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Nil by Mouth ()


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A rough, short-tempered patriarch of a working class family has his life and the relationships around him slowly unravel.

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Writer:
Awards:
  • Won 1 BAFTA Film Award. Another 8 wins & 9 nominations.
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Cast verified as complete

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Raymond
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Valerie
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Billy
Laila Morse ...
Janet
Edna Doré ...
Kath
Chrissie Cotterill ...
Paula
Jon Morrison ...
Angus
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Mark
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Danny
Terry Rowley ...
M.C. in Club
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Club Comic
Leah Fitzgerald ...
Michelle
Gerry Bromfield ...
Drug Dealer
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Schmuddie
Sid Golder ...
Old Guy in Window
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Man with Knife
Kenan Hudaverdi ...
Laundrette Owner
Everton Nelson ...
Street Violinist
Ronnie Fox ...
Peter, pool player (as Ronny Fox)
Franc Ashman ...
Club Singer (as Frances Ashman)
Dan Carey ...
Band Musician
Martin Watson ...
Band Musician
Giseppe Acunzo ...
Band Musician
Matthew Scott ...
Band Musician
Edmund Scott ...
Band Musician
Rest of cast listed alphabetically:
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Drunk at Table (uncredited)
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National Front Teen (uncredited)
Alice Renouf ...
Girl on train (uncredited)

Directed by

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Gary Oldman

Written by

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Gary Oldman ... (screenplay)

Produced by

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Luc Besson ... producer
Marc Frydman ... associate producer
Hilary Heath ... co-producer
Gary Oldman ... producer
Douglas Urbanski ... producer

Music by

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Eric Clapton

Cinematography by

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Ron Fortunato

Film Editing by

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Brad Fuller

Editorial Department

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Paul Elman ... assistant editor
Olivier Fontenay ... color timer
Paul Leonardo Jr. ... post-production coordinator
Fernanda Rossi ... assistant editor

Casting By

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Sue Jones

Production Design by

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Hugo Luczyc-Wyhowski

Art Direction by

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Luana Hanson
Hugo Luczyc-Wyhowski

Costume Design by

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Barbara Kidd

Makeup Department

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Fae Hammond ... hair & make-up designer / makeup artist
Pebbles ... key makeup artist

Production Management

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Adam Bohling ... unit manager
Mitch Davies ... unit manager
Michael Dreyer ... production manager
Charlie Vogel ... post-production supervisor

Second Unit Director or Assistant Director

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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)

Art Department

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Noel Cowell ... stand-by props
John Maher ... construction manager
Clem Price Thomas ... assistant art director
Linda Wilson ... prop buyer

Sound Department

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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

Special Effects by

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Matthew Roberts ... special effects technician
Nick Smith ... special effects technician
Jody Taylor ... special effects technician

Stunts

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Rod Woodruff ... stunt coordinator

Camera and Electrical Department

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John Donoghue ... gaffer
Jack English ... still photographer
Rupert Lloyd-Parry ... key grip
Mitch Spooner ... electrician
William Tracey ... best boy

Costume and Wardrobe Department

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Sharon Long ... costume assistant

Location Management

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Alex Candlin ... location scout
Jo Chate ... location manager
Stan Fus ... location manager

Music Department

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Michael K. Bauer ... assistant music editor
Dick Bernstein ... music editor
Margot Core ... music supervisor

Transportation Department

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Nick 'Nocker' Curson ... prop truck driver
Mark Swaffield ... driver: camera car

Other crew

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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
Natasha Howes ... runner
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)

Thanks

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Brendan J. Cassin ... special thanks
Victor Glynn ... thanks
Ivan Martin ... thanks

Production Companies

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Distributors

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Special Effects

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Other Companies

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Storyline

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Plot Summary

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

Plot Keywords
Genres
Parents Guide View content advisory »
Certification

Additional Details

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Also Known As
  • Ne pas avaler (France)
  • Los golpes de la vida (Spain)
  • Éhkoppon (Hungary)
  • Erään perheen elämästä (Finland)
  • Tilværelsens bagside (Denmark)
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Runtime
  • 128 min
Official Sites
Country
Language
Color
Aspect Ratio
Sound Mix
Filming Locations

Box Office

Budget $9,000,000 (estimated)

Did You Know?

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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 »
Quotes Ray: 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.
Mark: Free.
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?"
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