| Fotos (Alle 28 | Diashow) | Videos (see all 2) |
| Warren Beatty | ... | Porter Stoddard | |
| Diane Keaton | ... | Ellie Stoddard | |
| Andie MacDowell | ... | Eugenie Claybourne | |
| Garry Shandling | ... | Griffin Miller | |
| Jenna Elfman | ... | Auburn | |
| Nastassja Kinski | ... | Alex | |
| Goldie Hawn | ... | Mona Miller | |
| Charlton Heston | ... | Eugenie's Father | |
| Marian Seldes | ... | Eugenie's Mother | |
| Josh Hartnett | ... | Tom Stoddard (as Joshua Hartnett) | |
| Tricia Vessey | ... | Alice Stoddard | |
| Vincent Lascoumes | ... | Waiter | |
| William Hootkins | ... | Barney (as Bill Hootkins) | |
| Terry Hoyos | ... | Yolanda (as Terri Hoyos) | |
| Marc Casabani | ... | Omar | |
| Del Zamora | ... | Alejandro | |
| Katharine Towne | ... | Holly | |
| Tony Abatemarco | ... | McKlellen | |
| Eve Crawford | ... | Margaret | |
| Faith Geer | ... | Mrs. Hadley | |
| Stephen Fischer | ... | Tour Guide | |
| Ken Kensei | ... | Translator | |
| Masayasu Nakanishi | ... | Japanese Guest #1 | |
| Akira Takayama | ... | Japanese Guest #2 | |
| Stephen Singer | ... | Male Party Guest | |
| Lois Robbins | ... | Female Party Guest | |
| Morag Dickson | ... | Griffin's Redhead | |
| Carlos K. McAfee | ... | Golf Caddy | |
| David Lindstedt | ... | Party Guest | |
| Ian McNeice | ... | Peter Principal | |
| Buck Henry | ... | Suttler | |
| Lisa Ekdahl | ... | Herself | |
| Johnny Brown | ... | Chauffeur | |
| Mark Matheisen | ... | Juke Joint Guy | |
| Harry Boykoff | ... | Henry the Butler | |
| Azura Skye | ... | Spider | |
| Chris Tuttle | ... | Quasimodo | |
| Christopher Kubasik | ... | Dinnerware Man | |
| Holland Taylor | ... | Mistress of Ceremonies | |
| Scott Adsit | ... | Cab Driver | |
| Angelo Tiffe | ... | Man at Table | |
| Tom Billett | ... | Guard #1 | |
| Michael Bailey Smith | ... | Guard #2 | |
| Bonnie Ellen Miller | ... | Lady on Stairs | |
| übrige Besetzung in alphabetischer Reihenfolge: | |||
| Lauren Montgomery | ... | Bit part | |
| Kris Andersson | ... | Dancer (uncredited) | |
| Mark J. Ferreri | ... | Interested plane passenger (uncredited) | |
| Scott Hislop | ... | Dancer (uncredited) | |
| Erik Hyler | ... | Dancer (uncredited) | |
| Philip Johnson | ... | Himself (archive footage) (uncredited) | |
| Jack Mattis | ... | Dancer (uncredited) | |
| Charlie Rose | ... | Himself (archive footage) (uncredited) | |
| Warren Tabata | ... | Japanese Businessman (uncredited) | |
| Anthony Turk | ... | Waiter (uncredited) | |
Regie | |||
| Peter Chelsom | |||
Buch(WGA) | ||
| Michael Laughlin | (written by) and | |
| Buck Henry | (written by) | |
Produktion | |||
| Michael De Luca | .... | executive producer | |
| Simon Fields | .... | producer | |
| Lynn Harris | .... | executive producer | |
| Andrew S. Karsch | .... | producer | |
| Sidney Kimmel | .... | executive producer | |
| Fred Roos | .... | producer | |
| Cyrus I. Yavneh | .... | co-producer | |
Originalmusik | |||
| Rolfe Kent | |||
Kamera | |||
| William A. Fraker | |||
Schnitt | |||
| David Moritz | |||
| Claire Simpson | |||
Casting | |||
| Mary Gail Artz | |||
| Barbara Cohen | |||
Szenenbild | |||
| Caroline Hanania | |||
Bauten/Dekorationsbau (art directors) | |||
| Mark Worthington | |||
Bühnenbildner/Ausstatter (set decorators) | |||
| Lisa Fischer | |||
Kostüme | |||
| Molly Maginnis | |||
Maske/Frisuren | |||
| Janice Alexander | .... | hair stylist | |
| Kathryn Blondell | .... | hair stylist: Goldie Hawn (as Kathryn L. Blondell) | |
| June Brickman | .... | makeup artist | |
| Mary Burton | .... | key makeup artist | |
| Colleen Callaghan | .... | key hair stylist | |
| Beatrice De Alba | .... | hair stylist | |
| Joseph Farulla | .... | key makeup artist: NYC | |
| Kelcey Fry | .... | makeup artist: Diane Keaton | |
| Lynda Gurasich | .... | hair stylist: Warren Beatty | |
| Sharon Ilson | .... | key makeup artist | |
| Heather Koontz | .... | makeup artist | |
| Angela Levin | .... | makeup artist: Goldie Hawn | |
| Ann Masterson | .... | makeup artist: Jenna Elfman (as Ann Lee Masterson) | |
| Chris McBee | .... | hair stylist | |
| Carol A. O'Connell | .... | key hair stylist (as Carol O'Connell) | |
| Valli O'Reilly | .... | makeup artist: Warren Beatty | |
| Dianne Roberson | .... | hair stylist | |
| Barbara Ronci | .... | hair stylist | |
| Joanetta Stowers | .... | key makeup artist | |
| Dimas Vasquez | .... | hair stylist: Diane Keaton | |
| Karen Westerfield | .... | makeup artist | |
| Phyllis Williams | .... | additional makeup artist | |
Produktionsleiter (production managers) | |||
| Karen Snow | .... | production supervisor | |
| Bonnie Weis | .... | production supervisor | |
| Cyrus I. Yavneh | .... | unit production manager | |
Spezialeffekte | |||
| Terry Erickson | .... | special effects | |
| Paul J. Lombardi | .... | special effects supervisor (as Paul Lombardi) | |
| Joseph P. Mercurio | .... | special effects technician | |
| Daniel P. Murphy | .... | special effects | |
| David Peterson | .... | special effects technician | |
| Scott Roark | .... | special effects technician | |
| Joseph Quinn Simpkins | .... | special effects technician | |
| John Stifanich | .... | special effects technician | |
| Dick Wood | .... | special effects coordinator (as Richard Wood) | |
Stunts | |||
| Charlie Brewer | .... | stunts | |
| Max Daniels | .... | stunt performer | |
| Eddy Donno | .... | stunt coordinator | |
| Tony Donno | .... | stunts | |
| Michael Endoso | .... | stunts | |
| Billy D. Lucas | .... | stunt double: Porter | |
| Bob McGovern | .... | stunt double | |
| Charlie Picerni | .... | stunts | |
| Scott Workman | .... | stunts | |
Kamera und Elektrik (Stab) | |||
| Kent Baker | .... | key rigging grip: additional photography | |
| Douglas Busby | .... | additional second assistant camera | |
| Ted Chu | .... | camera operator | |
| James Conroy | .... | grip | |
| Andrew Cooper | .... | still photographer | |
| David E. Diano | .... | camera operator | |
| Adam Glick | .... | set lighting technician | |
| Rick Harris | .... | grip | |
| Mitchell K. Hiniker | .... | rigging grip | |
| Jeb Johenning | .... | digital video assist operator | |
| Gábor Kövér | .... | director of photography: second unit | |
| Rick Lamb | .... | assistant camera | |
| Al LaVerde | .... | key grip | |
| Chris Lombardi | .... | director of photography: Sun Valley second unit | |
| Marc Marino | .... | electrician | |
| David Norris | .... | camera operator: Wescam camera | |
| R. Michael Stringer | .... | rigging grip | |
| Phillip Todd | .... | assistant camera: New York | |
| Richard Turner | .... | camera operator: "b" camera | |
| Kevin McKenna | .... | video assist operator (uncredited) | |
| Randy Nolen | .... | steadicam operator (uncredited) | |
Casting (Stab) | |||
| Paul Codiga | .... | casting assistant | |
| Leann Emmert | .... | casting assistant (as Leann 'Fuzzy' Emmert) | |
| Raquel Osborne | .... | extras casting | |
| Louise Osbourne | .... | casting assistant (as Louise Lennon) | |
| Meredith B. Robinson | .... | casting associate | |
| Andrew Wooten | .... | casting assistant | |
Kostüm und Garderobe (Stab) | |||
| Marion Kirk | .... | set costumer | |
| Mary C. Lane | .... | additional costumer | |
| Coy Michael | .... | wardrobe assistant | |
| Helen Monaghan | .... | costumer | |
| Robert Pease | .... | costumer | |
| Mary Elizabeth Still | .... | on-set costumer | |
| Don Vargas | .... | personal costumer: Warren Beatty | |
| Leslie Weir | .... | costumer | |
| Valerie Zielonka | .... | costume supervisor | |
Schnitt (Stab) | |||
| Jason Hampton | .... | assistant colorist | |
| Jason Hampton | .... | assistant editor: avid | |
| Terry Hubbard | .... | first assistant editor: film | |
| Charles Ireland | .... | additional editor | |
| Stephanie Olah | .... | post-production coordinator | |
| Daniel R. Padgett | .... | assistant editor: avid | |
| Paul Parsons | .... | assistant editor | |
| Sarah Payan | .... | assistant editor | |
| Michael Ross | .... | first assistant editor | |
Musik (Stab) | |||
| John Altman | .... | composer: additional music | |
| Tony Blondal | .... | orchestrator | |
| Paul Broucek | .... | music executive | |
| Paul Broucek | .... | music supervisor | |
| Rick Fleishman | .... | music coordinator | |
| Isobel Griffiths | .... | music contractor | |
| Mark Kaufman | .... | music clearance executive | |
| Rolfe Kent | .... | music producer | |
| George A. Martin | .... | music editor: pre-view | |
| Erin Scully | .... | music executive | |
| James Shearman | .... | conductor | |
| Nick South | .... | music editor | |
| Nick Wollage | .... | music mixer | |
| Nick Wollage | .... | music recordist | |
| Gavyn Wright | .... | concert master | |
Transporte | |||
| J. Armin Garza II | .... | driver: camera car | |
| James Nordberg | .... | transportation | |
| Paul Ripple | .... | transportation assistant | |
| Don Tardino | .... | transportation coordinator | |
| Morris Bension | .... | driver (uncredited) | |
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Every so often we hear the lament sounded that Hollywood fails to provide actors and actresses - who happen no longer to be in their primes - with roles and films worthy of their talents. After seeing `Town and Country,' one begins to understand why.
In this film, former box office headliners Warren Beatty, Diane Keaton, Goldie Hawn and Charlton Heston are stranded in an embarrassing pseudo-French farce co-written by the famed Buck Henry (he wrote `The Graduate') and Michael Laughlin and directed by Peter Chelsom. Rounding out the cast are Andie MacDowell, Garry Shandling, Jenna Elfman, Nastassja Kinski and Josh Hartnett - scarcely a cadre of second-rate talents and no-name unknowns. Yet what these filmmakers have done to these fine people seems all but criminal. The plot is devised along the lines of one of those Feydeau sexual roundelays, wherein the characters end up in an assortment of compromising situations and have to do a lot of quick explaining to their assorted spouses and loved ones to try to extricate themselves from them. The problem is that the adultery theme around which the comedy swirls is often more painful than funny in its nature. Moreover, neither the lines nor the situations are ever particularly humorous and, in fact, they more often than not give off an air of desperation, as when the writers throw the characters into funny costumes for no discernible purpose or when all the women involved in Beatty's adulterous affairs somehow find themselves occupying the same ladies room without there being displayed any of the finely worked out narrative logic needed to get them there (which any truly successful madcap farce would absolutely rely on). The characters are not even consistent with their own personalities. The prime example is the Garry Shandling character whom we are told early on is a closeted homosexual, yet spends the entire movie picking up on and commenting on women - even after he has declared he will be true to his real nature.
Of all the performances, Heston's portrayal of MacDowell's nutcase father is both the creepiest and the most daring. The filmmakers even poke a little good-natured fun at Heston's NRA President image, having him storming into a New York City social gathering brandishing his prized hunting rifle. Yet, like so much of what happens in this film, this scene seems strangely tacked on and pointless. Indeed, the plot is so unfocused that one often gets the impression that the filmmakers just thought it up as they were going along. devising storylines as the spirit (and the desire to shoot in an exotic location) moved them. How else to explain the fact that the plot careens over to Sun Valley for no logical reason other than that Beatty and Shandling probably wanted to get a little skiing in during production time? And how does MacDowell's character - whom Beatty met earlier on an airplane going from New York to the Deep South - suddenly show up on a ski lift in Utah? In short, this is one hell of a clunky, messy film.
One can only hope that, in the twilight of their careers, these once major stars will still be able to find some material that will afford them the respect and dignity they deserve. In the meantime, the politest thing we can do is look the other way and forget all about `Town and Country.'