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Réalisé par | |||
| Roger Donaldson | |||
Scénaristes(WGA) | ||
| Dick Clement | (written by) & | |
| Ian La Frenais | (written by) | |
Musique originale | |||
| J. Peter Robinson | |||
Image | |||
| Michael Coulter | (director of photography) | ||
Montage | |||
| John Gilbert | |||
Distribution des rôles | |||
| Lucinda Syson | |||
Création des décors | |||
| Gavin Bocquet | |||
Direction artistique | |||
| Phil Harvey | (supervising art director) | ||
| Mark Scruton | |||
Décorateur de plateau | |||
| John Bush | |||
Création des costumes | |||
| Odile Dicks-Mireaux | |||
Maquillage | |||
| Kirstin Chalmers | .... | hair designer | |
| Kirstin Chalmers | .... | makeup designer | |
| Sarah Downes | .... | makeup dailies | |
| Waldo Mason | .... | prosthetics | |
| Donald McInnes | .... | hair stylist | |
| Donald McInnes | .... | key makeup artist | |
| Laura McIntosh | .... | makeup artist | |
| Sharon O'Brien | .... | key hair & make-up | |
| Sharon O'Brien | .... | key hair stylist | |
| Sharon O'Brien | .... | makeup supervisor | |
| Sophie Slotover | .... | hair trainee | |
| Sophie Slotover | .... | makeup trainee | |
| Rupert Simon | .... | hair & makeup artist (uncredited) | |
Assistant réalisateur | |||
| Matthew Baker | .... | first assistant director: second unit (as Matt Baker) | |
| Brendan Campbell | .... | first assistant director: Australia | |
| Lee Grumett | .... | first assistant director: second unit (as Lee Grummet) | |
| Mark Hopkins | .... | third assistant director | |
| Toby Hosking | .... | second assistant director | |
| Katy Nagle | .... | third assistant director: Australia (as Kat Nagle) | |
| Emily Perowne | .... | additional third assistant director | |
| Josh Robertson | .... | first assistant director | |
| Greg Spiller | .... | second assistant director: Australia | |
| Luigi Spoletini | .... | first assistant director: Sardinia | |
| Michael Stevenson | .... | additional second assistant director: second unit | |
| Valerio Valente | .... | second assistant director: Sardinia | |
Département Art | |||
| Brendan Barlow | .... | plasterer | |
| Louise Begbie | .... | art department assistant | |
| Steven Carroll | .... | lead plasterer | |
| Ben Collins | .... | stand-by art director | |
| Emma Davis | .... | production buyer | |
| Laura Dishington | .... | graphic designer | |
| Justin Dix | .... | art director: Australia | |
| Matthew Foster | .... | dressing propman | |
| Amelia Marasco | .... | set dresser | |
| Tony Marks | .... | carpenter | |
| Janine Marshall | .... | head painter: Australia | |
| Nick Pelham | .... | storyboard artist | |
| Hannah Read | .... | art department assistant: models | |
| Malcolm Roberts | .... | construction manager | |
| Richard Selway | .... | assistant art director | |
| Pippa Sheen | .... | art department coordinator: Australia | |
| Nick Turnbull | .... | property master | |
Technicien du son | |||
| Steve Burgess | .... | sound effects editor | |
| Simon Bysshe | .... | boom operator: second unit | |
| Arthur Fenn | .... | sound maintenance | |
| Alan Freedman | .... | adr mixer: Los Angeles | |
| Jamie Gambell | .... | additional boom operator | |
| Jamie Gambell | .... | sound recordist: second unit | |
| Peter Gleaves | .... | adr mixer | |
| James Harvey | .... | dialogue editor | |
| Simon Hayes | .... | production sound mixer | |
| Robin Johnson | .... | boom operator | |
| John McKerrow | .... | sound recordist: Australia | |
| Kieran McVeigh | .... | assistant sound editor | |
| Peter Mills | .... | sound effects editor | |
| Andrew Neil | .... | sound re-recording mixer | |
| Andrew Neil | .... | supervising sound effects editor | |
| Paul Pirola | .... | sound re-recording mixer | |
| Jonathan Rimas | .... | adr mixer | |
| Blair Slater | .... | foley editor | |
| Blair Slater | .... | foley recordist | |
| Lionel Strutt | .... | adr coordinator | |
| Tim Surrey | .... | assistant sound | |
| Mario Vaccaro | .... | foley artist | |
Effets spéciaux | |||
| Paul Dimmer | .... | special effects floor technician | |
| Brian Holmes | .... | special effects coordinator: Australia | |
| Matthew Horton | .... | senior special effects technician | |
| Matthew Johnson | .... | senior special effects technician (as Matt Johnson) | |
| Jess Lewington | .... | special effects production manager | |
| Daniel Williams | .... | special effects technician | |
| Joss Williams | .... | special effects consultant | |
Visual Effects | |||
| Nathan Bayliss | .... | opening titles designer: Iloura | |
| David Booth | .... | visual effects supervisor: Iloura | |
| Paul Buckley | .... | lead animator: Iloura | |
| Alan Fairlie | .... | lead compositor: Iloura | |
| Dominic Hellier | .... | digital artist: Iloura | |
| Neil Huxley | .... | graphics designer | |
| Ineke Majoor | .... | visual effects producer: Iloura | |
| Glenn Melenhorst | .... | lead matte painter: Iloura | |
| Keith Meure | .... | digital artist: Iloura | |
| Simon Nix | .... | data wrangler | |
| Matthew Pascuzzi | .... | digital artist: Iloura | |
| John Swinnerton | .... | visual effects advisor | |
| Peter Webb | .... | visual effects supervisor: Iloura | |
Cascadeur | |||
| Nick Chopping | .... | stunt performer | |
| Rick English | .... | stunt driver | |
| Mike Lambert | .... | stunt performer | |
| Russell MacLeod | .... | stunt driver | |
| Daniel Naprous | .... | stunt performer | |
| Ray Nicholas | .... | stunt performer | |
| James O'Donnell | .... | stunt performer (as James O'Dee) | |
| Peter Pedrero | .... | assistant stunt coordinator | |
| Peter Pedrero | .... | stunt performer | |
| Greg Powell | .... | stunt coordinator | |
| Joanna Whitney | .... | stunt performer (as Jo Whitney) | |
| Danny Baldwin | .... | stunt coordinator: Australia (uncredited) | |
| James Grogan | .... | stunt driver (uncredited) | |
| Roy Taylor | .... | stunt performer (uncredited) | |
| Ian van Temperley | .... | stunt driver (uncredited) | |
Caméra et Département Electrique | |||
| Alfie Biddle | .... | assistant camera | |
| Mike Brewster | .... | camera operator: second unit | |
| Mike Brewster | .... | director of photography: second unit | |
| Julian Bucknall | .... | first assistant camera: "a" camera | |
| Luke Coulter | .... | second assistant camera: "a" camera | |
| Terry Edland | .... | gaffer | |
| Jack English | .... | still photographer | |
| John Ferguson | .... | first assistant camera: "b" camera | |
| Tony Hayes | .... | rigger gaffer | |
| Peter Hodgson | .... | video playback operator: dailies | |
| Stuart Howell | .... | camera operator | |
| Andrew Jerram | .... | first assistant camera: Australia | |
| Richard Mason | .... | electrician | |
| Ray Meares | .... | second assistant camera: "b" camera | |
| Luke Myslowski | .... | grip | |
| Peter Myslowski | .... | key grip | |
| Chris Plevin | .... | camera operator: "b" camera | |
| David Toft | .... | video playback operator | |
| Paul Toomey | .... | best boy | |
| Karl von Moller | .... | director of photography: Australia | |
Département Casting | |||
| Emma Callinan | .... | second casting assistant | |
| Kate Ringsell | .... | casting assistant | |
Département Costume et garde-Robe | |||
| Poli Kyriacou | .... | costume trainee | |
| Sharon Long | .... | assistant costume designer | |
| Marion Weise | .... | costume supervisor | |
Dpartement Editorial | |||
| George Awburn | .... | on-line editor | |
| Ruth Coulson | .... | first assistant editor | |
| Amelia Ford | .... | first assistant editor | |
| Pamela Hammond | .... | head of post-production | |
| Justin Heitman | .... | digital intermediate colorist | |
| Rachel Knowles | .... | post-production coordinator | |
| Tony Poriazis | .... | digital intermediate film supervisor | |
| Thy Quach | .... | second assistant editor | |
| Nic Smith | .... | digital intermediate data manager | |
| Leroy Wolf | .... | color timer (uncredited) | |
Département Musique | |||
| Jez Colin | .... | composer: additional music | |
| Ricky Edwards | .... | orchestrator | |
| Rebecca Gatrell | .... | music clearances (as Becca Gatrell) | |
| Robin Gray | .... | music engineer (as Robin Grey) | |
| Kim Green | .... | music consultant | |
| Kim Green | .... | music licensing | |
| Peter Hoyland | .... | orchestral production manager | |
| Brett Kelly | .... | conductor | |
| Simon Leadley | .... | music editor | |
| Abbie Lister | .... | music clearances | |
| Dennis McCarthy | .... | orchestrator | |
| J. Peter Robinson | .... | orchestrator | |
| J. Peter Robinson | .... | score mixer | |
| J. Peter Robinson | .... | score producer | |
| Edward Rogers | .... | additional music arranger (as Edward L. Rogers) | |
| Edward Rogers | .... | music programmer (as Edward L. Rogers) | |
| Chris Scallan | .... | score mixer: orchestral score | |
| Jed Smith | .... | additional music courtesy of | |
Département Transport | |||
| Peter Boothby | .... | period vehicle coordinator | |
| Rob Hempenstall | .... | driver | |
| Marcus Ward | .... | unit driver | |
Divers | |||
| Monika Agorelius | .... | electronic press kit | |
| Yasu Asami | .... | monitor wrangler | |
| Philip Ball | .... | stand-in | |
| Celia Barnett | .... | researcher | |
| Nathan Bayliss | .... | title designer | |
| Kate Brontë-Stewart | .... | floor runner | |
| Daniel Budd | .... | assistant accountant | |
| Julie Burnham | .... | unit nurse | |
| Mally Chung | .... | location scout | |
| Tom Crooke | .... | location scout | |
| Mary Cybriwsky | .... | assistant: Mr. Glazer | |
| Neale De Silva | .... | script supervisor assistant | |
| Giles Edleston | .... | location manager | |
| Jo Farrugia | .... | assistant to director | |
| Hollie Foster | .... | assistant production coordinator | |
| Tania Gordon | .... | unit base runner | |
| Ella Harris | .... | production runner | |
| Daniel Herther | .... | executive assistant: mr. kavanaugh | |
| Polly Hope | .... | script supervisor: second unit | |
| Andy Horwitz | .... | assistant: Mr. Roven | |
| Demetri Jagger | .... | video projectionist | |
| Polly Jefferies | .... | production coordinator | |
| Stuart Johnson | .... | fire safety | |
| Pat Karam | .... | location scout | |
| Charlotte Keating | .... | assistant: Steve Chasman | |
| Tamara King | .... | daily crowd runner | |
| Frankie Lindquist | .... | assistant: Mr. Glazer | |
| Hsinyi Liu | .... | daily crowd runner | |
| Aaron Michiel | .... | business affairs executive | |
| Nick Miller | .... | assistant: Alex Gartner | |
| Mark Munnelly | .... | auditor | |
| Nick Oliver | .... | assistant location manager | |
| Joseph Palmer | .... | assistant: Mr. Roven | |
| Sylvia Parker | .... | script supervisor | |
| Natalia Pizzey | .... | production coordinator: second unit | |
| Candice Preddy | .... | assistant to director | |
| Luke Scully | .... | monitor wrangler | |
| David Shojai | .... | assistant: Mr. Chasman | |
| Graham Smith | .... | unit publicist | |
| Tracey Taylor | .... | assistant accountant | |
Merci | |||
| Kent Houston | .... | special thanks (as Kent Huston) | |
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| American Gangster | Sexy Beast | The Salton Sea | Wonderland | Once Upon a Time in America |
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| Casting et équipe complète | Remerciements de la Société | Revues externes |
| IMDb Crime section | IMDb UK section | Add this title to MyMovies |
Sporting complex consequences for a relatively straightforward plot, The Bank Job remains intriguing throughout as each set-up leads to ever more suspenseful twists for the likable group of ragtag antiheroes. Over-thorough character introductions cause a slower build in the early stages of the heist, but such complications likely arise from fewer liberties taken with the "based on a true story" events, and the result is a fascinating look at criminals, the corrupt, and those least guilty.
It is 1971 in East London and a fateful bank robbery begins to take shape. In order to remove the threat of radical gangster Michael X, government officials devise a plan to rob a bank on Baker Street and retrieve damning photographs from his possession. To keep the heist untraceable back to them, an independent group of thieves, led by car dealer Terry (Jason Statham) and the cunning Martine (Saffron Burrows) are unwittingly thrown into a deadly battle against corrupt officials and London's criminal underworld.
Jason Statham isn't your typical leading man, yet ever since Guy Ritchie's early films he has managed to keep coming back with bigger and better roles and is now thought of as an action film star. However it's here, in darker thrillers, that he finds a more sincere presence, especially as thief and scoundrel Terry. Each moral flaw creates a more dimensional character, and one worth rooting for.
The language of the film is genuinely intriguing, as it captures wonderfully wry British slang. Cheeky sod, 12-inch mutton dagger, a bit of bother, usual skullduggery and things turning a-custard are but a few of the verbal jousts that occur between the main characters. Devoid of euphuisms, these apparently authentic words make the dialogue a particularly potent piece of the puzzle.
The entire subplot about Michael X and his blackmailing of the British government is useful in its supposed tie to facts, but as filmed scenes in the movie, they are hardly necessary. Photographs of a princess caught in the act of promiscuity are at the root of the blackmail plot, which then goes on to include further damaging materials from Sonia Bern's brothel, also of factual importance, but equally unnecessary in the film. Michael X's involvement could have been entailed in a briefing by the 506 crew, who spill out the usual generic explanations of villains, and even Bern's entanglement could have been narrated through the details of the photos. While most of these moments have their entertainment value, essentially they serve to drag out the film's running time.
They say truth is stranger than fiction, and The Bank Job definitely falls into that category. Pimps, thieves, spies, and government officials all collide in a robbery gone right and then terribly wrong, lending the inquisitive to ponder over how much (or little) is fabricated in this thriller. The robbery itself is merely the setup to an intricate conclusion, even though the film takes time to create plenty of suspense throughout the not-so-carefully planned heist. Though the people making demands continually change, our attention is always seated with Jason Statham's unusually intense performance. When the credits roll and the explanation that "the names have been changed to protect the guilty" flashes on screen, we realize what a delightfully flourished yet entertaining tale of "doing the wrong thing" The Bank Job really is.
- The Massie Twins