| Paul Ben-Victor | ... | Moe Howard | |
| Evan Handler | ... | Larry Fine | |
| John Kassir | ... | Shemp Howard | |
| Michael Chiklis | ... | Jerome 'Curly' Howard | |
| Rachael Blake | ... | Helen Howard | |
| Anna Lise Phillips | ... | Mabel Fine (as Anna-Lise Phillips) | |
| Jeanette Cronin | ... | Gertrude Howard | |
| Joel Edgerton | ... | Tom Cosgrove | |
| Marton Csokas | ... | Ted Healy | |
| Linal Haft | ... | Harry Cohn | |
| Brandon Burke | ... | Harry Romm | |
| Lewis Fitz-Gerald | ... | Jules White (as Lewis Fitzgerald) | |
| Peter Callan | ... | Joe DeRita | |
| Laurence Coy | ... | Joe Besser | |
| Phillip Hinton | ... | Judge | |
| Peter Whitford | ... | Administrator | |
| David Whitford | ... | Bailiff | |
| Harry Weiss | ... | Solomon Horwitz | |
| Buster Skeggs | ... | Jenny Horwitz | |
| Jillian O'Dowd | ... | Cohn's receptionist | |
| Olivia Pigeot | ... | Cohn's secretary | |
| Zoe Coyle | ... | Betty | |
| Helen Dallimore | ... | Elaine | |
| Peter Scarf | ... | Moe (at 15) | |
| Douglas Blaikie | ... | Shemp (at 17) | |
| Shaun Loseby | ... | Jerome (at 9) | |
| Lisa Reynolds | ... | Dame | |
| David Downer | ... | Winfield Sheehan | |
| Michael Gregory | ... | Studio suit | |
| David Baldwin | ... | Louis B. Mayer | |
| Len Kaserman | ... | Jack L. Warner | |
| Sally Clark | ... | Crazy dancer | |
| Geoff Bartlett | ... | Del Lord | |
| Gary Baxter | ... | Felix Adler | |
| Martin Pashley | ... | Southern Colonel | |
| Gunther Berghofer | ... | Clyde Bruckman | |
| Chris Burke | ... | Henrie | |
| Murray Bartlett | ... | Trocadera Patron | |
| Pippa Grandison | ... | Blonde | |
| Tamsin Carroll | ... | Brunette | |
| David Jobling | ... | Nightman | |
| Frank McNamara | ... | Doctor | |
| John Batchelor | ... | Curly Wannabe | |
| Peter Meisel | ... | Guard (1958) | |
| George Leppard | ... | Redcap | |
| Alan Zitner | ... | Taxi driver | |
| Alastair Duncan | ... | Theatre manager | |
| rest of cast listed alphabetically: | |||
| Trent Atkinson | ... | Clapper Boy (uncredited) | |
| Christopher Baker | ... | Clapper Boy (uncredited) | |
Directed by | |||
| James Frawley | |||
Writing credits(WGA) | ||
| Michael Fleming | (book "From Amalgamated Morons to American Icons: The Three Stooges") | |
| Janet Roach | (television story) | |
| Janet Roach | (teleplay) and | |
| Kirk Ellis | (teleplay) | |
Produced by | |||
| Eveleen Bandy | .... | associate producer | |
| Earl M. Benjamin | .... | executive producer | |
| Robert N. Benjamin | .... | executive producer | |
| Bruce Davey | .... | executive producer | |
| Tom Engelman | .... | executive producer | |
| Mel Gibson | .... | executive producer | |
| Stephanie Hagen | .... | associate producer | |
| Scott Kroopf | .... | executive producer | |
| Jim Lemley | .... | producer | |
| Neil Meron | .... | executive producer | |
| Timothy White | .... | producer (as Tim White) | |
| Craig Zadan | .... | executive producer | |
Original Music by | |||
| Patrick Williams | |||
Cinematography by | |||
| Robert Draper | (director of photography) (as Rob Draper) | ||
Film Editing by | |||
| Scott Vickrey | |||
Casting by | |||
| Mary V. Buck | |||
| Susan Edelman | |||
Production Design by | |||
| Lawrence Eastwood | (as Larry Eastwood) | ||
Art Direction by | |||
| Donna Brown | |||
Set Decoration by | |||
| Faith Robinson | (uncredited) | ||
Costume Design by | |||
| Terry Ryan | |||
Makeup Department | |||
| Margaret Stevenson | .... | hair stylist supervisor | |
| Margaret Stevenson | .... | makeup supervisor | |
| Anita Morgan | .... | hair stylist (uncredited) | |
| Anita Morgan | .... | makeup artist (uncredited) | |
Production Management | |||
| Catherine Bishop | .... | unit production manager | |
| Simon Lucas | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Bob Donaldson | .... | first assistant director | |
| Andrew Power | .... | second assistant director | |
| Gordon Westman | .... | third assistant director | |
Art Department | |||
| Ian Bickerton | .... | construction manager | |
| Robina Osborne | .... | art department coordinator | |
| Fiona Scott | .... | associate art director | |
| Joshua Black | .... | set finisher (uncredited) | |
| Karyn-Lee 'Lilly' Miyoshi | .... | set dresser (uncredited) | |
| Steve Riera | .... | assistant set decorator (uncredited) | |
Sound Department | |||
| Anthony D'Amico | .... | sound re-recording mixer | |
| Carlos Delarios | .... | sound re-recording mixer | |
| Martin Pashley | .... | production sound mixer | |
| Jon Taylor | .... | sound re-recording mixer | |
Special Effects by | |||
| Adam Grace | .... | special effects props/propmaker | |
| Leo Henry | .... | pyrotechnician (uncredited) | |
Stunts | |||
| Glenn Boswell | .... | stunt coordinator | |
| Nancy Young | .... | stunts | |
| Raelene Chapman | .... | stunt performer (uncredited) | |
| Angela Moore | .... | stunt performer (uncredited) | |
Camera and Electrical Department | |||
| Paul Booth | .... | gaffer | |
| Darrin Keough | .... | camera operator | |
| Pat Nash | .... | key grip | |
| Julie Wurm | .... | focus puller | |
| Justin Sykes | .... | assistant grip (uncredited) | |
Casting Department | |||
| Ann Robinson | .... | casting: Australia | |
| Pauline Ocon | .... | casting executive (uncredited) | |
Costume and Wardrobe Department | |||
| Heather Laurie | .... | costume stand-by | |
| Mouse | .... | costume coordinator | |
| Kerry Thompson | .... | costume supervisor | |
Editorial Department | |||
| Asim Matin | .... | associate editor | |
Music Department | |||
| Tom Boyd | .... | musician: oboe soloist (uncredited) | |
Other crew | |||
| Ben Breen | .... | production accountant | |
| Sally Clark | .... | choreographer | |
| Robin Clifton | .... | location manager | |
| Bruce Shapiro | .... | dialogue coach | |
| Clare Shervington | .... | production coordinator | |
| Kristin Voumard | .... | script supervisor | |
| Martin Kosinar | .... | stand-in: Evan Handler (uncredited) | |
| Matthew Murray | .... | production associate (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb USA section |
One of the better biographical TV movies, "The Three Stooges" suffers from the main failing that most such movies do: taking "liberties" with the facts. There are few things more annoying than watching a movie about people you know something about, and seeing an incident or event portrayed as having occurred that you KNOW never happened, or information given as "fact" when you KNOW it is completely wrong, and that happens several times in this film. Overall, though, it was somewhat better than I expected it to be. Paul Ben-Victor was very, very good as Moe. He had Moe's "Stooge" character down pat, and was surprisingly effective with Moe's off-screen character, although he didn't play Moe as quite the savvy businessman he was in real life--most of the Stooges' real money was made in personal appearances, and Moe made certain that some of Larry's and Curly's income was invested for their future, as they were both notoriously loose with their money (Curly on women, Larry on horses). Although the film for some reason shows Moe as living a sort of lower-middle class existence after his career ended, in reality he had made some shrewd investments over the years and by the time the Stooges broke up, he was a very wealthy man.
Michael Chiklis had the most difficult job--Curly has always been everyone's favorite Stooge, and most viewers would be paying a lot more attention to how he played Curly than how the other two actors played their characters. To Chiklis' credit, he acquitted himself extremely well. Curly, like his fellow comics Lou Costello and Oliver Hardy, was quite graceful for a heavyset man--they'd have to be, to do the kind of physical comedy they did--and Chiklis shared that trait, too. He also had Curly's mannerisms and voice patterns down pat, although his voice wasn't quite as high-pitched as Curly's was. Overall, Chiklis did a terrific job.
The one thing that really did surprise me, though, was how badly Columbia Pictures, and especially studio owner Harry Cohn, came across--and deservedly so, given the studio's shabby treatment of the Stooges and how it screwed them out of untold amounts of money. I figured that the filmmakers would pretty much whitewash, or at best just gloss over, Columbia's almost criminal treatment of the comedy team that basically put the studio on the map, but they didn't do that at all, which was refreshing.
If you're a Stooges fan you'll definitely like this movie, and even if you're not, it's a pretty good story of one of the most beloved comedy teams in film history. Check it out.