A rough, short-tempered patriarch of a working-class family sees his life and the relationships around him slowly unravel.
Director:
Writer:
Awards:
- Won 1 BAFTA Film Award. Another 8 wins & 9 nominations.
- See more »
Photos and Videos
Cast verified as complete
Ray Winstone | ... |
Raymond
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Kathy Burke | ... |
Valerie
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Charlie Creed-Miles | ... |
Billy
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Laila Morse | ... |
Janet
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Edna Doré | ... |
Kath
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Chrissie Cotterill | ... |
Paula
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Jon Morrison | ... |
Angus
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Jamie Foreman | ... |
Mark
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Steve Sweeney | ... |
Danny
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Terry Rowley | ... |
M.C. in Club
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Sam Miller | ... |
Club Comic
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Leah Fitzgerald | ... |
Michelle
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Gerry Bromfield | ... |
Drug Dealer
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Neil Maskell | ... |
Schmuddie
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Sid Golder | ... |
Old Guy in Window
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John Blundell | ... |
Man with Knife
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Kenan Hudaverdi | ... |
Laundrette Owner
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Everton Nelson | ... |
Street Violinist
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Ronnie Fox | ... |
Peter, pool player
(as Ronny Fox)
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Franc Ashman | ... |
Club Singer
(as Frances Ashman)
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Dan Carey | ... |
Band Musician
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Martin Watson | ... |
Band Musician
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Giseppe Acunzo | ... |
Band Musician
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Matthew Scott | ... |
Band Musician
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Edmund Scott | ... |
Band Musician
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Rest of cast listed alphabetically: | |||
Mark Gilvary | ... |
Drunk at Table (uncredited)
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Ryan Hurst | ... |
National Front Teen (uncredited)
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Alice Renouf | ... |
Girl on train (uncredited)
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Directed by
Gary Oldman |
Written by
Gary Oldman | ... | (screenplay) |
Produced by
Luc Besson | ... | producer |
Marc Frydman | ... | associate producer |
Hilary Heath | ... | co-producer |
Gary Oldman | ... | producer |
Douglas Urbanski | ... | producer |
Music by
Eric Clapton |
Cinematography by
Ron Fortunato |
Editing by
Brad Fuller |
Editorial Department
Paul Elman | ... | assistant editor |
Olivier Fontenay | ... | color timer |
Paul Leonardo Jr. | ... | post-production coordinator |
Fernanda Rossi | ... | assistant editor |
Casting By
Sue Jones |
Production Design by
Hugo Luczyc-Wyhowski |
Art Direction by
Luana Hanson | ||
Hugo Luczyc-Wyhowski |
Costume Design by
Barbara Kidd |
Makeup Department
Fae Hammond | ... | hair & make-up designer / makeup artist |
Pebbles | ... | key makeup artist |
Production Management
Adam Bohling | ... | unit manager |
Mitch Davies | ... | unit manager |
Michael Dreyer | ... | production manager |
Charlie Vogel | ... | post-production supervisor |
Second Unit Director or Assistant Director
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
Noel Cowell | ... | stand-by props |
John Maher | ... | construction manager |
Clement Price-Thomas | ... | assistant art director (as Clem Price Thomas) |
Linda Wilson | ... | prop buyer |
Sound Department
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 |
Richard Jay | ... | trainee |
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
Matthew Roberts | ... | special effects technician |
Nick Smith | ... | special effects technician |
Jody Taylor | ... | special effects technician |
Stunts
Rod Woodruff | ... | stunt coordinator |
Camera and Electrical Department
John Donoghue | ... | gaffer |
Jack English | ... | still photographer |
Jay Handscomb | ... | rigger |
Rupert Lloyd-Parry | ... | key grip |
Mitch Spooner | ... | electrician |
William Tracey | ... | best boy |
Costume and Wardrobe Department
Sharon Long | ... | costume assistant |
Location Management
Alex Candlin | ... | location scout |
Jo Chate | ... | location manager |
Stan Fus | ... | location manager |
Music Department
Michael K. Bauer | ... | assistant music editor |
Dick Bernstein | ... | music editor |
Margot Core | ... | music supervisor |
Script and Continuity Department
Sam Donovan | ... | script supervisor |
Transportation Department
Nick 'Nocker' Curson | ... | prop truck driver |
Mark Swaffield | ... | driver: camera car |
Additional Crew
Tara B. Cook | ... | assistant to director |
Jon Alex Dennis | ... | assistant / production assistant |
Shay Dunphy | ... | additional voices |
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
Brendan J. Cassin | ... | special thanks |
Victor Glynn | ... | thanks |
Ivan Martin | ... | thanks |
Production Companies
Distributors
- 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 Kingdom)
- Sony Pictures Classics (1998) (United States)
- TF1 Vidéo (France) (video)
- Twentieth Century Fox (United Kingdom)
Special Effects
Other Companies
- ARRI Lighting Rental (lighting)
- Dolby (in selected theatres)
- Jeremy Walker + Associates (publicity)
- Motion Picture Association (MPA)
- SDDS Sony Dynamic Digital Sound (in selected theatres)
Storyline
Plot Summary |
Raymond, his wife Val, and her brother Billy live in a 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 rough, even violent, and that leads to problems in the family's life.
Written by Gustaf Molin |
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Parents Guide | View content advisory » |
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Box Office
Budget | $9,000,000 (estimated) |
Did You Know?
Trivia | The word "fuck" and its variations are used 428 times, an average of 3.34 times per minute. 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?" See more » |