisor | |
| Claudia Thompson | .... | makeup supervisor | |
| Terri Trupp | .... | makeup artist: second unit, Washington, D.C. | |
Art Department | |||
| Edwin M. Brewer | .... | property master (as Edwin Brewer) | |
| Whitney Brooke Wheeler | .... | set dresser (as W. Brooke Wheeler) | |
| Mark Haskins | .... | leadman (as Mark A. Haskins) | |
| Mark Heiner | .... | property assistant | |
| John Kersey | .... | construction superintendent (as John C. Kersey Jr.) | |
| Rodger M. Pitts | .... | set dresser | |
| Catherine Schlesinger | .... | art department coordinator | |
| Bob Trojan | .... | lead foreman | |
| Sharon Viljoen | .... | set dresser | |
| Susan Weiss | .... | props assistant: second unit, Washington, D.C. | |
| Hala Gabriel | .... | set dresser (uncredited) | |
Sound Department | |||
| Gary C. Bourgeois | .... | sound re-recording mixer (as Gary Bourgeois) | |
| Thomas Brandau | .... | production sound mixer | |
| Chris Carpenter | .... | sound re-recording mixer | |
| Stanley B. Gill | .... | sound recordist | |
| Mike Le Mare | .... | supervising sound editor (as Mike Le-Mare) | |
| Dean Okrand | .... | sound re-recording mixer | |
| Anthony Palk | .... | dialogue editor (as Tony Palk) | |
| Steve Schwalbe | .... | assistant sound editor | |
| Karola Storr | .... | foley editor | |
| Jerome R. Vitucci | .... | boom operator | |
| Ken Dufva | .... | foley artist (uncredited) | |
Special Effects by | |||
| Melbourne A. Arnold | .... | special effects crew | |
| John Hixson Jr. | .... | special effects crew | |
| Daniel H. Lott Jr. | .... | special effects crew | |
Stunts | |||
| John Alden | .... | stunt player (as John F. Alden) | |
| Rick Avery | .... | stunt player | |
| Christine Anne Baur | .... | stunt player (as Christine Baur) | |
| Simone Boisseree | .... | stunt player | |
| Debbie Evans | .... | stunt player | |
| Donna Evans | .... | stunt player | |
| Andy Gill | .... | stunt player | |
| Jack Gill | .... | stunt coordinator | |
| Ed Hamilton | .... | stunt player | |
| Al Jones | .... | stunt player | |
| John F. McCarthy | .... | stunt player | |
| Matt McColm | .... | stunt player | |
| Spike Silver | .... | stunt player | |
| Charlie Skeen | .... | stunt player | |
| Steve W. Stricklin | .... | stunt player (as Steve Stricklin) | |
| Mike Tillman | .... | stunt player (as Michael Tillman) | |
Casting Department | |||
| Dennis Hansen | .... | extras casting: second unit, Washington, D.C. | |
Costume and Wardrobe Department | |||
| Michael Abbott | .... | costumer: male | |
| Catherine Adair | .... | wardrobe assistant: second unit, Washington, D.C. (as Kate Adair-Cowart) | |
| Heidi Freundlich Gilles | .... | costume supervisor | |
| Marcie Olivi | .... | set costumer | |
Editorial Department | |||
| Dennis Brandt | .... | first assistant editor | |
| Julie Hall | .... | second assistant editor | |
| Omneya 'Nini' Mazen | .... | post-production coordinator | |
| Angelo Russo | .... | color timer | |
| Andrew Silver | .... | first assistant editor | |
| Anne-Marie Vitello | .... | negative cutter | |
| Ron Vitello | .... | negative cutter | |
Music Department | |||
| Paula Erickson | .... | music supervisor | |
| Ken Johnson | .... | music editor | |
| Steve Livingston | .... | music editor | |
| Bill Jenkins | .... | music scoring mixer (uncredited) | |
Transportation Department | |||
| Kevin Haynes | .... | transportation co-captain: second unit, Washington, D.C. | |
| Jimmy Jones | .... | transportation coordinator: second unit, Washington, D.C. | |
| Mitch Masoner | .... | transportation captain: second unit, Washington, D.C. (as Mitchell J. Masoner) | |
| Joel Renfro | .... | transportation coordinator: second unit, Washington, D.C. | |
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| The Professional: Golgo 13 | Patriot Games | In the Line of Fire | Clear and Present Danger | Hong Kong 97 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
In the twilight years of his career, Charles Bronson forged long-running partnerships with several directors, most notably J. Lee Thompson and Michael Winner. He did two films for one-time Bond director Peter Hunt too - the first being the decent 1981 actioner Death Hunt, the second being this indifferent political chase thriller. Assassination is pretty dull if truth be known, and come the end you'll find yourself longing for something with a bit more passion and pace, like The Wilby Conspiracy for instance (which, plotwise, this film resembles).
Bronson sleepwalks through his role as bodyguard Jay Killian, whose assignment is to protect the American President's wife, Lara Royce Craig (Jill Ireland, real-life wife of Bronson). Killian believes that Mrs Craig has been targetted by assassins; she thinks he's an over-protective, paranoid pessimist. Turns out - surprise, surprise - that Killian was right all along and someone is indeed out to eradicate her. The pair of them go on the run, pursued by the assassins.
Everyone knows that the wife of an American President is known as The First Lady. For some reason, in this film they have renamed her "One Mama"! Quite what the point of this is is anybody's guess, but it's indicative of the film's pointlessness as a whole. Most of the film's performances are lazy, and the script takes a heck of a long time to get to where it's going. If I had to label Assassination within a specific genre, I'd say it is supposed to be a "thriller". I'd say that with some reservations, however, as to say that it's a thriller it has precious few thrills.