Everett De Roche (screenplay)
Gabrielle Lord (novel)
31 juillet 1986 (Australia) suite
For one teacher and nine children, the lesson of the day is kill or be killed. suite
An Australian school teacher and her students are kidnapped. She and the children fight for their lives and try to escape from their captors. full summary | add synopsis
1 win suite
I've seen it probably a thousand times... plus de (38 total)
| Sean Garlick | ... | Sid | |
| Rachel Ward | ... | Sally Jones | |
| Elaine Cusick | ... | Mrs. O'Brien | |
| Laurie Moran | ... | Mr. O'Brien | |
| Marc Aden | ... | Tommy (as Marc Gray) | |
| Ray Chubb | ... | Publican | |
| Bradley Meehan | ... | Richard | |
| Rebecca Rigg | ... | Narelle | |
| Beth Buchanan | ... | Leanne | |
| Asher Keddie | ... | Sue | |
| Anna Crawford | ... | Sarah | |
| Richard Terrill | ... | Toby | |
| Vernon Wells | ... | Dabby Duck | |
| Peter Hehir | ... | Father Christmas | |
| David Bradshaw | ... | Pussy Cat | |
| Roger Stephen | ... | Mac the Mouse | |
| Wendy Playfair | ... | Old Woman | |
| Ed Turley | ... | Old Man | |
| Nick Waters | ... | Det Sgt Cotter | |
| Terence Donovan | ... | Det Sgt Mitchell | |
| reste de la distribution par ordre alphabétique: | |||
| Robin Mason | ... | Derek (uncredited) | |
Réalisé par | |||
| Arch Nicholson | |||
Scénaristes(dans l'ordre alphabétique) | ||
| Everett De Roche | screenplay | |
| Gabrielle Lord | novel | |
Produit par | |||
| Hector Crawford | .... | executive producer (as Hector Crawford CBE) | |
| Ian Crawford | .... | executive producer | |
| Hilary Heath | .... | associate producer | |
| Michael Lake | .... | associate producer | |
| Raymond Menmuir | .... | producer | |
| Terry Stapleton | .... | executive producer | |
Musique originale | |||
| Danny Beckermann | (as Danny Beckerman) | ||
Image | |||
| David Connell | |||
Montage | |||
| Ralph Strasser | |||
Création des décors | |||
| Philip Warner | |||
Direction artistique | |||
| Nicholas McCallum | |||
Maquillage | |||
| Lynette Harding | .... | assistant makeup artist | |
| José Luis Pérez | .... | makeup artist (as Jose Perez) | |
Directeur de production | |||
| Murray Boyd | .... | unit manager | |
| John Hollands | .... | post-production supervisor | |
| Helen Watts | .... | production manager | |
Assistant réalisateur | |||
| Wayne Moore | .... | second assistant director | |
| Peter T. Nathan | .... | third assistant director | |
| Terry Needham | .... | first assistant director | |
Département Art | |||
| Laurie Davidson | .... | set sculpture | |
| Phil Eagles | .... | art stand-by (as Philip Eagles) | |
| Wilf Flint | .... | construction manager | |
| Lisa Graham | .... | assistant stand-by props | |
| Lisa Graham | .... | set dresser | |
| Gerry Powderly | .... | construction manager (as Gerald Powderly) | |
| Shane Rushbrook | .... | stand-by props | |
| Pauline Walker | .... | props buyer | |
| Pauline Walker | .... | set dresser | |
Technicien du son | |||
| Ross A. Chambers | .... | dialogue editor (as Ross Chambers) | |
| Phil Judd | .... | dubbing mixer | |
| Glenn Newnham | .... | dialogue editor | |
| Andrew Ramage | .... | sound recordist | |
| Joe Spinelli | .... | boom operator | |
| Fiona Strain | .... | sound editor | |
| Mike Woolveridge | .... | sound editor | |
Effets spéciaux | |||
| Brian Pearce | .... | special effects | |
| Jamie Thompson | .... | special effects technician (uncredited) | |
Cascadeur | |||
| Chris Anderson | .... | stunt coordinator | |
Caméra et Département Electrique | |||
| Bill Bachman | .... | still photographer | |
| Rourke Crawford-Flett | .... | assistant grip | |
| Laurie Fish | .... | best boy | |
| Terry Jacklin | .... | key grip | |
| Ian Jones | .... | Steadicam operator | |
| Peter Moloney | .... | assistant electrician | |
| Bruce Phillips | .... | clapper loader | |
| Greg Ryan | .... | focus puller | |
| Ron Taylor | .... | underwater photographer | |
| Bruce Towers | .... | assistant electrician | |
| Robbie Young | .... | gaffer | |
Département Costume et garde-Robe | |||
| Clare Griffin | .... | wardrobe supervisor | |
| Margot McCartney | .... | assistant stand-by wardrobe | |
Dpartement Editorial | |||
| Jill Holt | .... | assistant editor | |
| Debra Darby | .... | assistant editor (uncredited) | |
Département Musique | |||
| Robin Gray | .... | music scoring engineer (uncredited) | |
Divers | |||
| Stephen Costain | .... | dialogue coach (as Steven Costain) | |
| Chris Day | .... | publicist | |
| Grant Hill | .... | location manager | |
| Vince Smits | .... | production accountant (as Vincent Smits) | |
| Elizabeth Symes | .... | production coordinator | |
| Jenni Tosi | .... | continuity | |
| Suzy Wood | .... | publicist (as Susan Wood) | |
| John Fox | .... | armorer (uncredited) | |
85 min | USA:88 min
1,85 : 1 suite
Iceland:16 | Germany:16 | Norway:18 (video premiere)
Loosely based on the 1972 Faraday School kidnapping of a teacher and her class by Edwin John Eastwood and Robert Clyde Boland. Eastwood later escaped from prison and repeated the crime with another teacher and her class in 1977. suite
Continuité: After Sally emerges from the water while she's exploring, for an instant her hair seems swept back and pressed down, clearly drenched. During the next shot, which is a close-up, her hair looks as if it had been hastily dried with a towel, even though we never even see her touch her hair. suite
[last lines]
Sally Jones:
You'll be leaving school soon, I s'pose.
Sid:
Aww, you bet!
suite
Références "Hill Street Blues" (1981) suite
| Recent Posts (updated daily) | User |
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| Heart in a jar? | loveuponthis |
| is this the movie? | maggiemae4161 |
| Why is Derek uncredited???? | cheerstotaxi |
| Music | firstgooniewilly1632 |
| Triva | ty-57 |
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| Casting et équipe complète | Remerciements de la Société | Revues externes |
| IMDb Horreur section | IMDb Australia section | Add this title to MyMovies |
It's one of those movies you don't get tired of seeing, when my niece was younger, I was watching it and she really liked, everytime she came over from then on we had to watch it, it's just that good. I guess it's the reality of it that makes it so good.