| Photos (See all 11 | slideshow) |
| Tim Roth | ... | Joshua Shapira | |
| Edward Furlong | ... | Reuben Shapira | |
| Moira Kelly | ... | Alla Shustervich | |
| Vanessa Redgrave | ... | Irina Shapira | |
| Paul Guilfoyle | ... | Boris Volkoff | |
| Natalya Andreychenko | ... | Natasha | |
| Maximilian Schell | ... | Arkady Shapira | |
| David Vadim | ... | Sasha | |
| Mina Bern | ... | Grandma Tsilya | |
| Boris McGiver | ... | Ivan | |
| Mohammed Ghaffari | ... | Pahlevi | |
| Michael Khmurov | ... | Yuri | |
| Dmitry Preyers | ... | Victor | |
| David Ross | ... | Anatoly | |
| Ron Brice | ... | Man with one leg | |
| Jace Kent | ... | Mechanic | |
| Marianna Lead | ... | Clara | |
| Gene Ruffini | ... | Janitor | |
| rest of cast listed alphabetically: | |||
| Leonid Citer | (as Leonid Uscher) | ||
| Tuesday Knight | ... | Actress on Television (uncredited) | |
Directed by | |||
| James Gray | |||
Writing credits(in alphabetical order) | ||
| James Gray | ||
Produced by | |||
| Claudia Lewis | .... | executive producer | |
| Rolf Mittweg | .... | executive producer | |
| Kerry Orent | .... | co-producer | |
| Paul Webster | .... | producer | |
| Nick Wechsler | .... | executive producer | |
Original Music by | |||
| Dana Sano | |||
Cinematography by | |||
| Tom Richmond | |||
Film Editing by | |||
| Dorian Harris | |||
Casting by | |||
| Douglas Aibel | |||
Production Design by | |||
| Kevin Thompson | |||
Art Direction by | |||
| Judy Rhee | |||
Set Decoration by | |||
| Charles Ford | |||
Costume Design by | |||
| Michael Clancy | |||
Makeup Department | |||
| Karen Nichols | .... | key hair stylist | |
| Karen Nichols | .... | key makeup artist | |
Production Management | |||
| Christopher Goode | .... | production manager | |
| Michael J. Harker | .... | post-production supervisor | |
| Lisa Rosen | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Steve Apicella | .... | first assistant director | |
| David M. Cox | .... | second assistant director | |
| David 'Wex' Wechsler | .... | second second assistant director | |
Art Department | |||
| Annie Ballard | .... | on-set dresser | |
| Dave Dearberg | .... | property master | |
| Danny Rovira | .... | construction coordinator (uncredited) | |
Sound Department | |||
| Ulrika Akander | .... | dialogue editor | |
| Tony Cappelli | .... | sound editor | |
| Fred Cipriano | .... | sound effects editor | |
| Susan Dudeck | .... | adr editor | |
| Gary Gegan | .... | sound re-recording mixer | |
| Jeanne Gilliland | .... | boom operator | |
| Lewis Goldstein | .... | supervising sound editor | |
| Matthew Iadarola | .... | supervising re-recording mixer | |
| David Jobe | .... | foley mixer | |
| John A. Larsen | .... | supervising sound editor | |
| Tom Paul | .... | production sound mixer | |
| Alicia Stevenson | .... | foley artist | |
Special Effects by | |||
| Drew Jiritano | .... | special effects | |
| John Stifanich | .... | special effects | |
Stunts | |||
| Roy Farfel | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Tony Arnaud | .... | dolly grip | |
| David Burroughs | .... | best boy grip | |
| Prashant Gupta | .... | still photographer | |
| Margaret Heidenry | .... | grip | |
| Jonathan Mintz | .... | key grip | |
| John Samaras | .... | assistant camera: second unit (as Yiannis Samaras) | |
| Eric Schmidt | .... | gaffer | |
| Emelia Stockdale | .... | first assistant camera | |
| Andrew T. Watts | .... | best boy electric | |
| Elizabeth Wick | .... | second assistant camera (as Liz Wick) | |
Casting Department | |||
| Jordan Beswick | .... | casting assistant | |
| Kalev Kuusoeks | .... | extras casting assistant | |
Costume and Wardrobe Department | |||
| Kevin Donaldson | .... | costume assistant | |
| Victoria Farrell | .... | assistant costume designer | |
| Joan Kaufman | .... | assistant costume designer | |
Editorial Department | |||
| Jeffrey Ford | .... | assistant editor | |
| Brian Johnson | .... | first assistant editor | |
Music Department | |||
| Dick Bernstein | .... | music editor (as Richard Bernstein) | |
| Richard Henderson | .... | music coordinator | |
| Philip Tallman | .... | music editor | |
Transportation Department | |||
| Bobby Marsh | .... | driver | |
Other crew | |||
| Paul C. Arianas | .... | assistant production office coordinator | |
| Gavin J. Behrman | .... | set production assistant | |
| Suzanne Celeste | .... | dialect coach: Tim Roth | |
| Eddy Collyns | .... | location manager | |
| Olegar Fedoro | .... | dialogue coach: Russian, Vanessa Redgrave | |
| Brian David Fisher | .... | production assistant | |
| Jocelyn Jansons | .... | location assistant | |
| Teri Kane | .... | unit publicist | |
| Sarah Lindborg | .... | location assistant | |
| Victoria McGarry | .... | production coordinator | |
| Andy Muller | .... | office runner | |
| Margo Myers | .... | production accountant | |
| Julie Oppenheimer | .... | script supervisor | |
| Andrew Saxe | .... | assistant location manager | |
| Mimi Turner | .... | production assistant | |
| Rick Washburn | .... | firearms | |
Thanks | |||
| Scott Fleischer | .... | special thanks | |
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| The Godfather: Part II | The Departed | City of God | Prizzi's Honor | Confessions of a Dangerous Mind |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb USA section |
Writer/director James Gray's (We Own the Night) first film was critically acclaimed for it's cinematography and for performances by Vanessa Redgrave and Maximilian Schell. It is not an action film, even though the main character is a hit-man. It is a drama about family and shame.
Mr. Orange, Tim Roth (Reservoir Dogs, Pulp Fiction, The Incredible Hulk) plays a son who has been disowned for bringing shame on the family by his behavior. He returns to Brighton Beach to do a job, and reunites with his family as his mother lays dying. He also reunited with Moira Kelly, much to the delight of movie viewers.
About the only one happy to see him was his younger brother Rueban, played by Edward Furlong (Terminator 2: Judgment Day, Pecker). Well, mom was happy, but moms are always happy no matter how bad their children are - trust me on that.
Violence was at a minimum for a Russian Mafia/hit-man picture, and the focus was on the family. Maximilian Schell was excellent as the father that made piece just for a moment to allow Redgrave to see her son.
Gray's first film has nuance and subtlety not often seen in a film featuring the mafia.