IMDb > Nil by Mouth (1997)
Nil by Mouth
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Nil by Mouth (1997) More at IMDbPro »

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User Rating:
7.4/10   7,427 votes »
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Popularity: ?
Up 5% in popularity this week. See why on IMDbPro.
Gary Oldman (screenplay)
View company contact information for Nil by Mouth on IMDbPro.
Release Date:
6 February 1998 (USA) See more »
The family of Raymond, his wife Val and her brother Billy live in working-class London district. Also... See more » | Add synopsis »
Won BAFTA Film Award. Another 8 wins & 9 nominations See more »
User Reviews:
Bleak raw movie that cuts to the bone with its sheer force See more (90 total) »


  (in credits order) (verified as complete)

Ray Winstone ... Raymond

Kathy Burke ... Valerie

Charlie Creed-Miles ... Billy
Laila Morse ... Janet
Edna Doré ... Kath
Chrissie Cotterill ... Paula
Jon Morrison ... Angus

Jamie Foreman ... Mark
Steve Sweeney ... Danny
Terry Rowley ... M.C. in Club
Sam Miller ... Club Comic
Leah Fitzgerald ... Michelle
Gerry Bromfield ... Drug Dealer

Neil Maskell ... Schmuddie
Sid Golder ... Old Guy in Window
John Blundell ... Man with Knife
Kenan Hudaverdi ... Laundrette Owner
Everton Nelson ... Street Violinist

Ronnie Fox ... Peter, pool player (as Ronny Fox)
Franc Ashman ... Club Singer (as Frances Ashman)
Dan Carey ... Band Musician
Martin Watson ... Band Musician
Giseppe Acunzo ... Band Musician
Matthew Scott ... Band Musician
Edmund Scott ... Band Musician
rest of cast listed alphabetically:

Mark Gilvary ... Drunk at Table (uncredited)

Ryan Hurst ... National Front Teen (uncredited)

Directed by
Gary Oldman 
Writing credits
(in alphabetical order)
Gary Oldman  screenplay

Produced by
Luc Besson .... producer
Marc Frydman .... associate producer
Hilary Heath .... co-producer
Gary Oldman .... producer
Douglas Urbanski .... producer
Original Music by
Eric Clapton 
Cinematography by
Ron Fortunato 
Film Editing by
Brad Fuller 
Casting by
Sue Jones 
Production Design by
Hugo Luczyc-Wyhowski 
Art Direction by
Luana Hanson 
Hugo Luczyc-Wyhowski 
Costume Design by
Barbara Kidd 
Makeup Department
Fae Hammond .... hair & make-up designer
Fae Hammond .... makeup artist
Pebbles .... key makeup artist
Production Management
Adam Bohling .... unit manager
Mitch Davies .... unit manager
Michael Dreyer .... production manager
Charlie Vogel .... post-production supervisor
Second Unit Director or Assistant Director
Kate Hazell .... assistant director
Finn McGrath .... assistant director
Mary Soan .... assistant director
Daniel Toland .... assistant director
Ken Tuohy .... first assistant director
Neil Tuohy .... second assistant director
Charlie Somers .... third assistant director (uncredited)
Art Department
Noel Cowell .... stand-by props
John Maher .... construction manager
Clem Price Thomas .... assistant art director
Linda Wilson .... prop buyer
Sound Department
Dicken Berglund .... re-recording mixer: TV version
George Berndt .... adr supervisor
Simon Firsht .... boom operator
Jim Greenhorn .... sound mixer
Matthew Iadarola .... supervising re-recording mixer
Bruce Kitzmeyer .... foley editor
George A. Lara .... foley artist
Michael W. Mitchell .... sound effects editor
Branka Mrkic .... dialogue editor
Adam Sawelson .... re-recording mixer
Greg Steele .... adr mixer
Brian Vancho .... foley artist
Special Effects by
Matthew Roberts .... special effects technician
Nick Smith .... special effects technician
Jody Taylor .... special effects technician
Rod Woodruff .... stunt coordinator
Camera and Electrical Department
John Donoghue .... gaffer
Jack English .... still photographer
Rupert Lloyd-Parry .... key grip
Mitch Spooner .... electrician
William Tracey .... best boy
Costume and Wardrobe Department
Sharon Long .... costume assistant
Editorial Department
Paul Elman .... assistant editor
Olivier Fontenay .... color timer
Paul Leonardo Jr. .... post-production coordinator
Fernanda Rossi .... assistant editor
Location Management
Jo Chate .... location manager
Stan Fus .... location manager
Music Department
Michael K. Bauer .... assistant music editor
Dick Bernstein .... music editor
Margot Core .... music supervisor
Transportation Department
Nick 'Nocker' Curson .... prop truck driver
Mark Swaffield .... driver: camera car
Other crew
Tara B. Cook .... assistant to director
Sam Donovan .... script supervisor
Shay Dunphy .... additional voice
Pj Harling .... runner (as P.J. Harling)
Boyd Harvey .... insurance: Media Insurance Brokers
Luke Jones .... production assistant
Kristopher Lease .... film conformer
Nigel Marchant .... floor runner
Emma Pike .... production coordinator
Victor Glynn .... studio executive (uncredited)
Gianluca Nardulli .... press officer: Italy (uncredited)
John Travers .... film conformer (uncredited)
Victor Glynn .... thanks
Ivan Martin .... thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for graphic drug use, non-stop strong language, brutal domestic violence and some nudity
128 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Janet is played by director Gary Oldman's sister, Laila Morse.See more »
Boom mic visible: A boom mic is visible in the supermarket parking lot.See more »
Danny:You want it? You want it with me?See more »
Bei Mir Bist Du Schoen (Means That You're Grand)See more »


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62 out of 63 people found the following review useful.
Bleak raw movie that cuts to the bone with its sheer force, 6 September 2002
Author: Aidan McGuinness from Dublin, Ireland

This is far from an easy movie to watch and is not really a good definition of `entertainment' (although it is disturbingly compelling). It's got about as much hilarity as `Monster's Ball', `Dancer in the Dark' and `Requiem for a Dream'.

There's not really a plot here. What we're looking at is a family in council housing - a poor, distraught family, torn apart by the people. Kathy Burke is Valerie, the long suffering wife of Ray (Ray Winstone). Ray is a drunken abusive man, haunted by his demons. He fights regularly with Valerie's heroin addicted brother, who cannot escape his own life style. Over this watches Valerie's mother, Janet, in a resigned fashion, lost to any real hope of something different. We get to spend some time with these characters, seeing how their lives develop. Unlike traditional movie structures we're not really building to a giant convergence of plot lines, a climatic final scene. Real life is not like that - it's a series of events, marked by occasions. This is the view the movie takes and it works well because it makes it far more credible than a final showdown involving a gun and a murder. What's even more interesting is that while Ray is `bad' he could not be quite considered evil - there's a darkness in him that he's fighting against. There's a great scene involving a telephone which brilliantly highlights how torn apart these characters are and how nothing is ever quite as simple as you would like to believe.

The acting is astonishing. I can't praise either Burke or Winstone enough. One of the reasons this movie is so unnerving is that the characters are believable - and this is due to the actors behind them. When Winstone's face becomes animated with range it really seems like he is ferocious, full of venom. You would race across the other side of the street from him, seeing the fury inside this man. Burke herself could have just played the demure wife but she adds far more complexity. Yes she is suffering, but there's a great hint of steel beneath her - shown in the delivery of a dialog, or the turn on a face. By not distracting us with pretty faces, director Gary Oldham manages to deliver actual characters. The energy - unflinching - delivered by them makes them seem horribly like people you know can exist within miles of your home.

Oldham himself shows a good directorial view. The movie uses a lot of hand-cameras (and presumably some unusual film stock) to get a grittier realism. This is aided by some excellent cinematography - the lighting is bleak, subdued, in keeping with the movie. Even the sunshine is pale, as if there's never really any hope to be had. The sound design is crisp, and generally minimalist - instead letting the camera and acting tell the story rather than forced manipulation via a composed piece. The set design also deserves a nod - the house around which a lot of the movie resolves has a real `lived in' feel. Too often Hollywood directors décor their house in a few luxury sofas and leave it at that. Here there's a real sense of a home with condiments and grit engrained in the walls. It all adds up the power. Ultimately though it is Oldham's unflinching depiction of the events that stands in the movies favour - the camera is close, it's there, you cannot escape through some banal metaphor (which is typical of most movies).

`Nil By Mouth' is more of an `experience' movie. It's a wrenching, arresting viewing that is sometimes very difficult to watch because you know there's a horrible shade of truth to it. It's not necessarily something you'd watch repeatedly (unless you've a shade of masochism to you), but it is something that will leave a little indelible mark on you as something to muse on. Definitely worth seeing - but be prepared. 8.1/10.

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