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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 |
On the page "The Bridges of Madison County" often read like a reject from Mills and Boon and yet it was tremendously popular. People who normally wouldn't read this sort of thing were not only reading it but quoting it. You could say that for some people it held the kind of camp appeal that bad books sometimes do for the so-called intelligentsia. Personally, I am inclined to think that its tale of middle-aged romance struck a cord. It may not have been well-written but many people recognized in its two central characters a reflection of themselves. It spoke of a great passion and a great loss; a "Brief Encounter" for the nineties. Still, it never quite seemed like a vehicle for Clint Eastwood; (once upon a time you might have envisaged Arthur Hiller doing it), yet here it is, larger than life on the big screen and utterly lovely, utterly heart-breaking.
Perhaps Eastwood chose to film it as a vehicle for himself. He wears the mantle of the ageing Lothario perfectly at an age when most romantic leads are played by much younger men, (or are simply non-existent), yet who blanched when Gary Cooper or Cary Grant were wooing Audrey Hepburn well into their old age. Admittedly Eastwood isn't entirely comfortable in this sort of role. He's not a versatile actor. His best performances have been as tortured losers or just old-fashioned tough guys but under his own direction he blossoms here. Of course, the 'romantic' in Eastwood has never been hard to find. You need look only to the scores he has composed. (He has written the main love theme here and his use of classic jazz standards by the likes of Dinah Washington and Johnny Hartman adds considerably to the film's beating heart).
What is remarkable is that essentially Eastwood's film is really something of a chamber piece for two players. A few other characters flit into the frame but for most of the time there is no one on screen but Eastwood and co-star Meryl Streep and this is one of Streep's great performances. As Francesca, the woman who finds in Eastwood's photographer Robert the one great passion in her life albeit briefly and at a time when the likelihood of such a thing happening was remote indeed, Streep is extraordinary. Sometimes Streep can overwhelm a project; her versatility doesn't always work in favour of lesser material. But here she seems to have tapped quite effortlessly, not just into the consciousness of her character, but into her very soul as well. And if that sounds cheesy, let me assure you it isn't. Cheesiness isn't in Streep's vocabulary, even if it is in mine! Perhaps Eastwood was able to discern in Robert James Waller's novel the seeds of a great love story or perhaps he just felt he could bring his artistry to bear on some unlikely source material. Whatever, it's paid off. On screen "The Bridges of Madison County" is a great love story; there won't be a dry eye in the house.