| 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 | |
| Tommy J. Huff | .... | stunt driver (uncredited) | |
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 Adventure section | IMDb USA section |
Overlooking for a moment THELMA AND LOUISE's blatant sexism: all the men are liars, cheats, rapists or morons; all the women are "Victims" with a capital "V" -- even as they kill, rob and vandalize their way across the US Southwest.
And setting aside that Callie Khouri's Oscar-winning screenplay is nothing but a collection of tired cliches from two separate genres: the male buddy film ("bang bang boom boom) and the whiny chick flick: "weep weep sob sob").
The question that comes to my mind is why this is, in any way, considered to be a "feminist" film. These are, after all, two of the stupidest women who ever stumbled across a movie screen. The are not in control of their lives as some have suggested: they are on the run from the law, on the run from taking responsibility for their own reckless and criminal behavior. They are stupid and they are cowardly. They are not role models, or even typical "oppressed" women. But because they chose men as their victims -- and stand up to the men only when they have guns in their hands -- they are applauded for their boldness. Two men who only terrorized women would be dismissed as creeps.
It is one of the perversions of feminism that women measure their success by the standards set by men, even when they would otherwise condescendingly criticize that behavior as being negative and/or macho. In this case, adventures that would be mocked as sexist if perpetrated by men, are embraced as being empowering when committed by women. Also, it is the added dynamics of the situations: if Thelma and Louis victimized any women, their defenders would not praise their actions because it would be a violation of the "sisterhood." It is only the targeting of male victims that earn this film its praise: Surely pure, unadulterated sexism -- or is that feminism? It's hard to tell the difference.
Not that THELMA AND LOUISE isn't without good points. Anyone who appreciates Susan Sarandon's acting skills and/or Brad Pitt's sculpted torso will be gratified. Perhaps the only real star of the film, however, is Thelma's mint 1966 Thunderbird convertible; a gorgeous classic that deserves a fate far better than what is served up by this pathetically mediocre film. When Louise and Thelma meet their ultimate demise, one wishes they had had the common decency to get out of the car and jump off the cliff by themselves. The loss of that beautiful car is the real tragedy. As for Thelma and Louise? Good riddance.