| Photos (See all 31 | slideshow) | Videos (see all 7) |
| Daniel Craig | ... | Joe | |
| Samantha Morton | ... | Claire | |
| Bill Weston | ... | Grandfather | |
| Jeremy McCurdie | ... | Boy in Balloon (as Jeremy Mccurdie) | |
| Lee Sheward | ... | John Logan | |
| Nick Wilkinson | ... | Farmer | |
| Rhys Ifans | ... | Jed | |
| Bill Nighy | ... | Robin | |
| Susan Lynch | ... | Rachel | |
| Ben Whishaw | ... | Spud | |
| Justin Salinger | ... | Frank | |
| Andrew Lincoln | ... | TV Producer | |
| Helen McCrory | ... | Mrs. Logan | |
| Rosie Michell | ... | Katie Logan (as Rosanna Michell) | |
| Ella Doyle | ... | Katie Logan's Friend | |
| Félicité Du Jeu | ... | Girl in Logan's Car | |
| Alexandra Aitken | ... | Natasha | |
| Aoife Carroll | ... | Robin & Rachel's Child (as Aoife) | |
| Rory Carroll | ... | Robin & Rachel's Child | |
| Sophie Duncan | ... | Robin & Rachel's Child (as Sophie) | |
| Susan Duncan | ... | Robin & Rachel's Child | |
| Anna Maxwell Martin | ... | Penny | |
| Corin Redgrave | ... | Professor | |
| Algy | ... | Logan's Dog | |
| rest of cast listed alphabetically: | |||
| Mandy Lee Berger | ... | Student (uncredited) | |
| Anthony James Berowne | ... | Art critic (uncredited) | |
| Alex Edwards | ... | Student (uncredited) | |
| Talisa Garcia | ... | (uncredited) | |
| Selena Mars | ... | Art Critic (uncredited) | |
| Alana O'Neill | ... | Student (uncredited) | |
Directed by | |||
| Roger Michell | |||
Writing credits | ||
| Ian McEwan | (novel) | |
| Joe Penhall | (screenplay) | |
Produced by | |||
| Katie Bullock-Webster | .... | assistant producer | |
| François Ivernel | .... | executive producer | |
| Kevin Loader | .... | producer | |
| Cameron McCracken | .... | executive producer | |
| Ian McEwan | .... | associate producer | |
| Duncan Reid | .... | executive producer | |
| Rosa Romero | .... | line producer | |
| Tessa Ross | .... | executive producer | |
Original Music by | |||
| Jeremy Sams | |||
Cinematography by | |||
| Haris Zambarloukos | (director of photography) | ||
Film Editing by | |||
| Nicolas Gaster | |||
Casting by | |||
| Mary Selway | |||
| Fiona Weir | |||
Production Design by | |||
| John Paul Kelly | (as John-Paul Kelly) | ||
Art Direction by | |||
| Emma MacDevitt | (supervising art director) (as Emma Macdevitt) | ||
Set Decoration by | |||
| Sara Wan | |||
Costume Design by | |||
| Natalie Ward | |||
Makeup Department | |||
| Konnie Daniel | .... | hair designer | |
| Konnie Daniel | .... | makeup designer | |
| Neill Gorton | .... | special effects prosthetics: Millennium FX Ltd. (as Neil Gorton) | |
| Tinks Reding | .... | makeup assistant | |
| Stuart Conran | .... | special makeup effects artist (uncredited) | |
| Neil Morrill | .... | key prosthetic makeup artist (uncredited) | |
Production Management | |||
| Louise Seymour | .... | post-production supervisor | |
| Josh Yudkin | .... | unit manager | |
Second Unit Director or Assistant Director | |||
| Amy Coop | .... | third assistant director (as Adam Coop) | |
| Jim Dowdall | .... | second unit director | |
| Matthew Hanson | .... | third assistant director: second unit | |
| Paul Mason | .... | third assistant director (as Paul 'Mace' Mason) | |
| Barrie McCulloch | .... | first assistant director (as Barrie Mcculloch) | |
| Olivia Peniston-Bird | .... | second assistant director | |
| Kieron Phipps | .... | first assistant director: second unit | |
Art Department | |||
| Rob Anderson | .... | construction manager | |
| Glenys Barton | .... | sculptures: Flowers East, London | |
| Ray Bell-Chambers | .... | carpenter (as Ray Bell Chambers) | |
| Kevin Biggs | .... | painter | |
| Gary Bird | .... | carpenter | |
| David Calitz | .... | carpenter | |
| Justin Chappell | .... | carpenter | |
| Jamie Davies-Evans | .... | painter (as Jamie Davis Evans) | |
| John Daynes | .... | painter | |
| Jonnie Elf | .... | art department runner | |
| Segan Friend | .... | stand-by props | |
| John Greaves | .... | storyboard artist | |
| Katy Harvey | .... | stand-by art director (as Katy Pain) | |
| Jonnie Hext | .... | painter | |
| David Horrill | .... | prop master (as David 'Springer' Horrill) | |
| Steve Hunter | .... | painter | |
| Simon Hutchings | .... | painter (as Simon Hutchins) | |
| Roger Kiff | .... | carpenter | |
| Ben Lobb | .... | painter | |
| Ray McNeill | .... | dressing props (as Ray Mcneill) | |
| Steve Parnell | .... | dressing props | |
| Mike Pearce | .... | carpenter | |
| Gert Rademeyer | .... | carpenter | |
| Sui Rajakaruna | .... | assistant art director | |
| Giles Rowntree | .... | carpenter | |
| Stuart Rushbrook | .... | carpenter | |
| Lance Smith | .... | painter | |
| Judith Stanley-Smith | .... | painter (as Judith Stanley Smith) | |
| Pete Taylor | .... | carpenter | |
| Peter Wood | .... | dressing props | |
| Jackie Yau | .... | assistant prop buyer | |
Sound Department | |||
| Tim Alban | .... | dubbing mixer | |
| Tim Alban | .... | foley recordist | |
| Richard Davey | .... | assistant dubbing mixer | |
| Peter Gleaves | .... | adr recordist | |
| Danny Hambrook | .... | sound recordist | |
| Danny Hambrook | .... | supervising sound editor | |
| Steve Haynes | .... | adr recordist | |
| Adam Laschinger | .... | assistant sound editor | |
| Adam Laschinger | .... | boom operator | |
| Darko Mocilnikar | .... | sound assistant | |
| Haresh Patel | .... | foley editor | |
| Ryan Searle | .... | assistant dubbing mixer | |
| Ryan Searle | .... | foley artist | |
| Jack Stew | .... | foley artist | |
| Joakim Sundström | .... | dialogue editor | |
| Ted Swanscott | .... | adr recordist | |
| Jessie Taylor | .... | foley artist | |
| Nick Foley | .... | adr recordist (uncredited) | |
| Nick Foley | .... | sound recordist (uncredited) | |
| Danny Hambrook | .... | production sound mixer (uncredited) | |
| Haresh Patel | .... | assistant dubbing mixer (uncredited) | |
| James Seddon | .... | dolby consultant (uncredited) | |
| Joakim Sundström | .... | adr editor (uncredited) | |
Special Effects by | |||
| John Fell | .... | wire crew | |
| William Poynter | .... | wire crew | |
| Robert Schofield | .... | wire specialist (as Bob Schofield) | |
| Roy Weatherly | .... | wire crew | |
| Jonathan Bullock | .... | special effects technician (uncredited) | |
| James Davis III | .... | special effects senior technician (uncredited) | |
| Mark Holt | .... | special effects (uncredited) | |
| Garth Inns | .... | special effects supervisor (uncredited) | |
Visual Effects by | |||
| Michelle Camp | .... | visual effects editorial: Framestore CFC | |
| Paul Doogan | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Jonathan Dredge | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Joe Godfrey | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Dianne Gordon | .... | data operator: Framestore CFC | |
| Tim Keene | .... | visual effects producer: Framestore CFC | |
| Kevin Lowery | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Roz Lowrie | .... | visual effects editorial: Framestore CFC | |
| Dan McRae | .... | scanning and recording & digital cleanup: Framestore CFC (as Dan Mcrae) | |
| Mike Morrison | .... | data operator: Framestore CFC | |
| Bruce Nelson | .... | digital paint artist: Framestore CFC | |
| Sirio Quintavalle | .... | visual effects compositor: Framestore CFC | |
| Matina Skouteri | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Paola Varvaro | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Timothy Webber | .... | visual effects supervisor: Framestore CFC (as Tim Webber) | |
| Aubrey Woodiwiss | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Annabel Wright | .... | scanning and recording & digital cleanup: Framestore CFC | |
| Doron Zar | .... | digital grading assistant: Framestore CFC | |
| Andy Burrow | .... | scanning manager (uncredited) | |
| James Clarke | .... | visual effects (uncredited) | |
| Jerome Dewhurst | .... | di engineer (uncredited) | |
| Alistair Hamer | .... | film mastering engineer (uncredited) | |
| Jan Hogevold | .... | production executive: Framestore CFC (uncredited) | |
| Jason Horley | .... | digital matte painter: Framestore CFC (uncredited) | |
| Patricia Llaguno | .... | digital paint artist (uncredited) | |
| Claire McGrane | .... | digital lab producer (uncredited) | |
| Stephanie Mills | .... | compositor (uncredited) | |
| Christopher Page | .... | digital cleanup artist (uncredited) | |
| Tony Peck | .... | digital paint & roto artist: Framestore CFC (uncredited) | |
| Dave Robinson | .... | systems engineer (uncredited) | |
| Aatesh Shah | .... | systems engineer: Framestore CFC (uncredited) | |
| Stephen Willey | .... | systems engineer (uncredited) | |
Stunts | |||
| Jim Dowdall | .... | stunt coordinator: second unit | |
| Adam Eastall | .... | stunt engineer | |
| Andy Godbold | .... | stunt double: Joe | |
| Tim Halloran | .... | stunt double: Jed | |
| Paul Lowe | .... | stunt double: Boy in Balloon | |
| Simon Lynn-Jones | .... | assistant stunt coordinator (as Simon Lyn-Jones) | |
| Richard Todd | .... | stunt engineer | |
| Lee Sheward | .... | high fall stunt (uncredited) | |
| Bill Weston | .... | stunts (uncredited) | |
Casting Department | |||
| Vanessa Baker | .... | voice casting | |
| Heidi Bishop | .... | extras casting: Q Casting | |
| Brendan Donnison | .... | voice casting | |
| Steve Daly | .... | additional casting (uncredited) | |
| Julie Dunne | .... | additional casting (uncredited) | |
Costume and Wardrobe Department | |||
| Dan Summerville | .... | costume assistant | |
| Kate Towns | .... | wardrobe assistant | |
Editorial Department | |||
| Kim Gaster | .... | associate editor | |
| Adam Glasman | .... | colorist: Framestore CFC | |
| Clive Noakes | .... | laboratory contact: DeLuxe Laboratories Ltd. | |
| Lisa Williams | .... | post-production assistant | |
| Doron Zar | .... | assistant digital colorist (uncredited) | |
Music Department | |||
| Christopher Austin | .... | conductor | |
| Christopher Austin | .... | orchestrator | |
| Luke Bedford | .... | music copyist | |
| Bob Broadley | .... | music copyist | |
| Yann McCullough | .... | assistant music engineer (as Yann Mccullough) | |
| Emily Rogers Swanson | .... | music editor (as Emily Rogers) | |
| Tim Sutton | .... | assistant to composer | |
| Gary Thomas | .... | music engineer | |
Transportation Department | |||
| Yasu Asami | .... | driver | |
| Mark Crowley | .... | unit driver | |
| Stephen Duffy | .... | driver | |
| Terrence Farrell | .... | driver: camera truck | |
| Robbie Hoque | .... | driver: camera truck | |
| Stephen Kelly | .... | driver | |
| Casey Levie | .... | driver | |
| Steve Mitchard | .... | driver: Daniel Craig (as Steve Michard) | |
| Jim Moran | .... | driver: camera truck (as Jim 'The Fish' Moran) | |
| Paul Rhodes | .... | driver | |
| Brian Tame | .... | driver: props (as Brian Thame) | |
Other crew | |||
| Yasu Asami | .... | runner | |
| Ben Atkinson | .... | balloon ground rigger | |
| Martyn Ball | .... | location security (as Martin Ball) | |
| Guy Barker | .... | production accountant | |
| Robin Batchelor | .... | balloon pilot | |
| Liam Beatty | .... | production assistant | |
| Tony Bianchi | .... | aerial coordinator: Balloon unit | |
| Hannah Bicat | .... | catering assistant | |
| Alison Brister | .... | legal: Ingenious Film and Television | |
| Anne Carey | .... | chaperone | |
| Orlagh Collins | .... | physical production: Pathé Pictures | |
| Jonah Coombes | .... | location manager | |
| Stacy Crago | .... | floor runner | |
| Chris Cullum | .... | health and safety consultant | |
| Sara Curran | .... | production legal services | |
| Gilbert Davies | .... | aerial coordinator: helicopter unit | |
| David Dinerstein | .... | liaison: Paramount Classics | |
| Harry Dixon | .... | liaison: FilmFour | |
| Pierre Du Plessis | .... | business affairs: Pathé Pictures | |
| Stephen Duffy | .... | runner | |
| Jon Duncan | .... | production accountant | |
| Michelle Duncan | .... | chaperone | |
| Caitlin Elster | .... | catering assistant | |
| Barbara Everall | .... | dog handler | |
| Simon Fawcett | .... | finance director: Pathé Pictures | |
| Kevin Francis-Grey | .... | chef (as Kevin Francis Grey) | |
| Nicolas Gaster | .... | titles | |
| Anne Marie Gormley | .... | assistant production accountant | |
| Paul Grindey | .... | liaison: FilmFour | |
| Ruth Halliday | .... | negative checks and script clearances: The Clearing House | |
| Frank Hannon | .... | chef | |
| James Haywood | .... | home economist | |
| Sue Hills | .... | script supervisor | |
| Juliette Howell | .... | liaison: FilmFour | |
| Josh Hyams | .... | assistant production coordinator (as Joshua Hyams) | |
| John Jaggon | .... | accounting: Ingenious Film and Television | |
| Paula Jalfon | .... | physical production: Ingenious Film and Television | |
| Sylvan Janois | .... | chef (as Sylvian Jamois) | |
| Tracey Josephs | .... | liaison: FilmFour | |
| Stephen Kelly | .... | runner | |
| Philippa Langdale | .... | dog handler | |
| Sam Latter | .... | assistant location manager | |
| Casey Levie | .... | runner | |
| Ken Lowry | .... | balloon ground rigger | |
| Michael Malric-Smith | .... | helicopter pilot (as Michael Malrick-Smith) | |
| Steffy Marrion | .... | production coordinator | |
| Leila McAlister | .... | caterer (as Leila Mcalister) | |
| Gregg Miller | .... | balloon ground rigger | |
| Stephen Mills | .... | caterer | |
| Afia Nkrumah | .... | floor runner | |
| Gerardine O'Flynn | .... | liaison: FilmFour | |
| Kevin O'Shea | .... | insurance: AON/Albert G. Ruben | |
| Laura Pantaleoni | .... | catering assistant | |
| Shreepali Patel | .... | WFTV/UIP directing change placement | |
| Jason Pierce | .... | helicopter engineer | |
| Rose Pomeroy | .... | catering assistant | |
| Lesley Prosser | .... | chaperone | |
| Paul Rhodes | .... | runner | |
| Matthew Sanders | .... | unit publicist: McDonald & Rutter | |
| Rob Seager | .... | assistant production accountant | |
| Shane Stanfield | .... | location security | |
| Brian Stewart | .... | location security | |
| Kenny Stewart | .... | location security | |
| Darren Stock | .... | head of security | |
| Alison Thompson | .... | international sales: Pathé Pictures | |
| Keith Thompson | .... | helicopter pilot | |
| Peter Touche | .... | sale and leaseback finance | |
| Hazel Vaughan | .... | balloon ground rigger | |
| Lenny Vaughan | .... | balloon ground rigger | |
| Ruth Vitale | .... | liaison: Paramount Classics | |
| Rick Williams | .... | balloon ground rigger | |
| Lesley Wise | .... | sale and leaseback finance | |
| Susanna Wyatt | .... | physical production: Pathé Pictures | |
| Just Ardalan-Raikes | .... | stand-in: Rhys Ifans (uncredited) | |
Thanks | |||
| Mary Selway | .... | dedicatee | |
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Having never read Ian McEwan's original novel from which this film is based, I can't rightly judge whether or not this was a successful adaptation. However, I can say that as a standalone work, Enduring Love is one of the more interesting films to be released within the last couple of years and, as a successful British film, is one to rank alongside other recent UK successes like Dead Man's Shoes and Vera Drake. Having watched the film a couple of times, I was left with the urge to go away and discover McEwan's original novel (as was the case when I saw the film adaptation of his other key-work, The Cement Garden), as the film, although highly interesting and emotionally engaging, certainly left me asking a lot of questions.
The opening scene really sets the mood and pace (and of course, the plot) for the rest of the film... not to mention standing as one of the most exciting, engaging and downright jaw-dropping moments of visceral, cinematic tension-building that I've seen in a long time. Here, director Roger Michell juxtaposes the lush greenery of the Oxfordshire countryside - with it's rolling hills and vast, ocean-like sky - with a billowing, blood red, hot-air-balloon, waving as dangerously as the frantic, hand-held cameras that capture the action. The editing is punchy and creates a rhythm that works towards heightening the confusion felt by the characters, as the quiet, countryside picnic of writer/professor Joe and his sculptress girlfriend Claire is disrupted by the sight of the balloon, and the appalling tragedy to come. As the story progresses, the couple try to put the event to the back of their minds and carry on as normal with their comfortable, bourgeois lives of luncheons, dinner-parties & work-related accolades, however, when another one of the witnesses to the event contacts Joe out of the blue, we see the beginnings of a bizarre and dangerous relationship that will push all three protagonists beyond the regular boundaries of reason.
Some have likened the film to something like Fatal Attraction, with the idea of obsession and guilt both featuring as central to both... however, for me, Enduring Love was much more of a treatise on the nature of love, and the whys and wherefores of such. For example, it is important to note that Joe is a professor who studies the nature of love, and the human qualities one would require to endure love, when, in reality, it is the unhinged and unwanted fellow witness Jed that really understands the true sense of blind obsession, so central to such feelings.
The style of the film manages to be both low-key and visually distinctive, with Michell employing a style similar to his previous film, The Mother, with hand-held cameras that offer a reality - but also, manage to convey the wavering uncertainty and voyeuristic intrusion so central to the plot - coupled with staccato editing, optical filters, rich composition and an extraordinary use of locations (all captured in glorious 2:35.1 widescreen). The performances are of an extremely high calibre as well, with Daniel Craig bringing a smug-pomposity, but also a vulnerability to his role of the logical professor pushed to an illogical limit, whilst Samantha Morton offers support as the bewildered Claire, who has to question Joe's mental stability as he begins obsessing about the accident and his newly acquired "friend". However, much more impressive, if only for the fact that he delivers a performance completely against every other role I've ever seen him attempt, is Rhys Ifans, who embodies the lonely and perhaps somewhat disturbed Jed with a quiet, contemplative spirit that goes against the kind of melodramatic, raving lunatics found in similar, Hollywood endeavours.
The interplay between the three characters is wonderfully handled by Michell, who paces the film deliberately, so that the relationships only becomes truly apparent over a gradual period of time. Now, this may infuriate some viewers who expect a much quicker film that gets straight to the point, but I for one admired the gradual build and felt that it made the relationship between Joe and Jed much more metaphysical (bringing up all kinds of questions about fragmented personalities, two-halves of the same soul, repressed guilt, angst, sexual frustration and schizophrenia), whilst also forcing us to question who is really insane? This is just one question that the film left me with as the credits began to roll, with Michell and screenwriter Joe Penhall leaving a lot of minor-details unresolved, thus, allowing the audience to fill in the blanks. Again, this may annoy some viewers... and I must admit, I myself was left scratching my head on a number of occasions (not least, the scene that takes place after the final credits), but having gone back and watched the film a second time you realise that so much of the emotional background and the character motivation is there in those great performances.
It's certainly a film that will leave you with something to think about, if not only the relationship between the characters, then certainly the rationality of them leading up to that tense, edge-of-the-seat final. For me, Enduring Love was a great film that kept me interested throughout and left me with a lot of questions that have been running through my mind over the last couple of weeks. I appreciate the fact that a lot of viewers seek some kind of emotional resolution from a film, but I feel that people who don't necessarily expect every single loose end to be neatly tucked away by the end credits - or those that enjoy thinking about both the characters and the story once the film has come to a close - will certainly enjoy and appreciate this.