| Photos (See all 11 | slideshow) | Videos (see all 3) |
| Andrew Chalmers | ... | Bobby Morrow (1967) | |
| Ryan Donowho | ... | Carlton Morrow | |
| Asia Vieira | ... | Emily | |
| Quancetia Hamilton | ... | Dancing Party Guest | |
| Jeff J.J. Authors | ... | Frank (as Jeffrey Authors) | |
| Lisa Merchant | ... | Frank's Date | |
| Ron Lea | ... | Burt Morrow | |
| Erik Smith | ... | Bobby Morrow (1974) | |
| Harris Allan | ... | Jonathan Glover (1974) | |
| Matt Frewer | ... | Ned Glover | |
| Sissy Spacek | ... | Alice Glover | |
| Colin Farrell | ... | Bobby Morrow (1982) | |
| Dallas Roberts | ... | Jonathan Glover (1982) | |
| Robin Wright | ... | Clare (as Robin Wright Penn) | |
| Shawn Roberts | ... | Club Boy | |
| Michael Mayer | ... | Jonathan's Co-Worker | |
| Barna Moricz | ... | Wes | |
| Virginia Reh | ... | Woman at Home Cafe | |
| rest of cast listed alphabetically: | |||
| Joshua Close | ... | Reiner (uncredited) | |
| Wendy Crewson | ... | Isabel Morrow (uncredited) | |
Directed by | |||
| Michael Mayer | |||
Writing credits(WGA) | ||
| Michael Cunningham | (novel) | |
| Michael Cunningham | (screenplay) | |
Produced by | |||
| John Hart | .... | producer (as John N. Hart Jr.) | |
| Jocelyn Hayes | .... | co-producer | |
| Michael Hogan | .... | executive producer | |
| Tom Hulce | .... | producer | |
| Robert Kessel | .... | co-producer | |
| Pamela Koffler | .... | producer | |
| Jim Powers | .... | line producer (as James Powers) | |
| Julia Rask | .... | co-producer | |
| Katie Roumel | .... | producer | |
| Jeff Sharp | .... | producer (as Jeffrey Sharp) | |
| Bradford Simpson | .... | co-producer | |
| John Sloss | .... | executive producer | |
| Christine Vachon | .... | producer | |
| John Wells | .... | producer | |
Original Music by | |||
| Duncan Sheik | |||
Cinematography by | |||
| Enrique Chediak | (director of photography) | ||
Film Editing by | |||
| Andrew Marcus | |||
| Lee Percy | |||
Casting by | |||
| Jim Carnahan | |||
| Mele Nagler | |||
| Claire Simon | |||
Production Design by | |||
| Michael Shaw | |||
Art Direction by | |||
| Edward Bonutto | (as Edward S. Bonutto) | ||
Set Decoration by | |||
| Mark Steel | |||
| Malcolm Byard | (uncredited) | ||
Costume Design by | |||
| Beth Pasternak | |||
Makeup Department | |||
| Sally J. Harper | .... | hair stylist: Ms. Spacek | |
| Debra Johnson | .... | hair stylist | |
| Patricia Keighran | .... | assistant makeup department head | |
| Jordan Samuel | .... | makeup artist | |
| Nancy E. Warren | .... | assistant hair stylist (as Nancy Warren) | |
Production Management | |||
| Nicole Arons | .... | production supervisor: New York | |
| Collingwood Brown | .... | production supervisor | |
| Christopher Kenneally | .... | post-production supervisor (as Chris Kenneally) | |
| Jim Powers | .... | unit production manager (as James Powers) | |
Second Unit Director or Assistant Director | |||
| Jeff J.J. Authors | .... | first assistant director (as Jeffrey Steven Authors) | |
| Paul F. Bernard | .... | second assistant director: New York (as Paul Bernard) | |
| Darrin Brown | .... | third assistant director | |
| Penny Charter | .... | second assistant director | |
| Neil Lewis | .... | second assistant director: Phoenix | |
| Eric Yellin | .... | second second assistant director: New York | |
| Janet Zdyb | .... | third assistant director | |
| Adam Bocknek | .... | trainee assistant director (uncredited) | |
Art Department | |||
| Blair Benson | .... | art crew | |
| Fiona Bower | .... | art department coordinator | |
| Malcolm Byard | .... | lead person | |
| Guido DeCurtis | .... | lead person: New York | |
| Darrell Gasparini | .... | property master buyer | |
| Jacqui Hemingway | .... | scenic artist | |
| Marc Kuitenbrouwer | .... | construction coordinator | |
| Alan MacMinn | .... | property master | |
| Tony Mainelli | .... | assistant head carpenter (as Anthony Mainelli) | |
| Raman Majlath | .... | set dresser | |
| Vinny Mazzarella | .... | property master: New York | |
| Charles McGlynn | .... | on-set dresser | |
| John Moran | .... | first assistant art director | |
| Melissa Morgan | .... | key scenic artist | |
| Melissa Olson | .... | assistant decorator | |
| Brian Patrick | .... | assistant property master | |
| John Rankin | .... | set dresser | |
| Christian W. Russhon | .... | lead person: Phoenix | |
| Linette Forbes Shorr | .... | set decorator: Phoenix (as Linette Shorr) | |
| Gregg Singer | .... | property master: Phoenix | |
| Katherine M. Szilagyi | .... | set decorator: New York (as Katherine Szilagyi) | |
| Eric Taylor | .... | head carpenter | |
| Peter Allburn | .... | charge scenic artist: New York (uncredited) | |
| J. Ryan Halpenny | .... | art apprentice (uncredited) | |
Special Effects by | |||
| Rob Sanderson | .... | special effects coordinator | |
| Ray McMillan | .... | front projection (uncredited) | |
Visual Effects by | |||
| Brian Scott Benson | .... | Inferno artist (as Brian Benson) | |
| Benjamin Murray | .... | digital studio artist (as Ben Murray) | |
Stunts | |||
| Steve Lucescu | .... | stunt coordinator | |
Casting Department | |||
| Robin D. Cook | .... | casting: Canada | |
| Donna Dupere | .... | extras casting | |
| Karen E. Etcoff | .... | extras casting: New York | |
| Nicole Hilliard-Forde | .... | casting associate: Canada | |
| Sunny Seibel | .... | extras casting: Phoenix | |
| Aric Dupere | .... | extras casting assistant (uncredited) | |
| Brad Gerstl | .... | extras casting representative (uncredited) | |
| Sara Kay | .... | casting assistant: Canada (uncredited) | |
| Aaron Unrau | .... | extras casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Blair Benson | .... | wardrobe | |
| Charles C. Crutchfield | .... | costumer: New York | |
| Patricia Hanley Cumming | .... | on-set costume supervisor (as Pat Hanley-Cumming) | |
| Jay Du Boisson | .... | costume supervisor | |
| Blanca Garcia | .... | costume truck supervisor: Phoenix (as Blanca R. Garcia) | |
| Gail Gore | .... | key costumer: New York | |
| Maggie McFarland | .... | on-set costume supervisor: Phoenix | |
| Anita Simard | .... | wardrobe truck supervisor | |
| Melissa Stanton | .... | chief costumer: New York (as Melissa Adzima-Stanton) | |
| Mia Sturup | .... | assistant costume designer | |
| Trelawnie Mead | .... | costume dyer/breakdown (uncredited) | |
Editorial Department | |||
| Julie Carr | .... | associate editor | |
| Lance Edmands | .... | editing intern | |
| Mo Henry | .... | negative cutter | |
| Dennis McNeill | .... | color timer (as Denny McNeill) | |
| Catherine Rankin | .... | negative cutter | |
| Mila Patriki | .... | colorist: dailies (uncredited) | |
Music Department | |||
| Michele Aristy | .... | assistant music editor | |
| Linda Cohen | .... | music supervisor | |
| Duncan Sheik | .... | musician: guitar, piano, voice, bass, dulcimer, ukuelele, harmonium | |
| Duncan Sheik | .... | score producer | |
| Michael Tudor | .... | score engineer | |
| E. Gedney Webb | .... | music editor (as Gedney Webb) | |
| Doug Yowell | .... | musician: drums, percussion | |
| Annette Kudrak | .... | music editor (uncredited) | |
Transportation Department | |||
| Ken Barbet | .... | driver captain | |
| Wesley S. Bloom | .... | driver | |
| John Brown | .... | driver (as John R. Brown) | |
| Jim Buckman | .... | teamster captain: New York (as Jim Buchman) | |
| Martin Drover | .... | driver | |
| Hal Gibson | .... | transportation coordinator: Phoenix (as Hal W. Gibson) | |
| Gordon Ionson | .... | driver (as Gordon A. Ionson) | |
| Bill Jackson | .... | driver | |
| Stuart Mitchell | .... | transportation captain | |
| Dave Staples | .... | transportation coordinator | |
| Ron Annabelle | .... | picture car captain (uncredited) | |
Other crew | |||
| Samantha Armstrong | .... | script supervisor | |
| Linda P. Bee | .... | first assistant accountant: Phoenix | |
| Peter Bird | .... | location production assistant | |
| Shelly Boucher | .... | key set production assistant: Phoenix | |
| Paul Brennan | .... | legal services: Sloss Law Office | |
| Laurel Bresnahan | .... | tutoring liaison | |
| Michael Buster | .... | dialect coach: Colin Farrell | |
| Carmen Carpenter | .... | production financing: Coamerica Entertainment Group | |
| Brent Cox | .... | legal services: Sloss Law Office | |
| Konrad Dowling | .... | insurance: Marsh Entertainment & Media | |
| Zaida Fakih-Kuss | .... | production assistant: New York | |
| Claudine Farrell | .... | assistant: C. Farrell | |
| Daniel Feiner | .... | business affairs: Hart Sharp Entertainment | |
| Wendy Gaboury | .... | accountant | |
| Julie Garneau | .... | production assistant (as Julie Anne Garneau) | |
| Jennifer Gaylord | .... | legal services: Sloss Law Office (as Jennifer Gaylord Rohrer) | |
| Marie-Claude Harnois | .... | production coordinator | |
| Ned Haspel | .... | executive vice president: John Wells Productions | |
| Jeff Hill | .... | publicist | |
| Will Hoddinott | .... | location manager | |
| Laura Holstein | .... | executive vice president: John Wells Productions | |
| David Laurentin | .... | location assistant: new york | |
| Todd Lundquist | .... | assistant: M. Mayer | |
| Mark McFadden | .... | assistant location manager | |
| Lauren McSorley | .... | production assistant: New York | |
| Paula Merril-Belak | .... | location manager: Phoenix (as Paula Belak) | |
| Michael Monteleone | .... | office production assistant: Phoenix | |
| Frank Morrison | .... | on-set tutor | |
| Danielle Motti | .... | key set production assistant: Phoenix (as Danielle S. Motti) | |
| Naohide Nasu | .... | production assistant | |
| Erik Leif Nelson | .... | production assistant: New York | |
| Karen O'Toole | .... | production coordinator: Phoenix | |
| Basil Person | .... | assistant production coordinator | |
| Lauri Pitkus | .... | location manager: New York (as Laurie Pitkus) | |
| Charles Pugliese | .... | assistant: C. Vachon, Killer Films | |
| Suzanna Rees | .... | assistant: K. Roumel | |
| Jesse Rupert | .... | first assistant accountant | |
| Bruce Schluter | .... | title designer | |
| Peter Shiroky | .... | legal services: Canada, Fraser Milner Casgrain | |
| Susan Silas | .... | location assistant: New York | |
| Daniel Steinman | .... | legal services: Sloss Law Office | |
| Vess Stoeva | .... | second assistant accountant | |
| Daniel Wagner | .... | post delivery supervisor | |
| Meghan K. Wicker | .... | assistant: K. Roumel, Killer Films | |
| Michael Wiggins | .... | business affairs: Killer Films | |
| Brett Williams | .... | production executive: Hart Sharp Entertainment | |
| Nina Wolarsky | .... | development: Hart Sharp Entertainment | |
| Amy Wright | .... | choreographer | |
| Heather Zuhlke | .... | assistant: J. Wells, John Wells Productions | |
| Jennifer Alton | .... | assistant location manager: Arizona (uncredited) | |
| Dean Anthony | .... | set production assistant (uncredited) | |
| Lou Charles | .... | production assistant (uncredited) | |
| Yannick Fauchier | .... | set production assistant (uncredited) | |
| Pamela Hackwell | .... | contact lens technician (uncredited) | |
| Steve Holt | .... | on-set medic (uncredited) | |
| Zach Keyworth | .... | production assistant (uncredited) | |
| Aileen Kiernan | .... | assistant: Hunt Lowry (uncredited) | |
| Christopher Martini | .... | production assistant (uncredited) | |
| John Wiseman | .... | production assistant (uncredited) | |
Thanks | |||
| Saul Zaentz | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
While the script may not be a perfect adaptation of the novel (note that it was the author's first, and as such, may have been difficult to make into a cohesive whole. Also, the importance of good editing should not be overlooked).
In any case, the first part of the movie spends a bit too much time on exposition, or perhaps simply doesn't use the time well enough. We're fairly clubbed over the head with Bobby's near-worshipful identification with his older brother. The scenes with Sissy Spacek were far superior to the others, and brought out the best in the young actors playing the boys.
The film's most pleasing aspect was the wonderfully crafted relationships among the four adult characters, played by Farrell, Roberts, Wright Penn and Spacek. They were convincing, and drew the audience into the entire complex of the the interaction between the characters, even among those I've spoken to who identified more strongly with one of them. These scenes are crafted very well, and display the director's skill from live theatre. This part of the movie, I wanted to see more of. Yes, folks, Colin Farrell can indeed act; you'll find many different shadings in his performance, and a vulnerability you probably haven't seen before. Dallas Roberts, who was nominated for an Outer Drama Critics' Circle award for Best Actor for his outstanding performance in "Nocturne" in New York, and who recently finished a run of a two man play with none other than the renowned Sam Shepherd, does an extremely fine job. He maintains honesty and intensity, and isn't drawn into the easy trap of trying to play the whole weight of the drama at once. He keeps himself firmly in each moment. Robin Wright Penn turns in a delightful performance in a character whose range of outlook on life is wide and complex. Sissy Spacek is simply superb; aside from the tendency to like her in whatever she does, her character took only moments to become highly engaging. The scenic design and location choices were notably excellent.
This movie, which unfortunately has yet to receive wide distribution, is definitely worth seeing. Not only does it feature fine performances and direction in the latter part of the story, but it raises questions about what "family" really IS, and who gets to decide what that definition should be? That makes it a VERY timely film. Unless you've read the book, you probably can't tell what's going to happen at each stage, and you may find yourself with more questions than answers by the time the end credits roll. A piece of art that ASKS questions and doesn't claim to provide all the answers is to be valued and appreciated. It's also unusual for Hollywood to produce, given their corporately-driven tendency to release "neat and packaged" films. It allows far more room for the audience to make up their OWN minds, and thus displays more respect for them. In my opinion, it was this aspect of the script that enabled the producers to draw in three "name" stars, and give us a welcome introduction to the highly talented Dallas Roberts, whose performance takes no back seat to any of the others.
This film contains varied & perhaps unconventional relationships. For that reason, it has had a lot of screenings at Gay/Lesbian film festivals. Don't let that fool you into overlooking this film. Its appeal is in the humanity of the characters, not their sexual preferences.
I highly recommend the film. Be patient with the first portions; the older the characters get, the better the film gets.