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Main Street
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Main Street (2010) More at IMDbPro »

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Main Street -- Oscar winner Colin Firth & Orlando Bloom star in a drama from the writer of To Kill A Mockingbird. A small city's way of life is threatened when an outsider makes its residents an offer they can't refuse.
Main Street -- Several residents of a small Southern city find their lives changed by the arrival of a stranger with a controversial plan to save their decaying hometown.


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Horton Foote (written by)
View company contact information for Main Street on IMDbPro.
Release Date:
26 July 2012 (Kuwait) See more »
An offer too good to be true... it just might be
Several residents of a small Southern city whose lives are changed by the arrival of a stranger with... See more » | Add synopsis »
Plot Keywords:
1 nomination See more »
User Reviews:
Brilliant acting; plot as metaphor See more (28 total) »


  (in credits order)

Colin Firth ... Gus Leroy

Ellen Burstyn ... Georgiana Carr

Patricia Clarkson ... Willa Jenkins

Orlando Bloom ... Harris Parker

Amber Tamblyn ... Mary Saunders

Margo Martindale ... Myrtle Parker

Andrew McCarthy ... Howard Mercer

Victoria Clark ... Miriam

Isiah Whitlock Jr. ... Mayor

Tom Wopat ... Frank

Viktor Hernandez ... Estaquio

Juan Piedrahita ... Jose
Thomas Upchurch ... Trooper Williams
Reid Dalton ... Crosby Gage

Amy da Luz ... Rita

Nadya Simpson ... Kate
Rick Hamilton ... Elliott

Martin Thompson ... Vaughn Guess
J.W. Smith ... Bill
Veda Wilson ... Shirley

Cheryl McConnell ... Lucille

Gezell Fleming ... Rebecca
Stuart Hough ... Raymond
Cheri Varnadoe ... Clara

Andrea Powell ... Hostess
Edna Lee Figueroa ... Woman at Warehouse
Luis Lopez ... Truck Driver
Michael Fraguada ... Other Truck Driver
rest of cast listed alphabetically:
Todd Davis ... Police Officer (uncredited)
Ivory Dortch ... College student (uncredited)
Cricket Ellis ... Town Hall Attendee (uncredited)

Liam Ferguson ... Henry (uncredited)

Tyler Getzelmann ... Latino child (uncredited)
Los Hickson ... College Student (uncredited)

Christopher Houldsworth ... Man in Police Station (uncredited)
Alena Koch ... Town Hall Attendee (uncredited)

Gary Ray Moore ... Pedestrian (uncredited)

Anna Nalepka ... Migrant worker (uncredited)
Pierre Ortiz ... Passenger (uncredited)

Anita Richter ... Extra (uncredited)

John Rutland ... Reporter (uncredited)
Kathy Scruggs ... Pedestrian (uncredited)
Jacques Shy ... College student (uncredited)
Matt Whitnack ... Driver (uncredited)

Directed by
John Doyle 
Writing credits
Horton Foote (written by)

Produced by
Yvette Bikoff .... co-producer
Megan Ellison .... producer
Sandy Freeman .... associate producer
William S. Gilmore .... line producer
Jonah M. Hirsch .... producer (as Jonah Hirsch)
Justin Hirsch .... associate producer
David Sardi .... associate producer
Douglas Saylor Jr. .... executive producer
Ted Schipper .... executive producer
Adi Shankar .... executive producer
Rob Shoaf .... associate producer
Spencer Silna .... producer
Joel Thomas .... associate producer
Original Music by
Patrick Doyle 
Cinematography by
Donald McAlpine (director of photography) (as Donald M. McAlpine)
Film Editing by
Neil Farrell 
Richard Francis-Bruce  (as Richard Francis Bruce)
Trudy Ship 
Casting by
Tiffany Little Canfield 
Bernard Telsey 
David Vaccari 
Production Design by
Christopher Nowak 
Set Decoration by
James Edward Ferrell Jr.  (as James Ferrell)
Costume Design by
Gary Jones 
Makeup Department
Susan Buffington .... hair stylist
Kelly E. Marlow .... key hair stylist (as Kelly Caldwell)
Sandra S. Orsolyak .... makeup department head
Holly Sago .... assistant makeup artist
Joan Shay .... hair department head
Production Management
Grant Gilmore .... unit production manager
Second Unit Director or Assistant Director
Lily Garcia .... additional second assistant director
Richard Oswald .... second assistant director
David Sardi .... first assistant director
Douglas Saylor Jr. .... second unit director
Andrew Ward .... second second assistant director
Art Department
Craig Gilmore .... storyboard artist
Chris Holcombe .... key greensman
Chris Holcombe .... set dresser
Margie McLamb Holowaty .... set buyer
Michael Dean Kiesling .... prop assistant
Walter Kiesling .... assistant property master
Lauren Mallard .... art department coordinator
James Passanante .... lead scenic
John Sanders .... property master
Jeffrey Schlatter .... construction foreman
Gregory Schmitz .... paint foreman
Bob Smith .... leadman
Sound Department
Jeffree Bloomer .... sound mixer
Kellen Bloomer .... second boom
Anthony Cargioli .... boom operator
Robert Dehn .... sound studio manager
Corey J. Grasso .... adr mixer
Angela Hemingway .... adr dialogue editor
Chad J. Hughes .... supervising sound editor
Steven Iba .... assistant sound editor
Zach Michaelis .... foley mixer
Jonathan Pendergrass .... foley editor
Jonathan Wales .... sound re-recording mixer
Special Effects by
David Hill .... special effects foreman
Robert 'Lucky' Rieker .... special effects technician
Susan Beavis .... special effects buyer (uncredited)
Visual Effects by
Alden Anderson .... visual effects
John Bowers .... compositor
Matthew Merkovich .... visual effects (as Matt Merkovich)
Neil Castles Jr. .... stunt driver
G. Grant Jewett .... stunt double: Orlando Bloom
Dean Mumford .... stunt coordinator
Jimmie Lee Sessoms .... stunt driver
Camera and Electrical Department
Steven Allen .... dolly grip (as Steve Allen)
Kelton 'Mookie' Ballard .... grip (as Kelton Ballard)
Patrick Borowiak .... remote head technician
George Bozeman II .... grip (as George Bozeman Jr.)
Pam Connor .... grip
Daniel R. Haizlip .... best boy grip (as Danny DJ Haizlip)
Bob Hall .... first assistant camera: "a" camera
W.C. 'Chunky' Huse .... key grip
Tony Jenzano .... video assist
Jonathan Little .... rigging grip
James B. Mahorney .... rigging grip (as James Mahorney)
Cristiano Palermi .... lighting technician
Ron Phillips .... still photographer
Robert M. Powell .... grip (as Robert Powell)
Brooks Robinson .... a-camera / steadicam operator
John Rutland .... additional photographer (as John W. Rutland)
James Selph .... grip
Christian Shonts .... camera loader
Steve Skinner .... best boy grip
John R. Sutton .... rigging key grip (as John Sutton)
Dascious Thomas .... key grip (as F. Dascious Thomas III)
Jessica Ward .... second assistant camera
Animation Department
Craig Gilmore .... storyboard artist
Casting Department
Abbie Brady-Dalton .... casting assistant
Maxann Crotts .... extras casting (as Maxann Crotts-Harvey)
Bess Fifer .... casting assistant
Carrie Rosson .... casting assistant
Costume and Wardrobe Department
Cameron Doyle .... costume supervisor
Joyce Marling .... costumer
Pamela Miller .... wardrobe assistant
Editorial Department
Alex Anstey .... assistant editor
William Blunden .... first assistant editor
Matthew Cassel .... first assistant editor
Pete Conlin .... post production
Dan Farrell .... first assistant editor (as Daniel Farrell)
Dale E. Grahn .... color timer (as Dale Grahn)
Jonathan Hoffman .... post production
Jack Murphy .... post-production consultant
James Schermerhorn .... assistant editor
Jennifer Spenelli .... first assistant editor
Lance Spindler .... color timer
Bill Stokes .... colorist: dailies (uncredited)
Music Department
Patrick Doyle .... musician: piano
Robin Morrison .... music editor
Maggie Rodford .... music producer
James Shearman .... conductor
James Shearman .... orchestrator
Nick Wollage .... music mixer
Nick Wollage .... music recordist
Transportation Department
Larry Wayne Boswell .... picture car coordinator
Neil Castles Jr. .... transportation coordinator
Debbie Lane Hewett .... driver: Ellen Burstyn
Skip Long .... transportation captain
Scott Siler .... driver
Todd Luckey .... production van operator (uncredited)
Other crew
Christina Aldridge .... production assistant
Jim Babel .... stand-in: Colin Firth and Orlando Bloom
Jacob Bartel .... assistant: Mr. Bloom
Jen Brett .... production secretary
Tracy Breyfogle .... production assistant
Stephen Bridgewater .... drama coach
Kristin Cauldwell .... payroll accountant
Amy Chaffee .... dialect coach
Maxann Crotts .... housing coordinator
Maxann Crotts .... product placement
Lisa Edwards .... first accountant
Sandy Freeman .... location consultant
Paula Gilmore .... assistant: William S. Gilmore
Jim Hale .... production accountant
Debbie Lane Hewett .... additional assistant location manager
E. Michael Hewett .... supervising location manager
Tyler Hickman .... assistant to producers
J. Elizabeth Ingram .... production coordinator
Kasey Kiser .... location production assistant
Meg Lansaw .... production assistant
Brandon O'Neil Leonard .... set production assistant (as Brandon Leonard)
Vikki Lewis .... craft service
David Linck .... unit publicist
Brett Line .... assistant to producers
Katarzyna 'Kait' Malec .... key set location assistant
Vicki Pearlman .... accounting assistant
Alice M. Peschl .... assistant production coordinator
David Ryder .... office production assistant
Catherine Sewell .... stand in/double
Rob Shoaf .... location consultant
Andy Sleet .... assistant location manager
Nick Snyder .... assistant :Patricia Clarkson, Amber Tamblyn
Julia Tasker .... script supervisor
Lauren Weingarten .... assistant: Mr.Firth
Ryan Whelan .... assistant: dop
Aaron Harvey .... special thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated PG for mild thematic elements, brief language and smoking
92 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Australia:G | Singapore:PG | South Korea:12 | Sweden:7 (DVD rating) | UK:PG | USA:PG (certificate #46209)
Filming Locations:

Did You Know?

The old home occupied by Georgiana Carr is located at 206 N. Dillard Street in Durham. It was built about 1909 by a grocery wholesaler (as opposed to 1923 by tobacco magnate, as the movie states), has gone through several owners and configurations, and now is owned and used by the Durham Crisis Reponse Center, an agency that supports victims of domestic violence. The home is across Dillard Street from a television station, and the station's satellite dishes are seen in some shots in the film.See more »
Continuity: While Mary and her mother are talking in her bedroom, her mother's hair changes position - alternately behind and in front of her ear.See more »
Harris Parker:This city like many in America, has come to a rough moment in its history. A city after all is just a collection of houses and buildings, hopes and dreams that depend on the fortune and determination and fate of its residents. The future, uncertain at best can be fearful or full of promise. It's all in how you see it..."See more »


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32 out of 45 people found the following review useful.
Brilliant acting; plot as metaphor, 2 September 2011
Author: JP-106 from United States

As previous reviewers have synopsized the plot, I will not do that. The number of negative reviews is surprising, especially since most of those have no clue what this movie is about. And, their lack of insight is what leads them to think it is simple and uninteresting. Nothing could be further from the truth for movie-goers who are more interested in humanity than in over-wrought drama (e.g., serial killers, absurd disasters, cartoonish fantasies, etc., etc. -- save me from "Hollywood")that offer no real insight into our humanity.

Here is what this movie is about: the "hazardous waste" is pure metaphor for our fears: our fears of the future, of technology, of the unknown. The question this movie poses so clearly and powerfully is: how should we confront the fear of the future, which is inevitably one of confronting the nature of what our humanity involves: technology and change? And, it does have an answer, with which I could not agree more -- and with which I would hope anyone watching this movie would also, easily or not, come to agree.

Just as "To Kill a Mockingbird" was about our fears of others who are unknown to us and with whom we have no real experience, this movie asks us how we react to the unknown: Do we flee, or do we stand and make something out of whatever it is we have? The heroes in this movie do the latter and show those who would do otherwise the way forward ... which is what the best in our humanity always does, after all.

Orlando Bloom's character's mother (Mrs. Parker) and his erstwhile girlfriend's mother (Miriam) are afraid of the future and want to withdraw, hunker down. They have no will for their children to overcome. Orlando Bloom's character deals with the uncertain future by working hard to make something good of it. His girlfriend's character wants to run away.

Ellen Burstyn's character is caught in the middle of a dilemma: trust the unknown that offers progress and salvation, or give in to something safely predictable by selling out. In the end, she let's go of what is truly in the past (her home) and embraces what it is that offers hope for the future (the warehouse).

When our cities, our lives, our civilizations appear to be crumbling, what works: retreating from the challenge? Or, embracing new, uncertain, potentially scary things (metaphorically -- yes, metaphorically -- represented by nuclear waste)? This movie deals powerfully with those who would point to every "problem" on the way to the future (e.g., Fukushima) as a reason to retreat rather than as a lesson to learn, a problem to overcome. It basically says: accidents will happen: some good, some bad; get over it by learning from them and moving on. Imagine humanity retreating in the face of all the disasters it has encountered on the way to its current future? We would be still chipping flint with a lifespan of less than 30 difficult years.

Yes, this movie makes plain that Luddites are much to be feared, as are those who believe that "corporations" are bad and industry is almost certainly hiding are all sorts of horrible things. Instead, this movie says that we humans are, on balance, good. If we do not give in to our fears we can overcome those among us who would give in. By moving ahead (not by retreating or running away) we can overcome the challenges we create for ourselves because our very nature is to overcome. We are tool makers. We are proactive. We want good things for our children. Those who are destructive among us are a minority and will be overcome. But, do not fear what we are. Do not fear technology. Do not fear the way we organize our abilities to trade our best efforts with each other (i.e., industry, corporations, technology, progress).

Typical "Hollywood types" will not like this film because it counters every one of their most cherished beliefs: that Western Civilization, in its current most fully-realized form, is almost certainly bad for the humanity in us. Instead, it shows that our humanity is most realized when we trust ourselves to use our knowledge to give us what it will. After all, we (and I mean all 7 billion of us) would not be living longer, more satisfying, more comfortable lives than our predecessors in the 18th or 19th centuries had we not done so before now.

Beyond the point of the movie, the plot is one that could not be more satisfying in its simplicity or more poignant. These are real people leading real lives that many among us have led. No serial killers, no absurd global calamities, no over-dramatic nonsense. Just real people facing difficult human emotions and choices and helping each other through them. I can see why these fine actors decided to work in this film. Each of the actors delivers powerful performances: Ellen Burtsyn has never been better. My heart ached as she dithered about what to do with her life, both past, present, and future. Colin Firth was perfect in presenting the face of the future: shining with promise, but making us wonder nonetheless. Can we trust him? Until we realize the real question is: can we trust ourselves? Orlando Bloom shows us why it is so hard for those who believe in themselves and believe in the future to soldier on, despite so many disbelievers around, especially among loved-ones.

I could go, but the cast was magnificent and did the screenplay such justice. Horton Foote, despite his age, was at the height of his story-telling prowess. If you like real people; if you like movies that are real about humanity, then you will like "Main Street."

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What Happened Here? Victorgoat
Colin is doing a Bill Clinton impression? cynking
Ellen Burstyn saves it moviejoe79
Where's all the black people? tc_rider
Is this based on the Sinclair Lewis novel? lolhahadead
I want to see it... CryingAngel85
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