| Videos (see all 2) |
Directed by | |||
| Mike Newell | |||
Writing credits(in alphabetical order) | ||
| Beryl Bainbridge | novel | |
| Charles Wood | writer | |
Produced by | |||
| Victor Glynn | .... | co-producer | |
| Conor Harrington | .... | co-producer | |
| Hilary Heath | .... | producer | |
| Philip Hinchcliffe | .... | producer | |
| John Kelleher | .... | executive producer | |
| Steve Matthews | .... | script producer | |
| Mark Shivas | .... | executive producer | |
| John Sivers | .... | executive producer | |
| Andrew Warren | .... | associate producer | |
Original Music by | |||
| Richard Hartley | |||
Cinematography by | |||
| Dick Pope | |||
Film Editing by | |||
| Jon Gregory | |||
Casting by | |||
| Susie Figgis | |||
Production Design by | |||
| Mark Geraghty | |||
Art Direction by | |||
| David Wilson | (as Dave Wilson) | ||
Costume Design by | |||
| Joan Bergin | |||
Makeup Department | |||
| Ann Buchanan | .... | makeup artist | |
| Francesca Crowder | .... | hair stylist | |
| Stephanie O'Rourke | .... | assistant hair stylist | |
Production Management | |||
| George Adams | .... | executive production manager | |
| John McDonnell | .... | production manager | |
Art Department | |||
| Tommy Bassett | .... | construction manager | |
| Triona Coen | .... | stand-by props | |
| Clodagh Conroy | .... | art department stand-by | |
| Eddie Cunningham | .... | carpenter | |
| Owen Monaghan | .... | dressing props | |
| Paddy Murray | .... | stand-by props | |
| Tony Nicholson | .... | dressing props | |
| Eamonn O'Higgins | .... | property master | |
| Alan Scott | .... | painter | |
| Jeanne Vertigan | .... | production buyer | |
Sound Department | |||
| Philip Alton | .... | foley editor | |
| Sue Baker | .... | sound editor | |
| Brian Blamey | .... | dialogue editor | |
| Mick Boggis | .... | dubbing assistant | |
| Stephen Farrell | .... | sound trainee | |
| Derek Holding | .... | dialogue editor | |
| Tim Lewiston | .... | assistant dialogue editor | |
| Derek Lomas | .... | assistant sound editor | |
| Peter Maxwell | .... | sound re-recording mixer | |
| John Salter | .... | boom operator | |
| Peter Sutton | .... | sound mixer | |
| Steve Hancock | .... | sound camera operator (uncredited) | |
Stunts | |||
| Martin Grace | .... | stunts | |
Camera and Electrical Department | |||
| Ciarán Barry | .... | clapper loader | |
| Alan Butler | .... | focus puller | |
| Kenny Byrne | .... | second focus puller | |
| Tom Collins | .... | still photographer | |
| John Conroy | .... | assistant camera | |
| John Conroy | .... | clapper loader | |
| Seamus Corcoran | .... | additional camera operator | |
| Sean Corcoran | .... | camera operator: second unit | |
| Con Dempsey | .... | gaffer | |
| Kieran Dempsey | .... | best boy | |
| Terry Eiffe | .... | electrician | |
| Philip Fitzsimons | .... | electrician | |
| Jonathan Hession | .... | still photographer | |
| Philip Murphy | .... | grip | |
| Jimmy O'Meara | .... | rigger | |
| Tony Rowland | .... | key grip | |
| Des Whelan | .... | camera operator | |
Costume and Wardrobe Department | |||
| Eimer Ni Mhaoldomhnaigh | .... | assistant costume designer | |
| Gabriel O'Brien | .... | wardrobe trainee | |
| Maeve Paterson | .... | costume supervisor | |
| Ann Stokes | .... | wardrobe assistant | |
Editorial Department | |||
| Valentina Giambanco | .... | second assistant editor | |
| Mick Mahon | .... | editor trainee | |
| Clive Noakes | .... | color supervisor | |
| Ian Seymour | .... | first assistant editor | |
| Ben Yeates | .... | second assistant editor (as Ben Yates) | |
Music Department | |||
| Phil Chapman | .... | music mixer | |
| Allan Jenkins | .... | score assistant engineer | |
Transportation Department | |||
| Arthur Dunne | .... | transportation captain | |
Other crew | |||
| Chris Allies | .... | title designer | |
| Dougal Cousins | .... | location manager | |
| Daisy Cummins | .... | extras coordinator | |
| Janette Hamill | .... | location coordinator | |
| Andrew Hegarty | .... | location assistant | |
| Barbara Holloway | .... | publicist | |
| Gerry Lundberg | .... | unit publicist | |
| John McKenna | .... | chief armorer | |
| Johnny Mulligan | .... | assistant accountant (as John Mulligan) | |
| Suzanne Nicell | .... | location coordinator | |
| Andrew Noakes | .... | production accountant | |
| Sinead O'Brien | .... | production runner | |
| Anneliese O'Callaghan | .... | production coordinator | |
| Lisa Parker | .... | assistant production coordinator | |
| Laerke Sigfred Pedersen | .... | script supervisor | |
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| Naked in New York | Lolita | Notes on a Scandal | The Virgin Suicides | The Libertine |
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I've been curious about this movie for a long time. I finally saw it on IFC.
It was great! In this age of VERY expensive, predictable, committee-approved "art", I was relieved to watch this story unfold. Although I suspected early on about the relationship between Cates and Rickman's characters, it's execution was much better than the usual pap that pretends to be a surprise or twist.
Or even interesting.
The real twists in this story, was its own mirror of the real human forces and decisions that keep some of the sweetest, and unfortunately, worst stories going on. The twists were the tiny reasons why such things, sometimes painful and abhorrent to our collective cultural sense of what's right and decent in a society, to continue within it.
The hypocrisy of denying that these dark parts of ourselves exist often cause them to continue. Often times, the self-appointed moral-police of our culture make this inevitable in their pursuit of human frailty, the aftermath of its hunt, and the white-washing of the events (and non-events) they discovered.
No character represented total evil, good, decadence or purity, including Stella. She had as much (subtle) emotional weaponry with her, as she had emotional scars.
Many Americans don't like, or have been trained (over time) to not have patience for such imperfect main-characters in fiction anymore. The one-dimensional, mass-marketed character, is the norm here now.
That's sad. Because of that, this movie (and others like it) didn't do very well here.
Having this story take place within the entertainment industry is an excellent way of displaying so much of the world's human tragedy AND stupidity being covered up by some people's treachery, some people's nobility, or a combination of both.
And even at the end of this tale, all of the stage crew, like life itself, executed their own particular versions of the adage, "The show must go on."
No perfect hollywood story here, with it's base and stupid doling out of come-uppance of everyone's flaws...or Evil.