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Directed by | |||
| Charles Sturridge | |||
Writing credits(in alphabetical order) | ||
| Eric Knight | novel | |
| Charles Sturridge | ||
Original Music by | |||
| Adrian Johnston | |||
Cinematography by | |||
| Howard Atherton | |||
Film Editing by | |||
| Peter Coulson | |||
| Adam Green | |||
Casting by | |||
| Celestia Fox | |||
Production Design by | |||
| John Paul Kelly | |||
Art Direction by | |||
| Colman Corish | |||
| Irene O'Brien | |||
Set Decoration by | |||
| Johnny Byrne | |||
Costume Design by | |||
| Charlotte Walter | |||
Makeup Department | |||
| Lucy Browne | .... | daily makeup artist | |
| Eileen Buggy | .... | chief haidresser | |
| Sonia Dolan | .... | makeup artist | |
| Deirdre Fitzgerald | .... | makeup artist | |
| Jennifer Hegarty | .... | makeup designer | |
| Dana Kalder | .... | hair trainee | |
| Roisin O'Reilly | .... | additional makeup artist | |
Second Unit Director or Assistant Director | |||
| Jill Dempsey | .... | second assistant director | |
| Sean Griffin | .... | third assistant director | |
| Chris Ingram | .... | trainee assistant director | |
| Luke Johnston | .... | first assistant director | |
| Louise Murray | .... | assistant director | |
| Anne Warter | .... | trainee assistant director | |
Art Department | |||
| Ignacio Barbe | .... | set dresser | |
| Adrian Byrne | .... | dressing props | |
| Kate Halsall | .... | art department assistant | |
| Darren Kearney | .... | painter | |
| Ronan Kennedy | .... | props | |
| Gerard Lanigan | .... | chargehand stand-by props | |
| Bernard Lyster | .... | trainee props | |
| Katie Miller | .... | art department intern | |
| Jenny Oman | .... | production buyer | |
| Marion Picard | .... | trainee props buyer | |
| Lucy van Lonkhuyzen | .... | assistant art director | |
Sound Department | |||
| Peter Blayney | .... | sound re-recording mixer | |
| Caoimhe Doyle | .... | foley artist | |
| Andrew Felton | .... | boom operator | |
| John Fitzgerald | .... | sound re-recording mixer | |
| Sarah Gaines | .... | adr dialogue editor | |
| Brendan Geaney | .... | foley artist | |
| Brendan Geaney | .... | foley editor | |
| Fiadhnait McCann | .... | sound effects editor | |
| Jean McGrath | .... | adr recordist | |
| Mervyn Moore | .... | sound mixer | |
| Jess Richards | .... | trainee: Isle of Man | |
| James Seddon | .... | dolby consultant | |
Special Effects by | |||
| Kevin Byrne | .... | special effects supervisor | |
| Kevin Nolan | .... | special effects technician | |
Visual Effects by | |||
| Craig Bardsley | .... | animator: Framestore CFC | |
| Jason Burnett | .... | scanning and recording: Framestore CFC | |
| Andy Burrow | .... | scanning and recording manager: Framestore CFC | |
| Max Dennison | .... | digital matte painter: Framestore CFC | |
| Jerome Dewhurst | .... | di engineer | |
| Paul Doogan | .... | scanning and recording: Framestore CFC | |
| Kerry Downing | .... | editorial assistant: Framestore CFC | |
| Ben Gillingham-Sutton | .... | digital cleanup artist: Framestore CFC | |
| Joe Godfrey | .... | scanning and recording: Framestore CFC | |
| Dianne Gordon | .... | data operator: Framestore CFC | |
| Charlie Habanananda | .... | data operator: Framestore CFC | |
| Alistair Hamer | .... | film mastering engineer: Framestore CFC | |
| Adam Hawkes | .... | digital cleanup artist: Framestore CFC | |
| Frederic Heymans | .... | camera technical director: Framestore CFC | |
| Jan Hogevold | .... | production executive: Framestore CFC | |
| Matthew Jacques | .... | data operations: Framestore CFC | |
| Tim Keene | .... | visual effects producer: Framestore CFC | |
| Brian Krijgsman | .... | assistant colourist: Framestore CFC | |
| Patricia Llaguno | .... | compositor: Framestore CFC | |
| Kevin Lowery | .... | film mastering assistant: Framestore CFC | |
| Patrick Lowry | .... | technical director: Framestore CFC | |
| Claire McGrane | .... | senior producer: Framestore CFC | |
| Sarah Micallef | .... | digital intermediate producer: Framestore CFC | |
| Maria Michalopoulou | .... | data operator: Framestore CFC | |
| Bruce Nelson | .... | compositor: Framestore CFC | |
| Helen Nesbitt | .... | compositor: Framestore CFC | |
| Stuart Nippard | .... | digital cleanup artist: Framestore CFC | |
| John Peck | .... | compositor: Framestore CFC | |
| Dan Perry | .... | scanning and recording: Framestore CFC | |
| Richard Poet | .... | visual effects Avid editor: Framestore CFC | |
| Aled Prosser | .... | digital paint artist: Framestore CFC | |
| Howard Protheroe | .... | digital paint artist: Framestore CFC | |
| Sirio Quintavalle | .... | compositor: Framestore CFC | |
| Nicholas David Reed | .... | camera technical director | |
| David Shere | .... | compositor: Framestore CFC | |
| Asa Shoul | .... | colourist: Framestore CFC | |
| Anthony Smith | .... | compositor: Framestore CFC | |
| Michael Thompson | .... | camera technical director: Framestore CFC | |
| Michael Adam Thompson | .... | motion tracking | |
| Neil Weatherley | .... | technical director: Framestore CFC | |
| Timothy Webber | .... | visual effects supervisor: Framestore CFC | |
| Annabel Wright | .... | digital cleanup supervisor | |
| Tim Young | .... | digital paint artist: Framestore CFC | |
Stunts | |||
| Dominick Hewitt | .... | stunt driver | |
| Donal O'Farrell | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Garret Baldwin | .... | gaffer | |
| Ciarán Barry | .... | camera operator | |
| Jeremy Braben | .... | aerial director of photography | |
| Alan Butler | .... | assistant camera | |
| Simon Magee | .... | electrician | |
| Aideen McCarthy | .... | camera loader | |
| Aideen McCarthy | .... | camera trainee | |
| Campbell McIntosh | .... | rigging electrician | |
| Phil Reader | .... | rigging electrician | |
| Anthony Swaby | .... | camera trainee: Isle of Man | |
| Oliver Ward | .... | camera technician: Wescam camera | |
Casting Department | |||
| Vanessa Baker | .... | voice casting | |
| Brendan Donnison | .... | voice casting | |
| Alex Johnson | .... | casting assistant: UK | |
| Amy Rowan | .... | casting director: Ireland | |
Costume and Wardrobe Department | |||
| Richard Cooke | .... | assistant costume designer | |
| Tricia Monk | .... | wardrobe assistant | |
| Linda O'Reilly | .... | costume assistant | |
Editorial Department | |||
| Steve Farman | .... | negative cutter | |
| Tolly Swallow | .... | assistant editor | |
Music Department | |||
| Terry Davies | .... | conductor | |
| Caitriona Walsh | .... | music supervisor | |
Thanks | |||
| Eric J. Schwartz | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
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I saw this film on August 24th, 2006 in Indianapolis. I am one of the judges for the Heartland Film Festival's Truly Moving Picture Award. A Truly Moving Picture " explores the human journey by artistically expressing hope and respect for the positive values of life." Heartland gave that award to this film.
Obviously this is an often-told tale about a boy and his beautiful and intelligent collie. But this is an especially fine telling of that story and specifically of the loyalty and love that can happen between a boy and his dog.
The story is set in England prior to World War II. The boy, Joe, is from a working class family and the father loses his coal mining job when the coal peters out. Lassie catches the eye of a rich Duke played by Peter O'Toole and Joe's parents reluctantly sell Lassie to obtain much needed cash. This causes Joe to go into a deep sadness. But to make things worse for Joe and his parents, Lassie regularly escapes the Duke's dog handler and finds his way back to Joe. Over and over the dog is honorably returned to the Duke because a deal is a deal.
Finally the Duke goes off to his other home in Northern Scotland 500 miles away and takes Lassie with him. Lassie escapes again and the rest of the movie revolves around the impossible attempted journey back to Joe.
Lassie is obligated to steal the movie, but he doesn't quite do this. There are too many other interesting things going on. Peter O'Toole is a great curmudgeon with a slowly revealed heart of gold. The English countryside is gorgeous. And the rich class- poor class dichotomy is adroitly told.
Honor and integrity and human dignity are human traits that can be shown by anyone despite their age or sex or income or social status in life. That's a message worth communicating in a movie.
FYI There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.