IMDb > Raining Stones (1993)
Raining Stones
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Raining Stones (1993) More at IMDbPro »

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Overview

User Rating:
7.5/10   2,588 votes »
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Up 11% in popularity this week. See why on IMDbPro.
Director:
Writer:
Jim Allen (screenplay)
Contact:
View company contact information for Raining Stones on IMDbPro.
Release Date:
6 October 1993 (France) See more »
Genre:
Plot:
This Ken Loach film tells the story of a man devoted to his family and his religion. Proud, though poor... See more » | Add synopsis »
Awards:
7 wins & 4 nominations See more »
NewsDesk:
(21 articles)
Blu-ray Release: Riff-Raff / Raining Stones
 (From Disc Dish. 25 July 2014, 3:07 PM, PDT)

Cannes Check 2014: Ken Loach's 'Jimmy's Hall'
 (From Hitfix. 11 May 2014, 6:38 PM, PDT)

Cannes 2014: 'Jimmy's Hall' preview
 (From CineVue. 30 April 2014, 2:51 AM, PDT)

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Cast

  (in credits order) (verified as complete)
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Directed by
Ken Loach 
 
Writing credits
Jim Allen (screenplay)

Produced by
Sally Hibbin .... producer
 
Original Music by
Stewart Copeland 
 
Cinematography by
Barry Ackroyd 
 
Film Editing by
Jonathan Morris 
 
Production Design by
Martin Johnson 
 
Art Direction by
Fergus Clegg 
 
Costume Design by
Anne Sinclair 
 
Makeup Department
Louise Fisher .... makeup artist
 
Production Management
Lesley Stewart .... production manager
 
Second Unit Director or Assistant Director
David Gilchrist .... second assistant director
Tommy Gormley .... first assistant director
Ben Johnson .... third assistant director
 
Art Department
Simon Dalton .... property master
Nick Goodall .... construction crew
Stephen Hargreaves .... construction manager
James Morgan .... property master
John Newman .... construction crew
John Newman .... construction worker
Adrian Start .... construction crew
Adrian Start .... worker
Paul Whitelock .... construction worker
 
Sound Department
Ray Beckett .... sound mixer
Kevin Brazier .... dubbing editor
Ben Brookes .... sound assistant
Karen Jones .... boom operator
David Old .... dubbing mixer
Julie Ankerson .... foley artist (uncredited)
 
Stunts
Perry Davey .... stunt arranger
Mark Southworth .... stunt driver
 
Camera and Electrical Department
Gary Beckerman .... camera trainee
Paul Chedlow .... still photographer
Clive Freeth .... electrician
Baz Irvine .... clapper loader
Paul Nash .... focus puller (as Paul Grech-Ellul)
Steve Pochetty .... electrician
Dominic Seal .... gaffer
Malcolm Keys .... electrician (uncredited)
Paul Nash .... b camera operator - uncredited (uncredited)
 
Editorial Department
Anthony Morris .... assistant editor
Kimaathi Spence .... editorial trainee
Colin Coull .... color grader (uncredited)
 
Music Department
Jeff Seitz .... music recording engineer
 
Other crew
David Allen .... production assistant
Jeff Bowen .... location manager
Wendy Ellerker .... production accountant
Lauren Gordon .... chaperone
Stephen Grosz .... production attorney
Susanna Lenton .... continuity
Wendy Lilly .... contact: London
Paula McBreen .... production assistant
Shellie Smith .... production coordinator
Graham Tew .... supplies
Michael Ward Jr. .... production assistant
Michael Ward Sr. .... production assistant
Mick Ward .... floor runner (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
90 min
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Color:
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Soundtrack:
Lock-UpSee more »

FAQ

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10 out of 11 people found the following review useful.
9/10, 2 February 2005
Author: desperateliving from Canada

Like many, I often found the accents hard to decipher. But I think it speaks to Loach's formidable talent that it's never really in question as to what's happening: we get the story in visible strokes, and we get the emotional feeling in the most minute, detailed way possible. To use a clichéd phrase, it has the drama of life, and Loach has a loving touch, even though the outer view of his work is rough and hard: he doesn't separate the funny bits from the painful bits, he lets it all run together. And despite the fact that some find him an "uncinematic" director, I think that's mostly baloney. No, he doesn't impress with his visuals, but that doesn't mean that they're uncinematic; he's working in a way that's more interested in recording emotions (and he still tells a story) and that is cinematic.

The film espouses a wonderful philosophy -- love and prayer is enough. Yet while the film is sympathetic to the emphasis the family places on communion (getting into Heaven), at times it feels like a condemnation of Catholic greed and pie-in-the-sky fantasies of those relying on God to solve their earthly troubles -- after all, He doesn't buy communion dresses. I think that's why the film works so well. It never spells out how intelligent it is, because that's not Loach's intention. Yet what he does is incredibly smart. (Likewise, you can see the politics behind the film, and that's why they work, too: they're behind it, not in your face.) The ending might seem a little too cheery (though cheery is perhaps the wrong word), but I think it works in the tradition of great humanism: things WILL be alright in the end, if you just believe. And because it's humanism, it's true: everything else might be awful, but you're alive, you have a family, you're fighting to go on: that's wonderful.

Loach makes a brilliant choice with the car crash, because it solves something and yet it makes the moral universe of the film more complex: Is he scott free now? Who is the bad guy here? And Loach of course includes the most pragmatic priest in the movies -- pray for the worthless soul as any good Christian would, but realize that he who causes fear in the hearts of good people is not a life worth wrecking yours over. Consider the car crash an act of God (which indirectly benefits God, by supporting a family of followers), rewarding he who believes yet still exists in the practical world trying to make things work (he who doesn't just lay around waiting for God to save him). THIS is Catholic cinema. I'm agnostic, and this touched my soul. It gets at the roots of what real religion does, or is supposed to do: heal, protect, love -- not preach, frighten, or intimidate. So I think even though he opts for a "faith" film (that is, he does not offer a text book on how to solve your problems), Loach's "realism" and pragmatic philosophy still suggests that the everyday is important -- keep at it. It's what leads to the faith, it's what's needed for the faith to work. 9/10

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