- Won 1 BAFTA Film Award. Another 8 wins & 9 nominations.
- See more »
M.C. in Club
Old Guy in Window
Man with Knife
Peter, pool player (as Ronny Fox)
Club Singer (as Frances Ashman)
|Rest of cast listed alphabetically:|
Drunk at Table (uncredited)
National Front Teen (uncredited)
Girl on train (uncredited)
|Marc Frydman||...||associate producer|
|Paul Elman||...||assistant editor|
|Olivier Fontenay||...||color timer|
|Paul Leonardo Jr.||...||post-production coordinator|
|Fernanda Rossi||...||assistant editor|
|Fae Hammond||...||hair & make-up designer / makeup artist|
|Pebbles||...||key makeup artist|
|Adam Bohling||...||unit manager|
|Mitch Davies||...||unit manager|
|Michael Dreyer||...||production manager|
|Charlie Vogel||...||post-production supervisor|
|Kate Hazell||...||assistant director|
|Finn McGrath||...||assistant director|
|Mary Soan||...||assistant director|
|Daniel Toland||...||assistant director|
|Ken Tuohy||...||first assistant director|
|Neil Tuohy||...||second assistant director|
|Charlie Somers||...||third assistant director (uncredited)|
|Noel Cowell||...||stand-by props|
|John Maher||...||construction manager|
|Clem Price Thomas||...||assistant art director|
|Linda Wilson||...||prop buyer|
|Dicken Berglund||...||re-recording mixer: TV version|
|George Berndt||...||adr supervisor|
|Simon Firsht||...||boom operator|
|Jim Greenhorn||...||sound mixer|
|Matthew Iadarola||...||supervising re-recording mixer|
|Bruce Kitzmeyer||...||foley editor|
|George A. Lara||...||foley artist|
|Michael W. Mitchell||...||sound effects editor|
|Branka Mrkic||...||dialogue editor|
|Adam Sawelson||...||re-recording mixer|
|Greg Steele||...||adr mixer|
|Brian Vancho||...||foley artist|
|Matthew Roberts||...||special effects technician|
|Nick Smith||...||special effects technician|
|Jody Taylor||...||special effects technician|
|Rod Woodruff||...||stunt coordinator|
|Jack English||...||still photographer|
|Rupert Lloyd-Parry||...||key grip|
|William Tracey||...||best boy|
|Sharon Long||...||costume assistant|
|Alex Candlin||...||location scout|
|Jo Chate||...||location manager|
|Stan Fus||...||location manager|
|Michael K. Bauer||...||assistant music editor|
|Dick Bernstein||...||music editor|
|Margot Core||...||music supervisor|
|Nick 'Nocker' Curson||...||prop truck driver|
|Mark Swaffield||...||driver: camera car|
|Tara B. Cook||...||assistant to director|
|Sam Donovan||...||script supervisor|
|Shay Dunphy||...||additional voice|
|Pj Harling||...||runner (as P.J. Harling)|
|Boyd Harvey||...||insurance: Media Insurance Brokers|
|Luke Jones||...||production assistant|
|Kristopher Lease||...||film conformer|
|Nigel Marchant||...||floor runner|
|Emma Pike||...||production coordinator|
|Victor Glynn||...||studio executive (uncredited)|
|Gianluca Nardulli||...||press officer: Italy (uncredited)|
|John Travers||...||film conformer (uncredited)|
|Brendan J. Cassin||...||special thanks|
- ARP Sélection (1997) (France) (theatrical)
- Channel 4 Television Corporation (2000) (United Kingdom) (tv)
- Columbia TriStar Home Entertainment (2003) (United States) (DVD)
- Fox Film Corporation (United States)
- Sony Pictures Classics (1998) (United States)
- TF1 Vidéo (France) (video)
- Twentieth Century Fox (United States)
The family of Raymond, his wife Val and her brother Billy live in working-class London district. Also in their family is Val and Billy's mother Janet and grandmother Kath. Billy is a drug addict and Raymond kicks him out of the house, making him live on his own. Raymond is generally a rough and even violent person, and that leads to problems in the life of the family.
Written by Gustaf Molin
|Parents Guide||View content advisory »|
|Also Known As||
|Trivia||The word "fuck" and its variations are used 428 times, an average of 3.34 times per minute, a higher rate than any other film to date (March 2008), with the exception of the documentary Fuck (2005), which holds the record with 857 uses of the word. See more »|
|Goofs||A boom mic is visible in the supermarket parking lot. See more »|
|Movie Connections||Featured in Especial Cannes: 50 Anos de Festival (1997). See more »|
|Soundtracks||Las Vegas See more »|
She took his dinner in to him once. Me mum, in the pub, and plonked it in front of him on a tray. Knife and fork, salt and pepper. He said, "What's that?" She said, "It's your dinner. I thought you might be hungry. You ain't eaten for three fucking days. You live in here, you might as well fucking eat in here." It's funny. He didn't like that, did he? Mugged him up in front of his mates. Thought more of them cunts than he did us. Lovely. Yeah. She got a clump over that. Well, she would, wouldn't she? He was always pissed in there, weren't he? You know? We go in the pub to get our living, you know? That's where we do our business. He'd be there spunking out while we're sitting at home without a dinar, you know, thank you. And he'd promise things. You know? Promise to take us places, you know? Never did. Never took us anywhere. And when he did bother to come home he'd sit in that fucking chair, doss off with his tray in his lap. And I'd just stand there looking at him. I'd look in his face, and my mother'd go upstairs, and I'd say, "Say, Mum, ain't Daddy coming to bed?" And she'd say, "No. No, he's all right, son. He'll come up when he wakes up." He's gotta wake up to go to bed! Now, I'd stand there looking at this fucking old man, you know, my dad, you know, in that chair, that horrible fucking chair with the shiny, worn-out arms. I should've burnt the fucking thing. By the end he was hemorrhaging from both ends, you know? I used to hear him in the morning hanging on to the kharzi. It was lovely. Never stopped him going to the pub, though. No, he was well enough to do that. Now, one day, right, he's staggering across the pub pissed from the night before. He's gone over, crunch, right on his mooey, like a fucking ironing board. His hooter's around here, his railings all over the fucking place. Me and me mum had to go the hospital to see him. We walked in. He's laying in bed. He's got tubes up his arms, fucking up his nose, down the back of his Gregory. He didn't look well. Fucking vodka was keeping him alive. Well, I ain't that interested, so I'm having a little mooch about, you know. I looked above his bed, and there's this sign, right, with some weird writing on it. I couldn't read too well at the time. I said to my mum, "Mum, what's that say? You know, that sign above Daddy's head." All right? She said, "Nil by mouth." "What's that, a football score?" One-nil, three-nil, two-nil, a geezer called fucking Nil. Yeah. I said, "Well, what's it mean?" She said, "It means... "
Mark: It means nothing to eat.
Ray: Yeah, nothing down the...
[points into his mouth]
Mark: Nothing down the... Yeah.
Ray: Yeah, all right. I remembered that day, because I could've put that on his fucking tombstone, you know? Because I don't remember one kiss, you know, one cuddle. Nothing. I mean, plenty went down, not a lot came out, you know, nothing that was any fucking good. And I'd look at this man that I call Dad, you know? My father, I knew him as Dad. He was my fucking dad but he weren't like other kids' dads, you know? It was as if the word itself were enough, and it ain't.
Mark: That ain't when he died though, is it?
Ray: No. He lived another ten years, slippery old cunt. He died one afternoon in that fucking armchair. About right. I went around to see him, you know, when he was plotted up at me mother's.
Mark: Hatcham Road?
Ray: Yeah, Hatcham Road. He was upstairs in that front bedroom. Laid out.
Ray: Yeah. Yeah. I've gone up there, gone in. I'm sitting on the bed looking at him. He's laying there like... Mullered. And it was like he'd shrunk, you know? He was a big man.
Mark: He was a lump.
Ray: Yeah. You should know. You got enough clumps off the cunt. (sighs) And I just touched him, you know? He was fucking freezing cold. It frightened the life out of me. I was looking at him, you know? For the first time in my life, I talked to him. I said, "Why didn't you ever love me?"
See more »