| Photos (See all 17 | slideshow) | Videos (see all 12) |
| Viggo Mortensen | ... | Halder | |
| Jason Isaacs | ... | Maurice | |
| Jodie Whittaker | ... | Anne | |
| Steven Mackintosh | ... | Freddie | |
| Mark Strong | ... | Bouhler | |
| Gemma Jones | ... | Mother | |
| Anastasia Hille | ... | Helen | |
| Ruth Gemmell | ... | Elizabeth | |
| Ralph Riach | ... | Brunau | |
| Steven Elder | ... | Eichmann | |
| Kevin Doyle | ... | Commandant | |
| David de Keyser | ... | Mandelstam | |
| Guy Henry | ... | Doctor | |
| Adrian Schiller | ... | Goebbels | |
| Rick Warden | ... | Brownshirt | |
| Charlie Condou | ... | Bekemeier | |
| Tallulah Boote-Bond | ... | Lotte (as Tallulah Boote Bond) | |
| Ben Segal | ... | Erich (as Benedict Segal) | |
| Kelly Wenham | ... | Pretty Secretary | |
| Declan Hannigan | ... | Handsome Doctor (Movie Studio) | |
| Anna Marie Cseh | ... | Beautiful Woman (Movie Studio) (as Cseh Annamária) | |
| Paul M. Brennan | ... | Clerk (as Paul Brennan) | |
| Matt Devere | ... | SS Motorcycle Officer | |
| Mike Kelly | ... | Party Guest | |
| Attila Szatmari | ... | Policeman (as Szatmári Attila) | |
| Peter Linka | ... | SS Officer (as Péter Linka) | |
| László Görög | ... | Neighbour (as Görög László) |
Directed by | |||
| Vicente Amorim | |||
Writing credits(in alphabetical order) | ||
| C.P. Taylor | stage play | |
| John Wrathall | screenplay | |
Produced by | |||
| Sarah Boote | .... | producer | |
| Karsten Brünig | .... | executive producer | |
| Douglas Cummins | .... | executive producer | |
| Danielle Dajani | .... | executive producer | |
| Billy Dietrich | .... | producer | |
| Simon Fawcett | .... | executive producer | |
| Peter Hampden | .... | executive producer | |
| Stephen Hays | .... | executive producer | |
| Jason Isaacs | .... | executive producer | |
| Zsófia Kende | .... | co-producer | |
| Kevin Loader | .... | producer | |
| Dan Lupovitz | .... | producer | |
| Michel Morales | .... | co-producer | |
| Brian O'Shea | .... | executive producer | |
| Julia Jay Pierrepont III | .... | executive producer | |
| B.J. Rack | .... | line producer (as BJ Rack) | |
| Miriam Segal | .... | producer | |
| Kornél Sipos | .... | co-producer | |
Original Music by | |||
| Simon Lacey | |||
Cinematography by | |||
| Andrew Dunn | (director of photography) | ||
Film Editing by | |||
| John Wilson | |||
Casting by | |||
| Jeanne McCarthy | (casting: US) | ||
| Laura Scott | (casting: UK) | ||
Production Design by | |||
| Andrew Laws | |||
Art Direction by | |||
| Adrien Asztalos | (as Adrienn Asztalos) | ||
| Andreas Olshausen | (supervising art director) | ||
Set Decoration by | |||
| Daniele Drobny | |||
Costume Design by | |||
| Györgyi Szakács | |||
Makeup Department | |||
| Ildikó Aradi | .... | key hair stylist | |
| Judit Endrényiné | .... | makeup artist (as Judit Endrényi) | |
| Erzsébet Forgács | .... | makeup designer | |
| Györgyi Nagy | .... | makeup artist | |
| Agnes Petrovics | .... | makeup artist (as Ágnes Petrovics) | |
Production Management | |||
| Éva Kovács | .... | unit production manager | |
| Kevin Phelan | .... | head of post-production: Lip Sync Post | |
| Russ Woolnough | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Eva Badacsonyi | .... | third assistant director | |
| Zoltán Bonta | .... | first assistant director: Hungary | |
| Tamás Heilig | .... | assistant director production assistant | |
| Jessica Hurles-Laws | .... | first assistant director (as Jessica Hurles Laws) | |
| Judit Kastner | .... | assistant director production assistant | |
| Gergö Marton | .... | additional assistant director (as Gergö; Márton) | |
| Rita Nagy | .... | second assistant director | |
Art Department | |||
| László Benedek | .... | dressing props | |
| György Csarnó | .... | dressing props | |
| Maren Eich | .... | stand-by property master | |
| László Gara | .... | dressing props | |
| Róbert Hajde | .... | set cleaner | |
| Berta Halmos | .... | assistant to set decorator | |
| István Hatos | .... | dressing props | |
| Pál Hrepka | .... | dressing props | |
| Árpád Iványi | .... | set designer | |
| Csaba Kalotás | .... | stand-by prop assistant | |
| Sándor Katona | .... | set decorator buyer: Hungary | |
| Márton Kenczler | .... | graphic artist | |
| József Kiss | .... | construction manager | |
| Adrienne Kun | .... | art department coordinator | |
| József Lakatos | .... | set cleaner (as Josef Lakatos) | |
| Péter Félix Mátyási | .... | stand-by prop assistant (as Péter Mátyassy) | |
| Imre Nagy | .... | set dresser | |
| Péter Nagy | .... | dressing props | |
| Rhian Nicholas | .... | stand-by art director | |
| Ede Párniczky | .... | stand-by prop assistant | |
| Allan Rabelo | .... | storyboard artist | |
| Béla Schneider | .... | art department researcher | |
| Tamás Simon | .... | buyer | |
| László Tibériusz | .... | stand-by carpenter | |
| Zoltán Tálosi | .... | art department runner | |
| János Tóth | .... | set and prop utility man | |
| Fonseca Israel De J. Velázquez | .... | stand-by painter | |
| Matthew Meadows | .... | storyboard artist (uncredited) | |
Sound Department | |||
| Antonia Bates | .... | sound effects editor | |
| Robert Brazier | .... | foley mixer | |
| Paul Cotterell | .... | sound re-recording mixer | |
| Paul Cridlin | .... | boom operator | |
| Paul Davies | .... | supervising sound editor | |
| Sean Hannah | .... | dialogue editor | |
| Sue Harding | .... | foley artist | |
| Steve Haynes | .... | adr re-recordist | |
| Katja Hollmann | .... | mixing producer: Lip Sync Post (as Katja Lazare) | |
| Ian Morgan | .... | additional dialogue editor | |
| Steve C. Shaw | .... | assistant adr re-recordist | |
| Steve C. Shaw | .... | assistant sound re-recording mixer | |
| John Taylor | .... | sound mixer | |
| Zoltán Tihanyi | .... | cableman | |
| Rowena Wilkinson | .... | foley artist | |
| Peter Shaw | .... | assistant sound editor (uncredited) | |
Special Effects by | |||
| Ferenc Gombás | .... | pyrotechnician | |
| Ferenc Hábetler | .... | pyrotechnician | |
| Attila Sarkadi | .... | special effects | |
| Gábor Styevkó | .... | special effects (as Gábor Styevko) | |
| Péter Szilágyi | .... | special effects master | |
| Attila Török | .... | pyrotechnician | |
| Csaba Török | .... | pyrotechnician | |
| Ferenc Török | .... | pyrotechnician | |
| Attila Vásári | .... | pyrotechnician | |
| István Béres Wanek | .... | special effects | |
Visual Effects by | |||
| Chris Bentley | .... | digital lab operator: Lip Synch Post | |
| Alberto Buron | .... | digital lab operator: Lip Sync Post | |
| James Clarke | .... | digital lab supervisor: Lip Sync Post | |
| Neil Culley | .... | digital compositor: Lip Sync Post | |
| Stefan Drury | .... | head of visual effects: Lip Sync Post | |
| Katja Hollmann | .... | visual effects producer: Lip Sync Post (as Katja Lazare) | |
| Alasdair MacCuish | .... | head of digital film: Lip Sync Post | |
| Aileen McIntosh | .... | digital lab operator: Lip Sync Post | |
| Peter McVey | .... | senior vt operator: Lip Sync Post | |
| Daniel Tomlinson | .... | digital lab operator: Lip Sync Post | |
| Samantha Tracey | .... | visual effects coordinator: Lip Sync Post | |
| Rick White | .... | vt supervisor: Lip Sync Post | |
| Sheila Wickens | .... | lead compositor: Lip Sync Post | |
Stunts | |||
| Zoltán Gulyás Kiss | .... | stunt coordinator (uncredited) | |
Casting Department | |||
| Cara Beckinsale | .... | casting assistant | |
| Péter Soós | .... | casting director: Hungary | |
| Robert Sterne | .... | casting assistant | |
| Veronika Varjasi | .... | crowd casting: Open Casting | |
Costume and Wardrobe Department | |||
| János Breckl | .... | wardrobe supervisor | |
| Éva Csiszár | .... | assistant to costume designer | |
| László Domkó | .... | dresser | |
| Melinda Domán | .... | dresser | |
| László Donkó | .... | wardrobe | |
| Attila Jánosi | .... | wardrobe assistant | |
| Péter Palotás | .... | dresser | |
| Ágnes Pleskonits | .... | dresser (as Ági Pleskovics}) | |
| Ági Pleskovics | .... | dresser | |
| Dénes Pécsi-Szabó | .... | assistant to costume designer (as Dénes Pécsi Szabó) | |
| Móni Simkó | .... | dresser (as Mónika Simkó) | |
| Ildi Tóth | .... | dresser | |
| Gyula Zámbó | .... | dresser | |
| Veronika Szigeti | .... | costume assistant (uncredited) | |
Editorial Department | |||
| Lee Clappison | .... | digital colorist | |
| Sascha Dhillon | .... | first assistant editor | |
| Scott Goulding | .... | assistant colorist | |
| Katja Hollmann | .... | digital grading producer: Lip Sync Post (as Katja Lazare) | |
| Ádám Halász | .... | telecine rushes (uncredited) | |
Music Department | |||
| Isobel Griffiths | .... | musicians contractor | |
| Simon Lacey | .... | music arranger: Mahler song | |
| Metro Voices | .... | musicians | |
| Jenny O'Grady | .... | choir master: Metro Voices | |
| Steve Parr | .... | music recording engineer | |
| Peter Selwyn | .... | music consultant: German music | |
Transportation Department | |||
| Zoltán Antal | .... | driver | |
| Péter Banda | .... | driver | |
| Sándor Budai | .... | driver | |
| István Csendes | .... | driver: wardrobe | |
| Attila Farkas | .... | transportation coordinator | |
| Attila Gross | .... | driver | |
| Zoltán Kulcsár | .... | driver: production trailer | |
| Töreki Lajos | .... | driver: wardrobe | |
| László Oberfrank | .... | driver: art department | |
| Erik Orgován | .... | driver | |
| József Spáth | .... | driver: honeywagon | |
| László Szalamonidesz | .... | driver: Viggo Mortensen | |
| Zoltán Szalay | .... | action car coordinator (as Zoltán Szalai) | |
| Ágnes Szitovicza | .... | driver | |
| László Takács | .... | driver: art department | |
| Miklós Tóth | .... | driver | |
| Bálint Varga | .... | driver: wardrobe truck | |
Other crew | |||
| Reka Angyalosy | .... | assistant accountant | |
| Reka Angyalosy | .... | production accountant: Hungary | |
| Judit Aranyosi | .... | cashier | |
| Csaba Benedek | .... | security | |
| Fraser Bloom | .... | legal services: Davenport Lyons | |
| Paul M. Brennan | .... | assistant: Miriam Segal (as Paul Brennan) | |
| Victoria Brooks | .... | public relations director: Good Films | |
| Markus Brown | .... | caterer | |
| Tamás Csutak | .... | accounting services: Abacus Consult | |
| Cathy Doubleday | .... | script supervisor | |
| Stephen Earner | .... | assistant accountant | |
| Eszter Faludi | .... | location assistant | |
| Andrea Folger | .... | accountant: Miromar | |
| Mochele Frankland | .... | representative: Aramid (as Michele Frankland) | |
| Ferenc Galambos | .... | caterer | |
| Steve Garner | .... | travel agent: Mediacom 24/7 | |
| Larry Garrison | .... | unit publicist | |
| Julia Hall | .... | title designer | |
| Enikó Halász | .... | accounting services: Hungary, Laurin Entertainment (as Enikó Halasz) | |
| Zsolt Hammerl | .... | caterer | |
| Boyd Harvey | .... | insurance broker: Media Insurance Brokers | |
| Renátó Horváth | .... | assistant location manager | |
| Tara Hull | .... | assistant: Miriam Segal | |
| Fritz 'Elk' Jabelmann | .... | controller: Miromar | |
| Andrew Jack | .... | dialogue coach | |
| Anna Jürges | .... | assistant: Karsten Brünig, Miromar | |
| Ferenc Kondor | .... | motor home | |
| András Kopházi | .... | security (as András Kópházi) | |
| Emöke Krivánszky | .... | office assistant | |
| Johannes Kunkel | .... | production assistant: Miromar | |
| Gabriella Kökényesi | .... | cashier | |
| Wilferam Lange | .... | accountant: Miromar | |
| Gabor Lettner | .... | production assistant (as Gábor Lettner) | |
| Diána Lizák | .... | caterer: Gourmet To U | |
| Ágnes Lángos | .... | caterer | |
| Kai May | .... | production attorney: Miromar, Unverzagt Von Have | |
| Norman Merry | .... | executive producer: Lip Sync Post | |
| Richard Mewis | .... | script editor | |
| Lynne Montajane | .... | production accountant | |
| Lajos Nagy | .... | accounting services: Abacus Consult | |
| Zoltán Nuberger | .... | security | |
| Katalin Németh | .... | production accountant: Hungary | |
| Zsolt Pereházi | .... | security (as Szolt Pereházy) | |
| Dennis Reber | .... | production assistant: Miromar | |
| Penelope Robinson | .... | production accountant: prep | |
| Ingrid Roller | .... | team assistant: Miromar | |
| Tim Saxton | .... | company accounts: Good Films, Leigh Saxton Green | |
| Heide Schwarze | .... | assistant: Michel Morales, Miromar | |
| Klaus Schwenk | .... | accountant: Miromar (as Dr. Klaus Schwenk) | |
| Claire Smith | .... | representative: Aramid | |
| Yu-Fai Suen | .... | representative: Aramid | |
| Thomas Szabo | .... | trainee: Miromar | |
| Richard Szabó | .... | security (as Richárd Szabó) | |
| Sándor Szabó | .... | location manager | |
| Zoltán Szabó | .... | security | |
| Zsolt Tolmer | .... | stand-in: Viggo Mortensen (as Tolmár Zsolt) | |
| Dimitra Tsingou | .... | representative: Aramid | |
| Susie Tullett | .... | international public relations: DDA PR | |
| Dianne Twiddy | .... | production accountant | |
| Bence Varga | .... | set production assistant | |
| Virág Varga | .... | production coordinator | |
| Álmos Varga | .... | location scout | |
| Howard Watkins | .... | title designer | |
| Peter Weidinger | .... | caterer (as Péter Weidinger) | |
| Paula Jack | .... | dialect coach: adr (uncredited) | |
| Bendegúz Körmöczi | .... | wrangler animal trainer (uncredited) | |
| Béla Vaszary | .... | medical coordinator (uncredited) | |
Thanks | |||
| Alan Brodie | .... | the producers wish to thank | |
| Christopher Courtney | .... | the producers wish to thank (as Chris Courtney) | |
| Howard Davis | .... | the producers wish to thank | |
| Nick Manzi | .... | the producers wish to thank | |
| Julia Jay Pierrepont III | .... | the producers wish to thank (as Julia Pierrpomt) | |
| Stuart Rosenthal | .... | the producers wish to thank | |
| C.P. Taylor | .... | in memoriam | |
| Elizabeth Taylor | .... | the producers wish to thank | |
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A new movement for change, promising a life richer in education, physical prowess, diminished crime, and increased wealth is like a magnet, and the promises that National Socialist Republic created in all forms of the media in the 1930s were probably heady enough that the post World War I Germans could turn a blind eye to the vacuous reality of a rising maniac's promises. GOOD is a film that suggests how the good common people responded to the rise of the Third Reich - the Nazi party with its loathsome guardianship in the Gestapo. It suggests how personal needs could cloud the mind to see only the benefits of a new order that would eventually destroy millions of people and attempt to transform the world in a new social order. And it is painful to watch the disease progress into every aspect of life in Germany.
John Halder (Viggo Mortensen) is a professor of literature and a writer of novels: his latest novel is a fictional story about a man who, out of love for his suffering wife, assists her dying. This novel catches the eye of Hitler and the Reichminister Bouhler (Mark Strong) who encourages Halder to draft a paper describing how euthanasia is a good and righteous act - a paper that will eventually 'justify' the massacre of Jews and other 'undesirables'. Halder's life is in such upheaval (his mother (Gemma Jones) is dying of tuberculosis while living with Halder and his piano obsessed wife Helen (Anastasia Hille) whom he divorces, Halder finds happiness only with a student Anne (Jodie Whittaker) who is fascinated with the Nazi party, and Halder's only close friend is psychiatrist Maurice Israel Glückstein (Jason Issacs) who is Jewish and loathes the Nazi party. Because of Halder's needs in life and also because of the glory he feels being praised for his novel, he agrees to be an 'advisor' to the party. His confrères include Adolph Eichmann (Steven Elder) and Josef Goebbels (Adrian Schiller) and slowly the good man John Halder becomes immersed in the Nazi party.
Maurice, being Jewish and detesting John's alliance with the Nazis, must escape Germany as the Jewish purge begins. His only hope is aid from Halder's Nazi affiliation and he desperately seeks Halder's help. Halder is unable to come to Maurice's aid; Maurice is evacuated and Halder's inspection of the concentration camps makes him face his worse fear about his selling out his morals and honor and his losing his closest friend.
GOOD began as a play by C.P. Taylor and was transformed into a screenplay by John Wrathall. Vicente Amorim directs a cast of mixed experience, but from Mortensen and Isaacs and Jones he draws fine performances. Throughout the film Halder has aural delusions: at times of stress he hears music, a factor that in retrospect makes us question his own stability. The music he hears is a sad rewriting of the works of Gustav Mahler -' Die Zwei Blauen Augen von meinem Schatz', and 'O Mensch!' from the Mahler 3rd Symphony (both sung in English translations by people on the street!), bit and pieces of score quoting phrases from Mahler in a very pedestrian arrangement, and finally orchestral recordings of moments from Mahler's Symphonies No.1 and No.3. The pedestrian quality of the score weights the film down. The cinematography by Andrew Dunn is fine (the film was shot in Hungary). Overall, it feels like this is a strong idea of a statement of what happens to the minds common men in times of crises. For this viewer it simply doesn't accomplish its goal, despite the worthy attempt Viggo Mortensen makes.
Grady Harp