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Chris & Don. A Love Story
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Chris & Don. A Love Story (2007) More at IMDbPro »

Photos (See all 2 | slideshow) Videos (see all 6)
Chris & Don. A Love Story -- The love story between British writer, Christopher Isherwood (whose book 'The Berlin Stories' inspired the musical and film Cabaret) and Don Bachardy, American portrait artist.
Chris & Don. A Love Story -- Clip: Death of Chris
Chris & Don. A Love Story -- Clip: Don's emergence as an artist
Chris & Don. A Love Story -- Clip: Chris and Don's first encounter
Chris & Don. A Love Story -- Clip: Chris writes about Don


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7.8/10   547 votes »
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Release Date:
13 June 2008 (USA) See more »
No one believed they could last so long...
The love story between British writer, Christopher Isherwood (whose book 'The Berlin Stories' inspired the musical and film Cabaret) and Don Bachardy, American portrait artist. Full summary » | Add synopsis »
Plot Keywords:
1 win & 3 nominations See more »
User Reviews:
First things last See more (13 total) »


W.H. Auden ... Himself (archive footage)
Don Bachardy ... Himself
Ted Bachardy ... Himself
James Berg ... Himself (as Jim Berg)

John Boorman ... Himself

Paul Bowles ... Himself (archive footage)
Katherine Bucknell ... Herself

Leslie Caron ... Herself
Eduardo Correia ... Ahmed
E.M. Forster ... Himself (archive footage)
Chris Freeman ... Himself
Charlie Gordon ... First Dinner Guest
Kenneth Grimes ... Paul Bowles (as Ken Grimes)
Sara S. Hodson ... Herself
Evelyn Hooker ... Herself (archive footage)

Aldous Huxley ... Himself (archive footage)

Christopher Isherwood ... Himself (archive footage)
Dan Kael ... Model
Matt Kelling ... Ted Bachardy

Burt Lancaster ... Himself (archive footage)

Jack Larson ... Himself

Herbert Lom ... Himself

Anna Magnani ... Herself (archive footage)
Mike Makepeace ... Model
James Malloy ... Second Dinner Guest (as Jim Malloy)
W. Somerset Maugham ... Himself (archive footage)

Liza Minnelli ... Herself

Christopher Murray ... Himself
Michael Norwood ... Don Bachardy

Marisa Pavan ... Herself
Swami Prabhavananda ... Himself (archive footage)
Shayn Scott ... Christopher Isherwood
Dodie Smith ... Herself (archive footage)
Igor Stravinsky ... Himself (archive footage)

Gloria Stuart ... Herself
James White ... Himself (as James P. White)

Tennessee Williams ... Himself (archive footage)
Stefan Wills ... Model

Michael York ... Himself - Narrator

Directed by
Tina Mascara 
Guido Santi 
Produced by
Julia Alexander .... producer (as Julia Scott)
Martina Battistich .... associate producer
Andrew Herwitz .... executive producer
Signe Johnson .... associate producer
Tina Mascara .... producer
Guido Santi .... producer
James White .... executive producer (as James P. White)
James White .... producer (as James P. White)
Original Music by
Miriam Cutler 
Cinematography by
Ralph Q. Smith (director of photography)
Film Editing by
Tina Mascara 
Guido Santi 
Production Design by
Francisco Stohr 
Art Direction by
Carlos Hurtado 
Makeup Department
Natalie Thimm .... makeup artist
Art Department
Christopher C. Jones .... graphic artist: title
Francisco Stohr .... set designer (uncredited)
Sound Department
Jonathan Amador .... adr mixer: Mr. York (as Jon Amador)
Andy Hay .... sound re-recording mixer
Andy Hay .... supervising sound editor
Tom Lopez .... location sound: Tangier
Cynthia Merrill .... foley artist
Andy Hay .... sound designer (uncredited)
Visual Effects by
Rodney Ascher .... visual effects artist: photo sequences
Camera and Electrical Department
Tijah Bumgarner .... second assistant camera
Kenneth Grimes .... gaffer (as Ken Grimes)
Christopher Hackman .... camera operator
Carlos Hurtado .... still photographer
James Malloy .... first assistant camera (as Jim Malloy)
James Malloy .... still photographer (as Jim Malloy)
John Parkan .... camera operator
Gerald Saldo .... provider: grip and lighting equipment, Bayside Pictures
Keith L. Smith .... camera operator (as Keith Smith)
Peter Ventrella .... camera operator
Animation Department
Katrina Swanger .... animator
Kristina Swanger .... animator
Costume and Wardrobe Department
Signe Johnson .... wardrobe
Editorial Department
Brian Borne .... digital color corrector
Wade Felker .... colorist: dailies
Randy Magalski .... on-line editor
Bob Williamson .... on-line editor
Music Department
Charlie Adelphia .... musician: woodwinds
Nick Ariondo .... music: accordion
Max Baxter .... musician: saxophones
Pasa Doble .... musician: strings
Desha Dunnahoe .... music preparation
Louis Durra .... musician: piano
Hollis Fisher .... musician: trombone and tuba
Ira Ingber .... music pre-mix engineer
Ira Ingber .... musician: electric and acoustic guitars
Jerry Kalaf .... musician: drums
Carl Sealove .... musician: electric and acoustic bass
Lee Thornburg .... musician: trumpet and fugelhorn
Larry Tuttle .... musician: acoustic bass
Wenger Yussi .... musician: nylon jazz guitars (as Yussi)
Other crew
Martina Battistich .... web site designer
Sarah Bishop .... account executive
Nathalie Canessa-White .... production assistant (as Nathalie Canessa)
Michael Donaldson .... clearance attorney
Nadia Kibout .... production assistant
Elias Savada .... copyright researcher: Motion Picture Information Service
Michelle Trentham .... account manager
Brian Turnauer .... legal consultant
Jules White .... web site designer
Mickey Cottrell .... publicist (uncredited)

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
USA:90 min
Aspect Ratio:
1.78 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
Features Frankenstein: The True Story (1973) (TV)See more »


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4 out of 8 people found the following review useful.
First things last, 13 June 2009
Author: sandover from Greece

What is love? And how does it exercise us? As, regardless of age or experience, we grope, or dance, or trot, or what you will, our way in life, is there not at some point, for some of us, a deep impact encounter with another person that challenges our expectations, our fears, even our love? Let alone the fact that, for example, a friend's fleeting remark can trigger an unpleasant memory. That much for frailty, for I do not want to deliver any kind of portentous philosophical or psychoanalytic sketch as a response to the film, but there was one thing, one thing if you may, that touched me profoundly, and although it shows, I think, an immense refinement and spontaneity of affect, it is of the simplest logical necessity!

First things first! you may say, if you still read this.

Like, this is a documentary concerning two men, two artists, in love, in a relationship for more than thirty years, along with geography, exile, backgrounds, celebrities, chronology, hilarity, love and its discontents making for a (dual) portrait.

Like Chris Isherwood, a somewhat canonical writer, mostly for his Berlin stories, living the 20th century passion in an insouciant pre-fascist Germany, ends up in Hollywwod, California coming from rural upper-class England, and, past middle age, he encounters a charming adolescent who ends up the love of his life. A worthy artist, also.

Like all that this entails, what is influence, what are the stakes, of youth coming into age, into art, jealousy, manhood, disgust for mushrooms (and even worse, where this, combined with canned breakfast, can lead to!), shock treatment, and what is the use of a horse being with a cat, along other matters.

Or even why love is as rare as guts. I felt my saliva freeze in my neck and tears at the back of my eye-bulbs, when Don Bachardy raised to the camera the first drawing of Isherwood's dead head.

Or why love is as frequent as ideology. If one bothers about the same sex marriage issue, thumbs up or down, mildly or not, that is if such a story can trigger a political, ideological statement or pronouncement, then one should bother also for re-balancing the debt towards people shock-treated. Recall how a broken, elderly Ted, Don Bachardy's brother, comes just a couple of minutes after the sly editing of his former, radiant and handsome self. And, even more sobering, how his brother's voice says, in a tone hurt, with all the could-have-beens of a life muffled, and still matter of fact: the shock treatment ruined his life.

But as this, too, begins to smell of ideology, I turn to what, how shall I put it, elevates to a higher degree the linear, ideological, biographical data of the film.

The day Chris Isherwood died, Don Bachardy commenced reading his diaries backwards. He wanted to reach back to their meeting. Now, for me, if there ever was an effective and affective definition of Jean Baudrillard's awkward phrase "Things get their full meaning when played backwards", this is the case!

To make first things last, a true, a truly meaningful act of love!

Like a poem by Elizabeth Bishop, namely her last one, simply and aptly called "Poem". I would like to quote it in extent:

(...) Our visions coincided - "visions" is

too serious a word - our looks, two looks:

art copying from life and life itself,

life and the memory of it so compressed

they've turned into each other. Which is which?

Life and the memory of it cramped,

dim, on a piece of Bristol board,

dim, but how live, how touching in detail

- the little that we get for free,

the little of our earthly trust. Not much. (...)

Thank you.

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