IMDb > The Visit (2000/I)
The Visit
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The Visit -- A young man dying in prison brings his family together for a fateful visit, and proceeds to put his life back together.

Overview

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6.8/10   176 votes »
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Release Date:
20 April 2001 (USA) See more »
Genre:
Tagline:
Both father and son are in prison. But only one is behind bars.
Plot:
A young man dying in prison brings his family together for a fateful visit, and proceeds to put his life back together. Full summary » | Add synopsis »
Plot Keywords:
Awards:
8 wins & 8 nominations See more »
NewsDesk:
Michael Beardon Interview, This Is it
 (From MoviesOnline. 4 November 2009, 8:00 PM, PST)

User Reviews:
Beyond issues to the human heart See more (8 total) »

Cast

  (in credits order) (complete, awaiting verification)

Obba Babatundé ... Tony
Charmin Lee White ... Mrs. Tony Waters
Terrell Mitchell ... Tony's Son
Enoh Essien ... Tony's Daughter
Christopher Babers ... Young Tony (as Chris Babers)

Jascha Washington ... Young Alex
Drew Renkewitz ... Prison Guard (as Drew Reukewitz)

Tim De Zarn ... Guard Enheim (as Tim DeZarn)

Hill Harper ... Alex

Jennifer Freeman ... Young Felicia (as Jennifer Nicole Freeman)

Hugh Dane ... Mr. McDonald

Phylicia Rashad ... Dr. Coles

Marla Gibbs ... Lois Waters

Billy Dee Williams ... Henry

Jordan Lund ... Photographer

Efrain Figueroa ... Parole Board Member Cruz

David Clennon ... Parole Board Member Brenner

Talia Shire ... Parole Board Member Marilyn

Glynn Turman ... Parole Board Member Reingold
Amy Stiller ... Parole Board Member Julie

Kirk Acevedo ... Prospective Parolee

Rae Dawn Chong ... Felicia

Lyne Odums ... Crack House Woman
Jaime Perry ... Drug Dealer
David Roberson ... Corrections Officer
Javier Silcock ... Lamar
rest of cast listed alphabetically:

Jacin Guillienne Gayent Dixon ... Guest at funeral (uncredited)
J.T. Thibodeau ... Prison Guard (uncredited)

Directed by
Jordan Walker-Pearlman 
 
Writing credits
(in alphabetical order)
Kosmond Russell  play
Jordan Walker-Pearlman  screenplay

Produced by
Susanne Columbia .... associate producer
Charla Driver .... line producer
Anastasia King .... associate producer
Peter Kleidman .... co-executive producer
Vicky Pike .... executive producer
Morris Ruskin .... executive producer
Kosmond Russell .... co-executive producer
Stacy Spikes .... executive producer
Jordan Walker-Pearlman .... producer
Chet Williams III .... co-executive producer
 
Original Music by
Michael Bearden 
Stefan Dickerson  (as Stefán Dickerson)
Ramsey Lewis 
Wallace Roney 
Stanley A. Smith 
 
Cinematography by
John L. Demps Jr.  (as John Ndiaga Demps)
 
Film Editing by
Alison Learned Wolf  (as Alison Learned)
Jordan Walker-Pearlman 
 
Production Design by
John Larena 
 
Art Direction by
Andy Brittan 
 
Set Decoration by
Andi Brittan 
Jennifer Knepshield  (as Jennifer Knepschield)
 
Costume Design by
Carlos Rosario 
 
Makeup Department
Steve Ratliff .... makeup artist
 
Production Management
Kirsten Zauber .... production manager
 
Second Unit Director or Assistant Director
Kathleen Butler .... second assistant director
Frank Pinnock .... first assistant director
Kahi Taufaasau .... second second assistant director
 
Art Department
William Eric Barricklow .... constructor (as Eric Barricklow)
Craig Keller .... property master
Sandra Kay Muncie .... on-set decorator
 
Sound Department
Mike Hall .... sound mixer
Jon Mete .... supervising sound editor
Craig Ray .... boom operator
Doug Reed .... foley artist
James P. Slingluff .... sound mixer
Cameron Steenhagen .... dialogue editor
 
Visual Effects by
Vincent Lavares .... digital asset manager: Cinesite Hollywood
Scott Dougherty .... digital effects producer: Cinesite (uncredited)
Jerry Pooler .... visual effects supervisor: Cinesite (uncredited)
Tiffany Smith .... visual effects production coordinator: Cinesite (uncredited)
 
Camera and Electrical Department
Jack Arnette .... assistant camera: copter camera
Robert Blake Jr. .... additional first assistant camera
Robert Blake .... additional first assistant camera
Robert Burnette .... first assistant camera: "b" camera
Dan Carpluk .... grip
Marie Chao .... camera loader
Adam Colunga .... rigging key grip
Wayne 'Woody' Cone .... key grip
Ronald Gutierrez II .... rigging grip
Carlen Hudson .... Steadicam operator
Tom Jedrzejcyk .... best boy grip (as Tanqueray)
Philip Jordan .... grip
Joseph LaStrape III .... best boy gaffer
Thoma Reavis .... electrician
Dan Robinson .... grip
Rick Robinson .... camera operator
Idrissa Sene .... electrician
Jim Sheldon .... still photographer
Claire Skinner .... electrician
'Big Al' Stuart .... grip
Glen Swaim .... dolly grip
Miguel Sánchez .... electrician
Larry Thigpen .... electrician
Joe Torres .... electrician
Kent C. Tramel .... electrician
Bela Trutz .... Steadicam operator
Dave Walker .... rigging best boy
Wade Whitley .... first assistant camera
William Rick Young .... grip
 
Costume and Wardrobe Department
Francois Jantzen .... costume assistant
 
Transportation Department
Billy Colbert .... transportation coordinator
 
Other crew
Charmaine Boos .... studio teacher
Ava DuVernay .... publicist
Nichola Ellis .... unit publicist
Gabi Endicott .... script supervisor
Peter Kleidman .... production executive
Kevin LaRosa .... helicopter pilot
Kathleen Mahoney .... location manager
Niamh Murphy .... dyer
Gaby Rizeanu .... script supervisor
Chet Williams III .... production executive
 

Production CompaniesDistributorsOther Companies

Additional Details

MPAA:
Rated R for language and some drug content
Runtime:
107 min
Country:
Language:
Color:
Sound Mix:
Certification:

Did You Know?

Soundtrack:
For All We KnowSee more »

FAQ

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3 out of 3 people found the following review useful.
Beyond issues to the human heart, 19 February 2001
Author: Jim Chevallier (jimcheval@aol.com) from North Hollywood, CA

Any film about a young black male in prison just BEGS for rhetoric. Add AIDS in the mix, and the traps are everywhere.

This film manages to illuminate more than one of the issues involved in both subjects without ever becoming tendentious or trite. And it does so largely because of the deeply felt work of Hill Harper and the other actors involved. Through shades of rage, neediness, fear, frustration and the most affecting, immediate, infant love, Harper brings us right to the heart of a man who knows he's done wrong, but nonetheless has been done greater wrong.

With all the complex personal and political issues at play here, what shines through and holds the film is the raw, heartbreaking yearning of the main character.

Not that larger situations aren't observed. When his successful businessman brother (played by Obba Bobatunde) comes to visit, the obligatory search by a guard becomes one more humiliation of a black man. This isn't underlined - it's simply shown. His father's rant about how young blacks become what many whites already think they are could come right out of an article on the subject - except that he's talking about his son and the father (uncompromisingly played by Billy Dee Williams)is being his pompous self-satisfied self.

A number of other vignettes refer to larger issues without every losing sight of the specific human stories that we're following.

Everybody in the cast is superb without being flashy: simply real. Rae Dawn Chong remains believable even when her character's relentlessly positive character borders on the Pollyannaish. It's not a surprise that she's luminous in these scenes - that over-used word applies more appropriately to Chong than almost any other actress -, but in the flashbacks showing her as a crack whore she becomes every bit as beaten down and dispairing as she is radiant in redemption.

Also, two scenes are fascinating simply for the freedom of interplay that the director manages to achieve - the parole board's part pompous, part compassionate negotiations and the extended dialogue between Harper and Chong's characters during her first visit. In both, there is that Cassavetes quality of a scene almost veering out of control while continuing to convey its dramatic point.

Though several scenes take place in a church, the film avoids the increasingly cliched use of a gospel choir to suddenly provide an emotional uplift. Yet nontheless, towards the end, we are treated to an extended montage over a unique version of "Sometimes I Feel Like A Motherless Child" by the sublime Sweet Honey in the Rock.

That kind of tasteful deflection of expectations informs the whole film. It's really a wonderful piece of work.

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