| Photos (See all 58 | slideshow) | Videos (see all 8) |
| Susan Sarandon | ... | Louise Sawyer | |
| Geena Davis | ... | Thelma | |
| Harvey Keitel | ... | Hal | |
| Michael Madsen | ... | Jimmy | |
| Christopher McDonald | ... | Darryl | |
| Stephen Tobolowsky | ... | Max | |
| Brad Pitt | ... | J.D. | |
| Timothy Carhart | ... | Harlan | |
| Lucinda Jenney | ... | Lena, the Waitress | |
| Jason Beghe | ... | State Trooper | |
| Sonny Carl Davis | ... | Albert | |
| Ken Swofford | ... | Major | |
| Shelly Desai | ... | East Indian Motel Clerk (as Shelly De Sai) | |
| Carol Mansell | ... | Waitress | |
| Stephen Polk | ... | Surveillance Man | |
| Rob Roy Fitzgerald | ... | Plainclothes Cop | |
| Jack Lindine | ... | I.D. Tech | |
| Michael Delman | ... | Silver Bullet Dancer | |
| Kristel L. Rose | ... | Girl Smoker | |
| Noel L. Walcott III | ... | Mountain Bike Rider (as Noel Walcott) | |
| rest of cast listed alphabetically: | |||
| John Carey | ... | Restaurant Customer (uncredited) | |
| Catherine Keener | ... | Sarah, Hal's wife (scenes deleted) (uncredited) | |
| Charlie Sexton | ... | Himself (uncredited) | |
| Marco St. John | ... | Truck Driver (uncredited) | |
| Billy Tim | ... | Man in Bar (uncredited) | |
| Robert 'Bobby Z' Zajonc | ... | State Police Pilot (uncredited) | |
Directed by | |||
| Ridley Scott | |||
Writing credits(WGA) | ||
| Callie Khouri | (written by) | |
Produced by | |||
| Mimi Polk Gitlin | .... | producer (as Mimi Polk) | |
| Callie Khouri | .... | co-producer | |
| Dean O'Brien | .... | co-producer | |
| Ridley Scott | .... | producer | |
Original Music by | |||
| Hans Zimmer | |||
Cinematography by | |||
| Adrian Biddle | (director of photography) | ||
Film Editing by | |||
| Thom Noble | |||
Casting by | |||
| Louis DiGiaimo | (as Louis Di Giaimo) | ||
Production Design by | |||
| Norris Spencer | |||
Art Direction by | |||
| Lisa Dean | |||
Set Decoration by | |||
| Anne H. Ahrens | (as Anne Ahrens) | ||
Costume Design by | |||
| Elizabeth McBride | |||
Makeup Department | |||
| Leslie Ann Anderson | .... | hair stylist | |
| Richard Arrington | .... | makeup artist | |
| Anthony Cortino | .... | hair stylist | |
| Bonita DeHaven | .... | makeup artist | |
| Karl Wesson | .... | hair stylist | |
| Steve LaPorte | .... | special makeup effects artist (uncredited) | |
Production Management | |||
| Mel Dellar | .... | unit production manager | |
| Dean O'Brien | .... | unit production manager | |
| Garth Thomas | .... | post-production supervisor | |
Sound Department | |||
| Michael A. Carter | .... | assistant sound re-recording mixer (as Michael Carter) | |
| Norman A. Cole | .... | assistant adr editor (as Norman Cole) | |
| Gordon Davie | .... | assistant sound editor | |
| Jeffrey J. Haboush | .... | additional sound re-recordist | |
| Graham V. Hartstone | .... | sound re-recording mixer (as Graham Hartstone) | |
| Les Healey | .... | assistant sound editor | |
| Nicolas Le Messurier | .... | assistant sound re-recording mixer | |
| John Poyner | .... | adr editor | |
| Bob Risk | .... | sound effects editor | |
| Timothy P. Salmon | .... | boom operator | |
| Jim Shields | .... | supervising sound editor (as Jimmy Shields) | |
| Keith A. Wester | .... | production sound mixer | |
| Sandy Buchanan | .... | post-production sound assistant (uncredited) | |
| Tommy Goodwin | .... | adr mixer (uncredited) | |
| Preston Oliver | .... | sound recordist (uncredited) | |
| Dean St. John | .... | adr recordist (uncredited) | |
Special Effects by | |||
| Martin J. Gibbons | .... | special effects technician | |
| Todd Jensen | .... | special effects technician (as Todd K. Jensen) | |
| Tim Moran | .... | special effects technician (as Tim J. Moran) | |
| Stan Parks | .... | special effects coordinator | |
| Kevin Quibell | .... | special effects technician (as Kevin S. Quibell) | |
| Paul Stewart | .... | special effects technician | |
Stunts | |||
| Gregory J. Barnett | .... | stunt player (as Greg Barnett) | |
| Bobby Bass | .... | stunt coordinator | |
| Bobby Bass | .... | stunt player | |
| Steve Boyum | .... | stunt player | |
| David Burton | .... | stunt player | |
| Terry Collis | .... | stunt player | |
| Bob Dewitt | .... | stunt player | |
| Kenny Endoso | .... | stunt player | |
| Tony Epper | .... | stunt player | |
| Glory Fioramonti | .... | stunt double: 'Louise' | |
| Diane Kay Grant | .... | stunt double: 'Thelma' | |
| Marguerite Happy | .... | stunt double: 'Louise' | |
| Billy Hank Hooker | .... | stunt player (as Hank Hooker) | |
| Buddy Joe Hooker | .... | stunt player | |
| Norman Howell | .... | stunt player (as Norm Howell) | |
| Billy D. Lucas | .... | stunt player (as Billy Lucas) | |
| John Meier | .... | stunt player | |
| Ann Melville | .... | stunt player | |
| Bennie Moore | .... | stunt player (as Bennie E. Moore Jr.) | |
| Mary Peters | .... | stunt player | |
| Ronnie Rondell Jr. | .... | stunt player (as Ronnie Rondell) | |
| Mike Ryan | .... | stunt player (as Michael C. Ryan) | |
| David Webster | .... | stunt player | |
| Dick Ziker | .... | stunt player | |
Casting Department | |||
| Ira Belgrade | .... | casting associate | |
| Dan Parada | .... | extras casting: The Casting Group | |
Costume and Wardrobe Department | |||
| Nisa Kellner | .... | set costumer | |
| Taneia Lednicky | .... | key costumer | |
| Janet Powell | .... | set costumer (as Janet L. Powell) | |
Editorial Department | |||
| Audrey Evans | .... | apprentice editor | |
| Craig Galloway | .... | assistant film editor | |
| Bob Hart | .... | negative cutter (as Bobby Hart) | |
| Alexandra Leviloff | .... | assistant film editor | |
| David Orr | .... | color timer | |
| Julie Payne | .... | post-production coordinator | |
| Chris Peppe | .... | assistant film editor | |
| David Richards | .... | apprentice editor | |
| Antonia Van Drimmelen | .... | assistant film editor (as Antonia van Drimmelen) | |
Music Department | |||
| Joachim H. Hansch | .... | music executive: Pathe | |
| Peter Haycock | .... | musician: solo guitar (as Pete Haycock) | |
| Blake Lewin | .... | music coordinator | |
| Kathy Nelson | .... | music supervisor | |
| Laura Perlman | .... | music editor | |
| Jay Rifkin | .... | music recordist | |
| Nico Golfar | .... | score wrangler (uncredited) | |
| Charlie Morgan | .... | musician: drums (uncredited) | |
| Brad Segal | .... | assistant music executive: Pathe (uncredited) | |
| John Van Tongeren | .... | composer: additional music (uncredited) | |
Transportation Department | |||
| Lynn Collis | .... | transportation captain | |
| Terry Collis | .... | transportation coordinator | |
| Jerry Sidwell | .... | transportation captain (as Gerald L. Sidwell) | |
| David Trevino | .... | transportation captain | |
Thanks | |||
| Brett Palmer | .... | special thanks: The San Juan County Film Commission | |
| Bette Stanton | .... | special thanks: The Moab Film Commission | |
| Dale Stapley | .... | special thanks: State of Utah Department of Transportation | |
| Amanda Temple | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb USA section |
The road movie is traditionally a male genre, relying on the sense of freedom and independence that having one's own transport provides and which has usually been the privilege of men What is innovatory about "Thelma & Louise" is the way it reequips the genre for women
Thelma (Geena Davis) is a housewife trapped in a meaningless marriage, Louise (Susan Sarandon) is a waitress in a not very significant relationship They decide to give themselves a little space by taking off for a weekend But when Louise shoots a man who is trying to rape Thelma, they are precipitated into a far more radical break with their past lives
The setting of action in the American southwest and the acts of outlawry the women are obliged to commit in order to keep on the run give the film some of the feel of a Western What makes it nevertheless a women's film is that the relationship between the two principals is at the center of the story The various men they encounter, both the ones they leave behind and those they meet on the road have less importance for Thelma and Louise than the two women do for each other
Predictably, the film met with hostility from some male viewers, on the grounds that the men were caricatured and that the film encouraged violence