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Directed by | |||
| Rob Reiner | |||
Writing credits(WGA) | ||
| Aaron Sorkin | (play) | |
| Aaron Sorkin | (screenplay) | |
Produced by | |||
| David Brown | .... | producer | |
| William S. Gilmore | .... | executive producer (as William Gilmore) | |
| Steve Nicolaides | .... | co-producer | |
| Rachel Pfeffer | .... | executive producer | |
| Rob Reiner | .... | producer | |
| Andrew Scheinman | .... | producer | |
| Jeffrey Stott | .... | co-producer | |
Original Music by | |||
| Marc Shaiman | |||
Cinematography by | |||
| Robert Richardson | (director of photography) | ||
Film Editing by | |||
| Robert Leighton | |||
| Steven Nevius | (as Steve Nevius) | ||
Casting by | |||
| Janet Hirshenson | |||
| Jane Jenkins | |||
Production Design by | |||
| J. Michael Riva | |||
Art Direction by | |||
| David F. Klassen | (as David Klassen) | ||
Set Decoration by | |||
| Michael Taylor | |||
Costume Design by | |||
| Gloria Gresham | |||
Makeup Department | |||
| Stephen Abrums | .... | makeup department head (as Steve Abrums) | |
| Enzo Angileri | .... | hair stylist | |
| Richard Dean | .... | makeup artist | |
| Edouard F. Henriques | .... | makeup artist (as Edouard F. Henriques III) | |
| Lyndell Quiyou | .... | hair stylist | |
| Larry Waggoner | .... | head hair stylist | |
| Sherri Bramlett | .... | key hair stylist: Washington, D.C. (uncredited) | |
Production Management | |||
| Christy Dimmig | .... | post-production supervisor | |
| Steve Nicolaides | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Frank Capra III | .... | first assistant director | |
| Algric Leo Chaplin | .... | second second assistant director (as Algric L. Chaplin) | |
| Matthew H. Rowland | .... | second assistant director (as Matthew Rowland) | |
| Alisa Statman | .... | second second assistant director | |
Art Department | |||
| Donald R. Abblett | .... | stand-by painter (as Don Abblett) | |
| James Bittl | .... | greensman | |
| Richard Boris | .... | greensman | |
| Suzanne De Grandis | .... | construction clerk (as Suzanne DeGrandis) | |
| Renee Faia | .... | art department coordinator | |
| Ildefonso Goris | .... | greensman (as Idlefonso Goris) | |
| Thomas W. Lay Jr. | .... | illustrator (as Tom Lay) | |
| Jerry Moss | .... | property master | |
| Thomas J. O'Brien | .... | painter supervisor (as Tom O'Brien) | |
| Lee Orlikoff | .... | leadman | |
| Ken Peterson | .... | assistant property master | |
| Craig Raiche | .... | assistant property master | |
| Virginia L. Randolph | .... | set designer (as Virginia Randolph) | |
| Darin Raney | .... | art department assistant | |
| Doug Rosenberger | .... | construction foreman | |
| Terry Scott | .... | construction coordinator | |
| Robert Woodruff | .... | set designer (as Rob Woodruff) | |
| Randy L. Childs | .... | propmaker gangboss (uncredited) | |
| Michael Denering | .... | scenic artist (uncredited) | |
| Paul Ford | .... | set dresser (uncredited) | |
| Angela O'Neill | .... | prop production assistant (uncredited) | |
| Parker Swanson | .... | additional set dresser (uncredited) | |
| Ron Yates | .... | set designer (uncredited) | |
Special Effects by | |||
| Eugene Crum | .... | special effects coordinator | |
Visual Effects by | |||
| Mark Sawicki | .... | matte shots (as Mark A. Sawicki) | |
| Robert Stromberg | .... | matte shots | |
| John E. Sullivan | .... | matte shots (as John Sullivan) | |
Stunts | |||
| Tim A. Davison | .... | stunt coordinator (as Tim Davison) | |
Camera and Electrical Department | |||
| Audie Aragon | .... | grip | |
| Sidney Ray Baldwin | .... | still photographer (as Sidney Baldwin) | |
| Chris Centrella | .... | key grip | |
| Matt Craven | .... | rigging grip: Washington | |
| Brian Devin | .... | grip | |
| Vincent Galindez | .... | additional first assistant camera: Washington (as Vinnie Galindez) | |
| Anthony Gaudioz | .... | camera operator | |
| Scott Gillis | .... | rigging grip best boy | |
| R.L. Gittens Jr. | .... | lamp operator (as Roy L. Gittens Jr.) | |
| Khan Griffith | .... | lamp operator | |
| Mark Hadland | .... | assistant lighting technician | |
| Gary B. Kibbe | .... | director of photography: second unit (as Gary Kibbe) | |
| Ian Kincaid | .... | chief lighting technician | |
| Dean M. King | .... | grip (as Dean King) | |
| Jeff Kluttz | .... | rigging grip | |
| Gábor Kövér | .... | additional camera operator: Washington (as Gabor Kover) | |
| Hugh McCallum | .... | best boy grip | |
| Craig Molsberry | .... | lamp operator | |
| J. Michael Muro | .... | Steadicam operator (as James Muro) | |
| Dayton Nietert | .... | rigging gaffer | |
| Ken Nishino | .... | first assistant camera (as Kenny Nishino) | |
| Bill O'Leary | .... | rigging gaffer: Washington | |
| Darrin C. Porter | .... | lamp operator (as Darrin Porter) | |
| Paul Postelnicu | .... | additional second assistant camera: Washington | |
| Brad Rea | .... | dolly grip | |
| Andrew D. Schwartz | .... | still photographer: Washington D.C. (as Andy Schwartz) | |
| Dennis Seawright | .... | second assistant camera | |
| Nick Shuster | .... | camera loader | |
| Keith L. Smith | .... | camera production assistant (as Keith Smith) | |
| Victor Svimonoff | .... | assistant rigging gaffer | |
| Robert Ulland | .... | Steadicam operator: Washington (as Bob Ulland) | |
| Steve Venetis | .... | lamp operator | |
| Josh Bleibtreu | .... | first assistant camera (uncredited) | |
| Rusty Gardner | .... | electrician: Washington D.C. (uncredited) | |
| Rex Anson Rhorer | .... | rigging grip (uncredited) | |
| Rick Strodel | .... | grip (uncredited) | |
Casting Department | |||
| Susanna Griffith | .... | casting associate | |
| Michael Hirshenson | .... | casting associate | |
| Victor Davis | .... | extras casting (uncredited) | |
| F. Pierre Gatling | .... | extras casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Darryl M. Athons | .... | costumer (as Darryl Athons) | |
| Margo Baxley | .... | costumer: women | |
| Lucinda Campbell | .... | costumer | |
| Nancy Cone | .... | costumer | |
| David Page | .... | costumer | |
| James W. Tyson | .... | costumer: men (as James Tyson) | |
| Leslie Weir | .... | costumer | |
| Linda M. Boyland | .... | costumer (uncredited) | |
Editorial Department | |||
| Donah Bassett | .... | negative cutter | |
| Alan Edward Bell | .... | first assistant editor | |
| Phil Downey | .... | color timer | |
| Nina Lucia | .... | assistant editor | |
| Mary Morrisey | .... | assistant editor | |
Music Department | |||
| Sandy DeCrescent | .... | music contractor | |
| Ralph Grierson | .... | music programmer | |
| Artie Kane | .... | conductor | |
| Jo Ann Kane | .... | music preparation | |
| Hummie Mann | .... | additional orchestrator | |
| Hummie Mann | .... | music producer | |
| Mark McKenzie | .... | orchestrator | |
| Joel Moss | .... | music mixer | |
| Joel Moss | .... | music recordist | |
| Curtis Roush | .... | music editor | |
| Marc Shaiman | .... | music producer | |
| Nick Vidar | .... | music programmer | |
| Tom Boyd | .... | musician: oboe soloist (uncredited) | |
| James Thatcher | .... | musician: french horn (uncredited) | |
Transportation Department | |||
| Dave Amberik | .... | production driver | |
| John Armstrong | .... | production driver | |
| Chet Badalato | .... | production driver | |
| James R. Brown | .... | transportation coordinator (as James Brown) | |
| Russ Buckens | .... | production driver | |
| Kenneth Cervi | .... | production driver | |
| Linda Cipperley | .... | production driver | |
| Jerry Cipperly | .... | production driver (as Jerry Cipperley) | |
| Kelly Joe Dugan | .... | production driver | |
| Stephen J. Eads | .... | production driver (as Steve Eads) | |
| David Garris | .... | production driver | |
| Randy Gaston | .... | production driver (as Randall Lee Gaston) | |
| Benson Jones | .... | production driver | |
| Gregory A. Landes | .... | production driver (as Greg Landes) | |
| John Kris Larsen | .... | production driver (as John Larsen) | |
| Stephen A. Latina | .... | production driver (as Steve Latina) | |
| Clair E. Leucart | .... | production driver (as Clair Leucart) | |
| Bob Limon | .... | production driver | |
| Leo Loa | .... | production driver | |
| Ken Lubin | .... | production driver | |
| Dennis McLaughlin | .... | production driver | |
| Patrick A. McLaughlin | .... | production driver (as Patrick McLaughlin) | |
| Bill Murphy | .... | production driver | |
| Edward A. Powell | .... | production driver (as Ed Powell) | |
| Manny Quinones | .... | transportation captain: Washington | |
| Becky Raiche | .... | production driver | |
| Ted Reed | .... | production driver | |
| Tim Roslan | .... | transportation captain | |
| Danny Rowe | .... | production driver | |
| Ken Strong Jr. | .... | production driver (as Ken Strong II) | |
Thanks | |||
| Walter Hill | .... | producers wish to thank (as Walter L. Hill II) | |
| John Horton | .... | special thanks | |
| Michael McClosky | .... | special thanks (as Major Michael McClosky) | |
| Ray Smith | .... | special thanks | |
| Robert A. Washington | .... | producers wish to thank (as Commissioner Robert A. Washington Ph.D.) | |
| Haskell Wexler | .... | producers wish to thank | |
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| The Accused | Call Northside 777 | Anatomy of a Murder | A Time to Kill | Salvatore Giuliano |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb USA section |
In one of the most telling scenes in this movie, Navy Lieutenant Commander Jo Galloway (Demi Moore), a lawyer who is helping to defend two Marines on trial for murder, is asked why she likes these guys so much. And she replies, `Because they stand on a wall, and they say nothing is going to hurt you tonight, not on my watch'.' Which veritably sums up the sense of duty and honor which underscores the conflict of `A Few Good Men,' directed by Rob Reiner, and starring Jack Nicholson and Tom Cruise. There is a code by which a good Marine must live and die, and it is: Unit, Corps, God, Country. But to be valid, that code must also include truth and justice; and if they are not present, can the code stand? Which is the question asked by director Reiner, who examines the parameters of that code with this film, which centers on the murder of a young Private First Class named William Santiago, who was killed while stationed at the Marine Corps base at Guantanamo Bay, Cuba. The case draws the attention of Commander Galloway, Special Counsel for Internal Affairs in the Judge Advocate General's Corps in Washington, D.C. Galloway, taking into consideration the impeccable service records of the two Marines charged with the crime, convinces her superiors that a thorough investigation is warranted in this case, though there are those in high places who would rather see this one plea bargained and put to rest.
Galloway persists, however, believing that Santiago's death may have resulted from a `Code Red,' a method of disciplinary hazing employed in certain circles of the Corps, though illegal. And if this was a Code Red, the real question is, who gave the order? Ultimately, her tenacity prevails, but though Galloway is a seasoned lawyer, she has little actual courtroom experience, so Lieutenant Daniel Kaffee (Cruise) is assigned to the case, along with Lieutenant Sam Weinberg (Kevin Pollak), with Galloway, as ranking officer, to assist. Kaffee, the son of a legendary lawyer, has skated through the first nine months of his Naval career, successfully plea bargaining forty-four cases. Outwardly upbeat and personable, Kaffee seems more concerned with his softball game than he does with the time he has to spend on the job. But underneath, he's coping with living his life in the shadow of his late father's reputation, which is an issue with which he must come to terms if he is to successfully effect the outcome of this case. And on this one he will have a formidable opponent: Colonel Nathan R. Jessup (Nicholson), who commands the base at Guantanamo.
As Jessup, Nicholson gives a commanding performance, and once he enters the film you can sense the tension he brings to it, which begins to swell immediately, and which Reiner does a great job of maintaining right up to the end. Jessup is a soldier of the old guard, a man of narrow vision and a particular sense of duty; to Jessup there's two ways of doing things: His way and the wrong way. He's a man who-- as he says-- eats breakfast three hundred yards away from the enemy, and he's not about to let a couple of lawyers in dress whites intimidate him. And that's exactly the attitude Nicholson brings to this role. When he speaks, you not only hear him loud and clear, you believe him. It's a powerful performance and, as you would expect from Nicholson, entirely convincing and believable.
Cruise, also, gives what is arguably one of the best performances of his career as Kaffee. He perfectly captures the aloofness with which Kaffee initially regards the case, as well as the determination with which he pursues it later. Cruise is convincing in the role, and some of the best scenes in the film are the ones he plays opposite Nicholson in the courtroom, the most memorable being one in which Kaffee exclaims to Jessup, `I want the truth!' to which Jessup replies, `You can't handle the truth!' And the atmosphere fairly crackles.
Moore is outstanding, as well, and she manages to hold her own and make her presence felt even in the scenes dominated by Nicholson and Cruise. It's a fine piece of acting by Moore, who deserves more than just a passing mention for it. Also turning in notable performances are Pollak, whose dry humor adds such an extra touch to the film, and Wolfgang Bodison, who makes an impressive screen debut as Lance Corporal Dawson, on of the Marines on trial for the murder of Santiago.
The supporting cast includes Kiefer Sutherland (Kendrick), Kevin Bacon (Ross), James Marshall (Downey), J.T. Walsh (Markinson), Cuba Gooding Jr. (Hammaker) and Christopher Guest (Dr. Stone). A powerful drama, superbly delivered by Reiner, `A Few Good Men' is a thought provoking, unforgettable motion picture that makes you take pause for a moment to consider some things that are for the most part out of sight and out of mind. Like who is on that wall tonight, and are we safe because of him. And it makes you reflect upon some things perhaps too often taken for granted. And that's what really makes this film so good; and it's all a part of the magic of the movies. I rate this one 10/10.