IMDb > Mary and Max (2009)
Mary and Max
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Mary and Max (2009) More at IMDbPro »

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Mary and Max -- A tale of friendship between two unlikely pen pals: Mary, a lonely, eight-year-old girl living in the suburbs of Melbourne, and Max, a forty-four-year old, severely obese man living in New York.
Mary and Max -- Mary and Max is the animated tale of a friendship between two unlikely pen pals and confidantes:  Mary, a lonely 8 year-old girl in Australia, and Max, forty-four-year old, severely obese man with Asperger's syndrome living in New York City.

Overview

User Rating:
8.2/10   78,425 votes »
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Down 1% in popularity this week. See why on IMDbPro.
Director:
Writer:
Adam Elliot (writer)
Contact:
View company contact information for Mary and Max on IMDbPro.
Release Date:
9 April 2009 (Australia) See more »
Genre:
Tagline:
Based on a true story. See more »
Plot:
A tale of friendship between two unlikely pen pals: Mary, a lonely, eight-year-old girl living in the suburbs of Melbourne, and Max, a forty-four-year old, severely obese man living in New York. Full summary » | Full synopsis »
Awards:
4 wins & 6 nominations See more »
User Reviews:
Refreshing and engaging given the home-grown talent involved. See more (133 total) »

Cast

  (in credits order) (complete, awaiting verification)

Toni Collette ... Mary Daisy Dinkle (voice)

Philip Seymour Hoffman ... Max Jerry Horovitz (voice)

Barry Humphries ... Narrator (voice)

Eric Bana ... Damien (voice)

Bethany Whitmore ... Young Mary (voice)
Renée Geyer ... Vera (voice)
Ian 'Molly' Meldrum ... Homeless Man (voice)
John Flaus ... (voice)
Julie Forsyth ... (voice)
rest of cast listed alphabetically:

Christopher Massey ... Additional Voice
Shaun Patten ... Additional Voice
Carolyn Shakespeare-Allen ... Additional Voice

Leanne Smith ... Additional Voice
Michael Ienna ... Lincoln (uncredited)
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Directed by
Adam Elliot 
 
Writing credits
(in alphabetical order)
Adam Elliot  writer

Produced by
Iain Canning .... co-executive producer
Melanie Coombs .... producer
Mark Gooder .... executive producer
Paul Hardart .... executive producer
Tom Hardart .... executive producer
Henry Karjalainen .... post-production producer
Andrew Mackie .... co-executive producer
Bryce Menzies .... executive producer
Jonathan Page .... executive producer
Richard Payten .... co-executive producer
Pauline Piechota .... associate producer
Tom Wild .... line producer
 
Original Music by
Dale Cornelius 
 
Cinematography by
Gerald Thompson 
 
Film Editing by
Bill Murphy 
 
Casting by
Brooke Howden 
 
Production Design by
Adam Elliot 
 
Art Direction by
Craig Fison 
 
Set Decoration by
Isabel Peppard 
Claire Tennant 
 
Production Management
Bridget Callow .... art department production manager
 
Second Unit Director or Assistant Director
Sue Collins .... first assistant director
Jemima Daly .... assistant director: continuity
 
Art Department
Daniel Agdag .... sets and props
Michael Bazeley .... sets and props
Darren Bell .... lead sculptor
Darren Burgess .... sculptor
Lindsay Cox .... sets and props
Jonathan Daw .... sculptor
Jonathan Daw .... sets and props
Scott Ebdon .... armature
Fiona Edwards .... plasticine colourist
Roger Ferdinando .... sets and props
Craig Fison .... sets and props
Robert Gudan .... armature assistant
Robert Gudan .... sets and props
John Lewis .... sculptor
Rob Matson .... sets and props
Colin Moore .... sculptor
Colin Moore .... sets and props
Kailem Nutt .... lead sculptor
Shaun Patten .... set construction manager
Shaun Patten .... sets and props
Isabel Peppard .... character painting
Isabel Peppard .... sculptor
Darcy Prendergast .... lead sculptor
Darcy Prendergast .... sets and props
Sophie Raymond .... sets and props
Luhsun Tan .... model maker assistant
Claire Tennant .... sets and props
 
Sound Department
Laurent Boudaud .... sound re-recording mixer
Michael Carden .... sound effects editor
Nick Foley .... adr recordist
Rick Gould .... adr recordist
Jason Hancock .... foley recordist
Doron Kipen .... sound re-recording mixer
Nick Kray .... adr mixer
Frank Lipson .... sound effects editor
Andrew McGrath .... sound re-recording mixer
Erin McKimm .... location sound recording coordinator
Erin McKimm .... sound editor
Erin McKimm .... sound effects editor
John Simpson .... foley artist
Keith Thomas .... sound editor
Peter Walker .... adr supervisor
Peter Walker .... dialogue editor
Peter Walker .... supervising sound designer
 
Special Effects by
Isabel Peppard .... mould maker
Claire Tennant .... key mold maker
 
Visual Effects by
Michael Allen .... visual effects supervisor
Darren Bell .... visual effects artist
Giselle Hunter .... visual effects artist
Leath Mattner .... visual effects artist
Reece Sanders .... visual effects artist
Curt Sundberg .... visual effects artist
 
Camera and Electrical Department
Glen Anderson .... camera engineering
Jon Billington .... camera operator
Yen Ooi Chi .... additional camera assistant
Nic Kocher .... assistant camera
Calista Lyon .... assistant camera
Robin Plunkett .... camera operator
Garry Sneesby .... camera engineering
Benjamin P. Speth .... camera operator
Gerald Thompson .... motion control design and build
Scott Venner .... assistant camera
Scott Venner .... motion control assistant
Suzy Wood .... behind the scenes stills photographer
 
Animation Department
Daniel Agdag .... animation assistant
Darren Burgess .... animator
Lindsay Cox .... animation assistant
Pierce Davison .... animation assistant
Jonathan Daw .... animation assistant
Dick Jarman .... animator
Anthony Lawrence .... animator
John Lewis .... animator
Jason Lynch .... animator
Al Oldfield .... animation assistant
Darcy Prendergast .... animation assistant
Sophie Raymond .... animation assistant
Craig Ross .... animator
 
Editorial Department
Rachel Knowles .... digital intermediate producer
Patrick McCabe .... second assistant editor
Dee McClelland .... DI colorist
Nic Smith .... digital intermediate technical director
Glen Whelan .... first assistant editor
 
Music Department
Dale Cornelius .... music editor
Will Larsen .... arranger
Will Larsen .... conductor
Will Larsen .... music editor
Leanne Smith .... music supervisor
 
Other crew
Stephen Carroll .... production runner
Melanie Etchell .... title design
Samantha Fitzgerald .... assistant: mr elliot
Monika Gehrt .... production accountant
Lynn Johnson .... caterer
Anna Kaplan .... set/prop librarian
Stella Kinsella .... set/prop librarian
Anthony Lawrence .... mould maker
John Lewis .... mould maker
Jason Lynch .... on-set nurse
Patrick McCabe .... digital post production assistant
Patrick McCabe .... first aid officer
Bryce Menzies .... legal services: Marshalls & Dent
Shaun Miller .... legal services: Marshalls & Dent
Isabel Peppard .... mould maker
Elvis Pramod .... additional production assistant
Leanne Smith .... producers associate
Claire Tennant .... mould maker
Rita Walsh .... set/prop librarian
Bree Whitford .... digital post production assistant
 
Thanks
Scott Meek .... thanks
 

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Additional Details

Also Known As:
"Mary & Max" - Japan (English title) (imdb display title)
See more »
Runtime:
92 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Australia:M | Australia:PG (DVD rating) | Brazil:12 | Canada:G (Manitoba/Ontario/Quebec) | Germany:12 | Japan:G | Singapore:NC-16 | South Korea:12 | Sweden:11 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:12 (DVD) | USA:Not Rated

Did You Know?

Trivia:
All of the water scenes were created with lubricant.See more »
Goofs:
Errors in geography: When the story about the character (Max's upstairs neighbor's friend) who buys a Ferrari is told, the car is shown as having right-hand drive. It's extremely unlikely someone in the US would buy a right-hand drive Ferrari, although of course that would be common in Australia where the movie was made.See more »
Quotes:
[first lines]
Narrator:Mary Dinkle's eyes were the color of muddy puddles. Her birthmark, the color of poo.
See more »
Movie Connections:
References The Man Who Knew Too Much (1956)See more »
Soundtrack:
A Swinging SafariSee more »

FAQ

This FAQ is empty. Add the first question.
73 out of 87 people found the following review useful.
Refreshing and engaging given the home-grown talent involved., 10 April 2009
Author: Marmaduke90 from Australia

In Australia in 1976, a young girl named Mary (voiced by Bethany Whitmore) is a lonely child looking for a friend. She lives with both her parents but her mother is a chain smoking drunk and a thief and her father, who works in a factory putting the strings on teabags, would rather spend time with his collection of dead birds. Mary remains curious about life and finds the address of an American living in New York. She writes him a letter to become his pen pal. The recipient is Max (Philip Seymour Hoffman), a severely overweight Jewish hypochondriac and full-time no-hoper. Gradually, as they send each other letters, Mary and Max's relationship develops and we begin to learn more about their past and their heartache and insecurities of being alone.

Following the short animated film, Harvey Krumpet, director Adam Elliot has constructed his first full feature claymation picture, displaying as much skill as many of the major mainstream studios. The film has been immaculately designed, with many tiny details and features placed into the sets, all of which would have taken many countless hours to mould. The lighting and colour scheme too are significant to the unique look of the film, ranging from highly saturated to almost entirely black and white, to reflect the self-depreciative and sometimes gloomy tone of the narrative. It is a film made of great patience and craftsmanship.

Yet the strongest asset of the film is the humour of the screenplay. Whereas many mainstream animated films such as Shrek and The Incredibles adopt a great deal of hilarity from their pop culture references, Elliot has an eye for the simpler things in life. From the way Mary and Max share their eating habits of chocolate hot dogs, to how Max describes his past jobs, including a street cleaner and a member of the Communist Party, the humour of the film remains truly original, bizarre and often very witty. Elliot excels in his ability write about the most normal things and then turn them on their heads, or degrade his miserable characters in the most hilarious way. Yet there are moments of poignancy too, such as where Mary describes her difficulty at school as she is teased for the birthmark on her forehead, that provide the film's screenplay with a subtext - no matter how simple – about isolation and the need for friends.

The use of Barry Humphries' voice over to convey much of the story is initially highly annoying and intrusive. In the opening scenes it feels overly used and distracting from the story and the detail of the scenes. Gradually though, as the film moves from its opening exposition, the voice over is used slightly less and its scarcity achieves the storybook quality and poetry that it deserves. Barry Humphries reads his lines beautifully. The rest of the voice actors too are splendid. Philip Seymour Hoffman is again in fine form, adding a slight accent to his voice and the decision to model his voice with a character of a similar physique fits nicely. He is quickly become one of the most diverse actors in the world. Bethany Whitmore as the young Mary is equally impressive too and her voice has a real innocence about it. Toni Collette and Eric Bana also have much smaller roles too. It is a well thought out voice cast and while some of the minor characters verge on grotesque, there is still a real sweetness about this film that carries it.

Elliot has described his film as being suitable for everyone. This is rather optimistic. I don't know how particularly young children, who have been conditioned by the more mainstream animated titles, would appreciate the film. It is extremely funny for the most part, but there is also a real sense of gloom around these characters that might not be as appealing to children. And towards the end, the film, despite being well under two hours, begins to lose a bit of momentum as the characters wave in and out of their depleted lives. Perhaps the films message of learning to live with your flaws and accepting the path life has given you is something that children, even if they don't entirely understand now though, needs to be seen anyway. Regardless, it remains a mostly sharp and funny film that many will find refreshing and engaging given the home-grown talent involved.

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Message Boards

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Recent Posts (updated daily)User
Based on 'true story' - not quite... JackMillion
how many stars would you give it? evansweet1214
So ... who cried?! Crazee_108
What do people see in this? lakofintrest79
This Movie is Not Great youatemyrice
Why I give it 2 of 10 statukom
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