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Directed by | |||
| Clint Eastwood | |||
Writing credits(WGA) | ||
| Richard LaGravenese | (screenplay) | |
| Robert James Waller | (novel) | |
Produced by | |||
| Clint Eastwood | .... | producer | |
| Kathleen Kennedy | .... | producer | |
| Michael Maurer | .... | associate producer | |
| Tom Rooker | .... | associate producer | |
Original Music by | |||
| Lennie Niehaus | |||
Cinematography by | |||
| Jack N. Green | (director of photography) | ||
Film Editing by | |||
| Joel Cox | |||
Casting by | |||
| Ellen Chenoweth | |||
Production Design by | |||
| Jeannine Claudia Oppewall | (as Jeannine Oppewall) | ||
Art Direction by | |||
| William Arnold | |||
Set Decoration by | |||
| Jay Hart | |||
Costume Design by | |||
| Colleen Kelsall | |||
Makeup Department | |||
| Michael Hancock | .... | makeup artist (as Mike Hancock) | |
| J. Roy Helland | .... | hair stylist: Meryl Streep | |
| J. Roy Helland | .... | makeup artist: Meryl Streep | |
| Carol A. O'Connell | .... | hair stylist (as Carol O'Connell) | |
Production Management | |||
| Jim Behnke | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Bill Bannerman | .... | first assistant director | |
| Robert Lorenz | .... | second assistant director | |
| Bill Bannerman | .... | second unit director (uncredited) | |
Art Department | |||
| Edward Aiona | .... | property master | |
| Charles William Breen | .... | assistant art director (as Charles W. Breen) | |
| Edward England | .... | construction coordinator | |
| Tyler Osman | .... | construction foreman | |
| Ricky Riggs | .... | stand-by painter | |
| Michael Sexton | .... | assistant property master | |
| Robert Lucas | .... | lead man (uncredited) | |
| Tom Osman | .... | carpenter (uncredited) | |
| Christopher Woodworth | .... | lead painter (uncredited) | |
Special Effects by | |||
| Jeff Denes | .... | special effects | |
| John Frazier | .... | special effects consultant | |
| Joe Pancake | .... | special effects | |
| Frances Pennington | .... | special effects (as Francis Pennington) | |
| Steve Riley | .... | special effects coordinator | |
Stunts | |||
| Pauline Lomas | .... | stunts (as Pauline Arthur) | |
| Shelley Phillips | .... | stunts | |
Camera and Electrical Department | |||
| Stephen S. Campanelli | .... | Steadicam operator | |
| Stephen S. Campanelli | .... | camera operator | |
| Colin J. Campbell | .... | chief lighting technician | |
| Bill Coe | .... | first assistant camera (as William Coe) | |
| Dick Deats | .... | key grip (as Dicky Deats) | |
| Jerry C. Deats | .... | dolly grip | |
| Frank R. Jimenez Jr. | .... | rigging gaffer (as Frankie R. Jimenez Jr.) | |
| Michael E. Matteson | .... | best boy grip | |
| Ken Regan | .... | still photographer | |
| Frank Scheidbach | .... | assistant lighting technician | |
| John Waldo | .... | second assistant camera (as John A. Waldo) | |
| Dean M. Simmon | .... | film loader (uncredited) | |
Casting Department | |||
| James Axotis | .... | extras casting | |
| Gabriela Leff | .... | casting assistant (as Gabby Leff) | |
| Michelle Vanderpool-Kohrs | .... | extras casting | |
Costume and Wardrobe Department | |||
| David Davenport | .... | wardrobe supervisor | |
| Kelly Lindquist | .... | set costumer: men | |
| Deedee Montesanto | .... | set costumer: women | |
Music Department | |||
| Robert Fernandez | .... | scoring mixer (as Bobby Fernandez) | |
| Donald Harris | .... | music editor | |
| Bruce Ricker | .... | music consultant | |
| Peter Afterman | .... | music supervisor (uncredited) | |
Transportation Department | |||
| Gene Biernot | .... | transportation captain | |
| Keith Dillin | .... | transportation coordinator | |
| Larry Stelling | .... | picture car coordinator (uncredited) | |
Other crew | |||
| Marco Barla | .... | unit publicist | |
| Lisa A. Becker | .... | production secretary | |
| Adam Bernhard | .... | production associate | |
| Paul A. Calabria | .... | animal trainer (as Paul Calabria) | |
| B. Ted Deiker | .... | production associate | |
| Matt Freeman | .... | assistant: Kathleen Kennedy | |
| James W. Gavin | .... | helicopter pilot | |
| Ken Haber | .... | location manager | |
| Cate Hardman | .... | script supervisor | |
| Jeff Kloss | .... | production accountant (as Jeffrey Kloss) | |
| Linda Mason | .... | craft service | |
| Jason D. McGatlin | .... | assistant production secretary (as Jason McGatlin) | |
| Erich Moeller | .... | production associate | |
| Maggie Pierson | .... | assistant: Meryl Streep | |
| Ken Regan | .... | technical consultant | |
| David Romano | .... | assistant production accountant | |
| Melissa Rooker | .... | assistant: Clint Eastwood | |
| Kara Sjoblom | .... | production associate | |
| Roselyn Winward | .... | assistant production accountant | |
| Channing Work | .... | production associate | |
| Gillian Wynn | .... | production associate | |
| Kaylene Carlson | .... | production assistant (uncredited) | |
| Jenny Elsinger | .... | set production assistant (uncredited) | |
| Tony Kerum | .... | caterer (uncredited) | |
| Stephen A. Marinaccio II | .... | production assistant (uncredited) | |
| Gerald F. Nichols | .... | production assistant (uncredited) | |
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| Madame Bovary | The English Patient | I Am Love | Big Fish | Elegy |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
I only managed about two pages of the book before feeling physically ill by the trite dialogue, heavy dependence on cliche and ham fisted, adolescent romance prose style. So a film of the book 'The Bridges of Madison County' did not fill me with joy and pleasureable anticpation.
Yet Clint Eastwood has waved a magic wand, and worked wonders on the lack lustre source material, by pairing it down to produce a beautiful, warm film with only one real flaw (more on that later)
The film's overwhelming main strength is the casting of Meryl Streep. As Francesca she dissolves into the role - at times her gestures and dialogue seem so natural and unforced it is as if Eastwood had installed a fly-on-the-wall camera into the house of a real Iowan housewife. She lifts the film - which does centre on themes which could appear trite in the wrong hands - to the level of profound piece of art. Her selflessness and devotion to her family, and tortured sense of divided loyalites are presented so powerfully, and so plausibly, that the final scene in the car at the end (those who've seen it will recall immediately what I mean) pulls at your emotions so hard you'd swear it was you who was making the decision. I defy anyone with a pulse not to shed copious amounts of tears at this point --- you would have to have a heart of stone not to be moved on some level by this great, great performance.
Clint Eastwood provides good, solid support in the sense that he doesn't overact, and allows Meryl to become the heart of the film. This is a wise decision - part of the terrible weakness of the book was its dependence upon the inane thoughts and ramblings of Robert Kincaid. The film is beautifully directed, beautifully photograhed and beautifully scored - the radio tunes and the non-diegetic Bridges Love theme really enhance the romantic, lush tone and mood of the film.
My only problem is with the misguided decision to cast Francesca's older children and flash back periodically to them reading through their Mother's journals. The acting in these parts is mediocre at best, and they detract from the elegance and poignant mastery of Meryl Streep's central performance. The ashes scene at the end is - I feel - necessary for closure, but the rest of the scenes featuring the chldren should have been scrapped. The Francesca and Robert sections stand alone and require no interruption - these other segments cheapen the mastery of Meryl.
Above all, this is a film which (on paper) can be dismissed as pure soap opera. But it transcends these potentially trite themes to make a universal story of love, selflessness, devotion and choice, that speaks eloquently to the viewer, no matter what your age or experience. It's a truly heartbreaking tale of transitory experience and the power of memory. It will make you think about your own life, and about your closest family members and relationships.
And its finest quality has to be the magic of Meryl Streep who proves, yet again, why she is uniquely the best actress we have ever had. As Clint Eastwood said about casting this role: 'I only made one phonecall'. He knew as you will too - no other actress could have brought so much depth, warmth, beauty, charisma and humanity to this character. As a humble film lover, it's all I can do to applaud her from the depths of my heart. Bravo, Queen Meryl!