IMDb > Swept Away (2002)
Swept Away
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Swept Away (2002) More at IMDbPro »

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Swept Away -- A snooty socialite is stranded on a Mediterranean island with a communist sailor.
Swept Away -- A snooty socialite is stranded on a Mediterranean island with a communist sailor.

Overview

User Rating:
3.6/10   12,087 votes »
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Director:
Writer:
Guy Ritchie (screenplay)
(more)
Contact:
View company contact information for Swept Away on IMDbPro.
Release Date:
11 October 2002 (USA) See more »
Genre:
Plot:
A snooty socialite is stranded on a Mediterranean island with a communist sailor. Full summary » | Add synopsis »
Plot Keywords:
Awards:
5 wins & 5 nominations See more »
User Reviews:
Thought provoking See more (210 total) »

Cast

  (in credits order) (verified as complete)

Bruce Greenwood ... Tony

Madonna ... Amber

Elizabeth Banks ... Debi

Michael Beattie ... Todd

Jeanne Tripplehorn ... Marina

David Thornton ... Michael

Yorgo Voyagis ... Captain
Ricardo Perna ... Crew Member

Adriano Giannini ... Giuseppe
George Antoni ... Chef (as George Yiasoumi)
Beatrice Luzzi ... Rich Lady
Lorenzo Ciompi ... Rich Man
Patrizio Rispo ... Burly Captain

Francis Pardeilhan ... Tony's Assistant
Rosa Pianeta ... Receptionist
Andrea Ragatzu ... Bell Boy
rest of cast listed alphabetically:
Anna Cachia ... Fishmonger (uncredited)

Directed by
Guy Ritchie 
 
Writing credits
Guy Ritchie (screenplay)

Lina Wertmüller  1974 screenplay Travolti da un insolito destino nell'azzurro mare d'agosto (uncredited)

Produced by
Adam Bohling .... co-producer
Michael Morgan .... associate producer
David Reid .... co-producer
Matthew Vaughn .... producer
 
Original Music by
Michel Colombier 
 
Cinematography by
Alex Barber (director of photography)
 
Film Editing by
Eddie Hamilton 
 
Casting by
Kerry Barden  (as Barden)
Mark Bennett  (as Bennett)
Billy Hopkins  (as Hopkins)
Suzanne Smith  (as Smith)
Lucinda Syson 
 
Production Design by
Russell De Rozario  (as Russell de Rozario)
 
Art Direction by
Damon Earnshaw 
 
Costume Design by
Arianne Phillips 
 
Makeup Department
Jackie Grima .... makeup artist: dailies
Fae Hammond .... hair and make-up designer
Rita Marmor .... hair stylist: Madonna
Debbie Scicluna .... assistant hair & makeup artist (as Deborah Scicluna)
Fiona Stiles .... makeup artist: Madonna (as Fiona Horne)
 
Production Management
Andrea Costantini .... production manager: Sardinia
Clare Maclean .... post-production supervisor
Erik Paoletti .... unit manager: Sardinia (as Erik Pauletti)
Malcolm Scerri-Ferrante .... production manager: Malta
Sandra Shuttleworth .... production manager
Jeremy Crane .... production manager: reshoots (uncredited)
 
Second Unit Director or Assistant Director
Michael Elliott .... first assistant director (as Mike Elliott)
Toby Hosking .... second assistant director
Anthony Wilcox .... third assistant director
 
Art Department
Patrick Aguis .... painter: Malta
Alfie Burgess .... stand-by props
Alfred Caruana .... prop buyer: Malta
Angelo Delia .... head carpenter: Malta
Billy Edwards .... stand-by props
Stefan Kopec .... stand-by rigger
Jenny Lawrence-Smith .... prop buyer (as Jenny Lawrence Smith)
Marcus Love-McGuirk .... assistant designer
Dave Paley .... construction manager
John Roberts .... head scenic painter
Joseph Scibberas .... stand-by carpenter: Malta
Natalie Sinclair .... art department production manager: Malta
Terry Woods .... prop master
Eddie Murphy .... construction supervisor: re-shoot (uncredited)
 
Sound Department
Helen Brown .... foley artist
Chris Burdon .... sound re-recording mixer
Matthew Collinge .... sound designer
Matthew Collinge .... sound effects editor
Arthur Fenn .... boom operator (as Arthur Turner)
Jamie Gambell .... cable person
Tony Gibson .... assistant sound editor
Simon Hayes .... sound mixer
Lee Herrick .... foley editor
Larry Hopkins .... layback sound mixer
Paul Huntingford .... foley artist
James Seddon .... dolby consultant
Danny Sheehan .... supervising sound editor
Greg Steele .... adr mixer
Sven Taits .... sound re-recording mixer
Peter Gleaves .... adr mixer (uncredited)
Steve Hancock .... studio sound technician (uncredited)
 
Visual Effects by
Chas Cash .... 3D animator: Cinesite Europe
Simon Cross .... fire editor: Cinesite Europe
Paul Ensby .... colorist: Cinesite Europe
Andrew Francis .... datacine operator: Cinesite Europe
Stuart Fyvie .... datacine operator: Cinesite Europe
Katja Hollmann .... scanning and recording operator: Cinesite
Dag Ivarsoy .... Inferno operator: Cinesite Europe
Jack James .... editorial assistant: Cinesite Europe
Lorraine Johnson .... film recording: Cinesite Europe
Simon Johnson .... film recording: Cinesite Europe
Paul Lambert .... Inferno operator: Cinesite Europe
Christopher Learmonth .... data operator: Cinesite Europe
Phillip Leonhardt .... rotoscope artist: Cinesite Europe
Stuart McAra .... visual effects producer: Cinesite Europe
Claire McGrane .... producer: Cinesite Europe
Donal Nolan .... rotoscope artist: Cinesite Europe
Antoinette Perez .... visual effects coordinator: Cinesite Europe
Alex Smith .... 2D compositor: Cinesite Europe
Andy Taylor .... production assistant: Cinesite Europe
Courtney Vanderslice .... executive producer: Cinesite Europe (as Courtney Vanderslice-Law)
Aviv Yaron .... 2D technical director: Cinesite
Dan Ashton .... scanning and recording (uncredited)
Christopher Grandel .... trailer digital effects, Howard Anderson Company (uncredited)
 
Stunts
Giovanna Lecis .... stunts
Riccardo Mioni .... stunt coordinator (as Ricardo Mioni)
Stefano Maria Mioni .... stunt coordinator (as Stefano Mioni)
Alessandro Novelli .... stunts
Franco Maria Salamon .... stunt coordinator (as Franco Salamon)
 
Camera and Electrical Department
Marc Booth .... video playback operator
Chris Connatty .... clapper loader
Sara Deane .... camera assistant
Lawrence Duffy .... electrician
Robert Gavigan .... electrician (as Rob Gavigan)
Jess Hall .... director of photography: second unit, Sardinia (as Jesse Hall)
Alex Howe .... first assistant camera: additional photography
Phil Mullally .... focus puller
Richard Oxley .... assistant chief lighting technician
Kevin Robertson .... chief lighting technician
Daniel Smith .... still photographer
Greg Thomas .... electrician
Karl Watkins .... director of photography: second unit, Malta
Peter Wignall .... camera operator
Peter Wignall .... steadicam operator
Terry Williams .... key grip
Saviour Zammit .... electrician: Malta
 
Casting Department
Marco Cabriolu .... extras casting assistant
Jefferson Clode .... casting assistant
Makis Gazis .... casting: Greece
Krassimir Ivanov .... casting assistant: Italy
Berenice Percival .... casting assistant
Alex Pisani .... extras casting: Malta
Shaila Rubin .... casting: Italy
Jeremy Zimmermann .... additional casting (as Jeremy Zimmerman)
 
Costume and Wardrobe Department
Annabel Fleri-Soler .... costume assistant: Malta (as Annabelle Fleri Soler)
Marcus Love-McGuirk .... wardrobe supervisor (as Marcus Love)
Marina Marit .... costumer: Madonna
Janet Tebrooke .... wardrobe supervisor
 
Editorial Department
Paul Ensby .... digital colorist
Tomomi Kitamura .... assistant editor
Jason Wheeler .... negative cutter (uncredited)
 
Music Department
Steve Durkee .... score recordist
Geoff Foster .... score engineer
Isobel Griffiths .... orchestra contractor
Jake Jackson .... assistant score engineer
Ian Neil .... music supervisor
Danny Sheehan .... music editor
Bruce White .... viola
Tom Kramer .... music editor (uncredited)
 
Other crew
Andrea Alunni .... assistant location manager: Sardinia
Simon Atherton .... armorer
Lamberto Balintffy .... production assistant: Sardinia
Mark Beaumont .... production accountant
Angela Becker .... assistant: Madonna
Giuseppe Beoddu .... production assistant: Sardinia
Adrian Borg Ghigo .... production assistant
Martella Bugeja .... production assistant: Malta (as Mariella Bugeja)
Dan Cadan .... epk director
Mark Caruana .... tank supervisor: Malta (as Mark A. Caruana)
Lawrence Chisholm .... production assistant: Malta
Alfredo Colangeli .... production assistant: Sardinia
Jeremy Crane .... production assistant
Maria Vittoria Filippone .... accountant: Sardinia (as Mary Filippone)
Joseph Formosa Randon .... assistant: Mr. Scerri-Ferrante, Malta
Mavis Formosa .... production secretary
Todd A. Fox .... assistant: Mr. Ritchie (as Todd Fox)
Marco Giacalone .... location manager: Sardinia
Ian Vassallo Grant .... production assistant
Helen Gregory .... production coordinator
Mary Haddow .... script supervisor
Caroline Lovelace .... assistant: Mr. Vaughn
Norma Marie Mascia .... production coordinator: Sardinia
Nick Moss .... assistant: Mr. Ritchie
Gianni Basile Neiddu .... production assistant: Sardinia
Tarquin Pack .... assistant: Mr. Bohling & Mr. Reid
Bill Ridealgh .... unit nurse
Katryna Samut-Tagliaferro .... production coordinator (as Katryna Samut Tagliaferro)
Patric Scott .... unit publicist
Robert Spiteri .... production assistant: Malta
Eddie Standish .... location manager
Charles Vella .... marine coordinator: Malta
Sarah-Jane Wilson .... assistant accountant
Galea Yolanda .... assistant accountant (as Yolande Pavia)
Adrian Borg Ghigo .... production runner: Malta (uncredited)
Nick Komornicki .... armorer (uncredited)
 

Production CompaniesDistributorsSpecial Effects
  • Cinesite (visual effects by) (as Cinesite [Europe] Ltd.)
Other Companies

Additional Details

Also Known As:
MPAA:
Rated R for language and some sexuality/nudity
Runtime:
89 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
The US opening of the movie was so poor, and the movie was so badly received that it went straight to video in the UK, director Guy Ritchie's home country.See more »
Goofs:
Crew or equipment visible: There is a camera and pier visible in close-ups of Amber and Giuseppe stranded in the dingy.See more »
Quotes:
Guiseppe:Run, my little vixen... run, run!See more »
Movie Connections:
Soundtrack:
Spiegel im SpiegelSee more »

FAQ

This FAQ is empty. Add the first question.
82 out of 153 people found the following review useful.
Thought provoking, 20 May 2003
Author: Jim J. (justicej@mail.com) from San Francisco

The critics were spineless in their analysis of this movie. Typically, critics posture as examples of open-mindedness, but quickly turn hypocritical when a story takes a view contrary to their own brand of en-vogue political correctness.

The media is perfectly willing to jump up and applaud dramatic material exploring social taboos ranging from child sex to four thousand different types of murder, but when it comes to exploring the raw and uninhibited relationship between a man and woman on a desert island, and the primal gender characteristics that evolve the relationship, they get scared and run for cover - because it does not promote their ever-chi chi uni-sexist agenda.

While not the best made film of 2002, this movie was actually an interesting story with a powerful statement about society, love and relationships, and on its own, takes a radical and even liberal look at these critical elements of our everyday lives.

In their run for cover, aside from directly and personally picking on Madonna and `her husband,' the socio-politically driven critics tended to haphazardly pick at various elements of the movie such as:

The film appears washed out - in my analysis, with this, the director found he could evoke a mood in the audience utilizing this effect. The white wash look imposed a hot, desert like feel which created a dry distaste of the lives the aristocrats were living. It sets up an underlying melodramatic tone that exudes in Madonna's character and reflects the harshness of her current life. Utilizing non-standard film traits is consistent stylistically with other Guy Ritchie films.

Madonna is too melodramatic - once again, intentional flavoring that adds contrast as her character arcs throughout the film. It also sets up the humor we find in her drastic transformation. It is only because she was a `super bitch' before that we can at first enjoy when the tables are turned. Our enjoyment, of course, quickly turns to concern when we feel that Giuseppe goes too far by our standards.

Unintentional humor - perhaps the audience is laughing at the very right time, yet the intently politically correct critic is simply offended that the audience finds these moments funny.

The plot is improbable - welcome to movie land. The majority of plots and stories in general are improbable.

About half the critical reviews I read admitted the reviewer's real problem with the movie and positioned the subject matter as dated, antediluvian, archaic, etc. This reflects their own fear that the movie might allude to some uncomfortable truths about human nature.

Swept Away simply, but brilliantly breaks two people down into their primal roles as a man and a woman. In the film, absent the rules of a structured society, the physically dominant man assumes a role as the hunter gatherer and uses/abuses this dominance to subordinate the female character that once tormented him. The woman, Amber, who had found her previous plastic life to be unsatisfying, falls dependant on Giuseppe and uncovers a deeper meaning to her existence in the form of an animalistic carnal attraction that surfaces and drives her to a passionate relationship with him. The movie, unfitting with modern social mores, suggests that innate gender biased traits can form the basis for truly passionate and meaningful love.

If we expound on this, the message is that men and women are inherently different and naturally gravitate to different roles in a relationship and that society, at least in some instances, can interfere with these deep rooted urges.

It is a gritty, believable, yet a bit uncomfortable suggestion that perhaps gender roles do offer some reward in society. It was enjoyable to watch, humorous at times and a little painful at others. I give the director the benefit of the doubt and can assume that I was guided well through the story.

The movie is far from perfect in that we don't particularly empathize greatly with any of the main characters, at least until the final few scenes of the movie, though I am not sure we are supposed to. Much of the dialog was not properly updated from the 70s to the 00s - the discussion about `chemicals' for example. Also, there are some embarrassingly poorly made scenes - such as when Amber and Giuseppe are supposed to be zipping along in a speed boat and there is not such as a hair moving on their heads, and every scene where the Mediterranean looks about as wavy as a backyard pool

One thing is for sure - the subject matter is surprisingly thought and discussion provoking and the movie is better than 98% of the other new release rentals out there. Rent it and talk about it.

Was the above review useful to you?
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