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Réalisé par | |||
| Jonathan Glazer | |||
Scénaristes | ||
| Louis Mellis | (written by) and | |
| David Scinto | (written by) | |
| Andrew Michael Jolley | story (uncredited) | |
Produit par | |||
| Hercules Bellville | .... | associate producer | |
| Denise O'Dell | .... | co-producer | |
| Jeremy Thomas | .... | producer | |
| Peter Watson | .... | associate producer | |
| Paul Webster | .... | chief executive procuder: FilmFour | |
| Mark Albela | .... | co-producer (uncredited) | |
Musique originale | |||
| Roque Baños | |||
Image | |||
| Ivan Bird | (director of photography) | ||
Montage | |||
| John Scott | |||
| Sam Sneade | |||
Distribution des rôles | |||
| Lucy Boulting | |||
Création des décors | |||
| Jan Houllevigue | |||
Décorateur de plateau | |||
| Jane Cooke | |||
Création des costumes | |||
| Louise Stjernsward | |||
Maquillage | |||
| Colin Arthur | .... | special effects makeup | |
| Michele Baylis | .... | hair designer | |
| Michele Baylis | .... | makeup designer | |
| Eusebio Marquez | .... | hair designer (as Eusebio Márquez Lebreros) | |
| Eusebio Marquez | .... | makeup designer (as Eusebio Márquez Lebreros) | |
| Michelle Wise | .... | makeup assistant | |
Directeur de production | |||
| Mark Albela | .... | production supervisor | |
| Simon Hardy | .... | production supervisor: UK | |
| Pat Lees | .... | production manager: UK | |
| Caroline Lloyd-Price | .... | unit manager: UK | |
| Michael Saxton | .... | post-production supervisor (as Mike Saxton) | |
| Simon Scotland | .... | production manager (uncredited) | |
Assistant réalisateur | |||
| Oscar Beuselinck | .... | second assistant director | |
| Manuel L. Cañizares | .... | first assistant director: Spain | |
| Araceli Gordobil | .... | co-second assistant director: Spain | |
| Jonathan Hamm | .... | third assistant director: UK | |
| Olivia Peniston-Bird | .... | third assistant director: Spain | |
| Kieron Phipps | .... | first assistant director | |
Technicien du son | |||
| Tim Alban | .... | dubbing mixer | |
| Antonio Bloch | .... | sound engineer | |
| Edward Bulman | .... | dubbing assistant (as Ed Bulman) | |
| Peter Burgess | .... | foley artist | |
| Jens Christensen | .... | adr recordist | |
| Felicity Cottrell | .... | foley artist | |
| Rory Farnan | .... | dialogue editor | |
| Sara Fijo | .... | boom operator | |
| Richard File | .... | programmer: UNKLE Entertainment | |
| Hugh Johnson | .... | adr recordist | |
| Andrea King | .... | foley artist | |
| Emma Pegram | .... | dubbing assistant | |
| Jeremy Price | .... | supervising sound editor | |
| Sandra Roth | .... | foley editor | |
| Sandra Roth | .... | foley recordist | |
| Jack Stew | .... | foley artist | |
| Andrew Stirk | .... | assistant sound mixer | |
| Damian Taylor | .... | sound director | |
| Hilary Wyatt | .... | adr editor | |
| Hilary Wyatt | .... | dialogue editor | |
| Mark Kenna | .... | consultant: Dolby film sound (uncredited) | |
| Mark Kenna | .... | consultant: dolby film sound (uncredited) | |
| José Vinader | .... | sound (uncredited) | |
Effets spéciaux | |||
| César Abades | .... | special effects technician: Spain (as Cesar Abades) | |
| Reyes Abades | .... | special effects supervisor: Spain | |
| Reyes Abades | .... | special effects | |
| Ángel Alonso | .... | special effects technician: Spain (as Angel Alonso) | |
| Richard Brown | .... | senior technician: UK | |
| Tom Harris | .... | special effects supervisor: UK | |
| Christopher Hobbs | .... | senior technician: UK | |
| Gareth E.D. Jones | .... | special effects crew | |
| Ian Lowe | .... | senior technician: UK | |
| Paul Mann | .... | additional miniatures | |
| Paul Mann | .... | special effects | |
| James McKeown | .... | special effects technician | |
| Nicky O'Sullivan | .... | special effects technician | |
| Victor Sánchez | .... | special effects technician: Spain | |
| Peter Toulson | .... | senior technician: UK | |
| Jason Troughton | .... | special effects supervisor: UK | |
| Mark Vanstone | .... | special effects technician | |
| Alan Whibley | .... | special effects supervisor: UK | |
Visual Effects | |||
| Tabitha Dean | .... | visual effects editorial assistant: CFC | |
| Tom Debenham | .... | compositing artist: CFC | |
| Adrian De Wet | .... | compositing artist: CFC | |
| Ian Fellows | .... | digital paint artist: CFC | |
| Adam Glasman | .... | digital lab: CFC | |
| Verity Grantham | .... | visual effects coordinator: CFC | |
| Darrel Griffin | .... | digital lab: CFC | |
| Robert Hall | .... | digital paint artist: CFC | |
| Jan Hogevold | .... | digital lab producer: CFC | |
| Oliver James | .... | disco node: CFC | |
| Merrin Jensen | .... | digital lab: CFC | |
| Matt Kasmir | .... | digital compositor | |
| Roz Lowrie | .... | visual effects editorial: CFC | |
| Scott Marriott | .... | digital lab: CFC | |
| Justin Martin | .... | CG animator: CFC (as Justin Murphy) | |
| Stephen Murphy | .... | CG animator: CFC | |
| Mark Nelmes | .... | visual effects supervisor: CFC | |
| Cecilie Olsen | .... | visual effects editorial assistant: CFC | |
| Alex Payman | .... | compositing artist: CFC | |
| Rachael Penfold | .... | visual effects producer: CFC | |
| Dominic Sidoli | .... | visual effects coordinator: CFC | |
| Steve Tizzard | .... | digital lab: CFC | |
| Gavin Toomey | .... | compositing artist: CFC | |
Cascadeur | |||
| Tom Aitken | .... | stunts | |
| Miguel Pedregosa | .... | stunt coordinator: Spain | |
| Juan Manuel Torres | .... | stunt double: Ben Kingsley, Spain | |
| Fco. Javier Tristán | .... | stunts: Spain | |
| Richard Bradshaw | .... | stunts (uncredited) | |
Département Casting | |||
| John Harris Dunning | .... | casting assistant: UK | |
| Chloe Emmerson | .... | casting associate | |
| Camilla-Valentine Isola | .... | casting: Spain | |
Département Costume et garde-Robe | |||
| Marianne Agertoft | .... | wardrobe assistant | |
| Suzy Freeman | .... | costume supervisor | |
| Lena Mossum | .... | wardrobe supervisor: Spain | |
| Livia Pascucci | .... | costume assistant: UK | |
Dpartement Editorial | |||
| Simon Gosling | .... | post-production coordinator | |
| Florence Larsonneur | .... | post-production coordinator | |
| Ollie Savage | .... | post-production runner | |
| Alexander Soskin | .... | assistant editor | |
| Mike Stainer | .... | color grader | |
| Sylvia Wheeler | .... | negative cutter | |
Département Musique | |||
| Roque Baños | .... | musician: his original music | |
| Joel Cadbury | .... | composer: additional original music (as J. Cadbury) | |
| Cameron Craig | .... | music mixer | |
| Raquel Fernández | .... | music mixing assistant | |
| Raquel Fernández | .... | music recording assistant | |
| Richard File | .... | additional music producer: UNKLE Entertainment | |
| Richard File | .... | composer: additional original music (as R. File) | |
| Janice Ginsberg | .... | soundtrack consultant | |
| Robert Hathaway | .... | music editor (as Bob Hathaway) | |
| James Lavelle | .... | composer: additional original music (as J. Lavelle) | |
| James Lavelle | .... | music producer: UNKLE Entertainment | |
| Miriam Ludbrook | .... | assistant music editor | |
| James McDonald | .... | composer: additional original music (as J. McDonald) | |
| Jose Vinader Pérez | .... | music mixing technician | |
| Jose Vinader Pérez | .... | music recording technician | |
| Peter Raeburn | .... | music consultant | |
| Brett Shaw | .... | composer: additional original music (as B. Shaw) | |
| Damian Taylor | .... | additional music producer | |
Département Transport | |||
| Lars Barker | .... | driver: makeup department, UK | |
| Simon Barker | .... | driver: cast, UK | |
| Paul Brosman | .... | facilities driver: UK | |
| Miguel A. López Gallego | .... | facilities driver: Spain | |
| Alan Higman | .... | facilities driver: UK | |
| Cheryl Howard | .... | facility vehicles | |
| Nigel Howard | .... | facility vehicles | |
| Kevin Maher | .... | driver: Ray Winstone, UK | |
| Antonio Martín | .... | facilities driver: Spain | |
| Ian Maskell | .... | facilities driver: UK | |
| Ben Metcalfe | .... | construction driver: UK | |
| Julian Hernández Pérez | .... | facilities driver: Spain | |
| Jorge Ramos | .... | facilities driver: Spain | |
| Pablo Macías Risco | .... | facilities driver: Spain | |
| Agustín Ruiz | .... | facilities driver: Spain (as Agustín Ruiz-Valdepeñas) | |
| Dermot Smyth | .... | driver: camera car, UK | |
| Bernardino Villanueva | .... | facilities driver: Spain | |
| Tom Welding | .... | driver: Ian McShane, UK | |
| David N. Williams | .... | property driver: UK (as David Williams) | |
| Dale Wilson | .... | facilities driver: UK | |
Divers | |||
| Jorge Adrados | .... | production assistant | |
| Luis Miguel Arranz | .... | horse master: Spain | |
| Hamish Bernie | .... | production runner: Spain | |
| Aaron Blackman | .... | diver: underwater unit | |
| Phil Brayley | .... | caterer: UK | |
| Pauline Brown | .... | production accountant | |
| Miguel Bustamante | .... | assistant location manager: Spain | |
| Joel Cadbury | .... | instrumentation (as South) | |
| Ralf Collie | .... | stand-in: UK | |
| Stuart Cook | .... | post-production accountant | |
| Leoni Cotgrove | .... | secretary to producer: Spain | |
| Amanda Coulter | .... | production coordinator | |
| Marta de Dios | .... | assistant to producer | |
| Sergio Díaz | .... | location assistant: Spain | |
| Sergio Díaz | .... | runner: Spain | |
| Geordie Divas | .... | assistant location manager: UK | |
| Florencio Dueñas | .... | caterer: Spain (as Florencio Dueñas Cepada) | |
| Joanna Dunn | .... | assistant: Jonathan Glazer | |
| Paul Elvin | .... | caterer: UK | |
| Jane Fryers | .... | script supervisor | |
| Linda Gamble | .... | publicist | |
| Doug Green | .... | divers supervisor: underwater unit | |
| Rod Haak | .... | location manager: UK | |
| John Hatfield | .... | operator: photogonics unit | |
| Mar Henche | .... | production accountant | |
| Darya Higginson | .... | stand-in: UK | |
| Nicolai Iuul | .... | assistant to producer | |
| Jocelyn Jones | .... | assistant to producer | |
| Stephan Mallmann | .... | business affairs: Recorded Pictures Company | |
| James McDonald | .... | instrumentation (as South) | |
| Mario de Aguilar Milanese | .... | location scout: Spain | |
| Lee Murphy | .... | diver: underwater unit | |
| Luis Navarro Merino | .... | legal services: Lisbeth Savill-Olswang (as Luis Navarro) | |
| Clive Noakes | .... | laboratory contact: DeLuxe | |
| Toni Novella | .... | location manager: Spain | |
| Mike Nugent | .... | chef: UK | |
| Alan Osmond | .... | operator: photogonics unit | |
| Raquel Palmero | .... | production runner: Spain | |
| Maxine Parker | .... | assistant accountant: Spain | |
| Gregg Pearson | .... | armorer: UK | |
| Harriet Perry | .... | production assistant: UK | |
| Peter Richardson | .... | diver: underwater unit | |
| Roasa | .... | armorer (as Amería Roasa) | |
| Erich Romero | .... | production runner: Spain | |
| Simon Scotland | .... | supervising financial controller | |
| Ricardo Serrano | .... | production runner: Spain | |
| Brett Shaw | .... | instrumentation (as South) | |
| Spike | .... | runner | |
| David Studwell | .... | runner: UK | |
| Mike Sylvester | .... | caterer: UK | |
| Nicolás Tapia | .... | location assistant: Spain | |
| Nicolás Tapia | .... | runner: Spain | |
| Jessica Thomas | .... | runner: UK | |
| Françoise Valentine | .... | communications: underwater unit | |
| Françoise Valentine | .... | unit nurse: underwater unit | |
| Antonio Vega | .... | caterer: Spain | |
| Amanda Warren | .... | assistant production coordinator: UK | |
| Chris Warren | .... | video coordinator | |
| Jonathan Warren | .... | runner: UK | |
| Jonathan Watts | .... | operator: photogonics unit | |
| James Wilson | .... | production executive: FilmFour | |
| Fred Woodcock | .... | diver: underwater unit | |
| Len Woodcock | .... | diver: underwater unit | |
| Aurora Yófera | .... | production coordinator: Spain | |
| Andrew Jack | .... | dialect coach (uncredited) | |
| Denis Pedregosa | .... | production assistant (uncredited) | |
Merci | |||
| Richard Conway | .... | special thanks | |
| Andrew Hildebrand | .... | thanks | |
| Tracey Josephs | .... | thanks | |
| William Roberts | .... | special thanks | |
| Howard Shore | .... | thanks | |
| Justin Thomson-Glover | .... | thanks | |
| Paul Webster | .... | thanks | |
| David Wilder | .... | thanks | |
| Jon Wilson | .... | thanks | |
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| La hija del caníbal | Plata quemada | B. Monkey | My Own Private Idaho | The Limey |
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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 |
In `Sexy Beast,' Ben Kingsley delivers a bone-chilling performance as the man everyone loves to hate, a role for which he earned not only universal critical acclaim but a Best Supporting Actor Oscar nomination as well. Don Logan is so evil that even his fellow mobster buddies fear and hate him. From our very first glimpse of him high-strutting his way through an airport terminal, Kingsley hits just the right note for his character. Cleverly, writers Louis Mellis and David Scinto have paved the way for this entrance by introducing Logan ahead of time in a series of conversations in which just the mere mention of his name sets off portentous reverberations amongst the people discussing him.
Chief among those people is the film's protagonist, Gal, Logan's `retired' ex-partner in crime, who wants nothing more than to be allowed to enjoy life undisturbed in his seaside Spanish villa with his swimming pool and the wife he loves so dearly. But Gal soon discovers that a person cannot escape his past forever, when Logan suddenly shows up at his doorstep demanding that Gal join his own personally hand-picked gang of seasoned criminals whom Logan has brought together to pull off a major heist back in Merry Olde England. Gal would like nothing better than to send Logan home packing empty handed, but he also knows that defying Logan can be the fastest route to an early demise. It is this atmosphere of fear and dread that director Jonathon Glazer uses to make `Sexy Beast' such an engrossing and off beat little crime drama.
In fact it is the THREAT of violence, far more than the violence itself, which distinguishes this tale. Without the use of weapons of any kind, Logan is able to cow and terrorize a roomful of reasonably fearless adults simply by his steely-eyed demeanor and the unpredictable nature of his temperament. Seemingly controlled and rational one moment, he can suddenly erupt into a volcano of exploding anger the next. One of the most chilling moments in the film occurs aboard a departing airplane in which Logan refuses to douse his cigarette, thereby precipitating a confrontation with the flight crew. Logan has that quality that distinguishes all great villains: he throws us back on our heels by his refusal to conform to the social amenities that the rest of us simply take for granted and which put us at a decided disadvantage when faced with the evil characters of the world who know no rules and flagrantly disregard the ones we follow. He reminds us of how weak and vulnerable the rest of us really are.
Logan, for all the intensity generated by his character, is not, however, the focal point of the film. Gal, brilliantly played by Ray Winstone, who provides a fascinating counterpoint to Logan's no-holds-barred villainy, occupies that position. Despite his criminal background, Gal wins us over by his openhearted frankness, his sincere devotion to his wife, friends and neighbors, and his obvious desire to lead a straight life from hereon out. Winstone underplays his scenes superbly, yet he never allows himself to be acted off the screen by the fiery Kingsley. (One should mention that the heavy cockney accents of the characters make what they are saying a bit incomprehensible at times).
As is not uncommon in gangster movies these days, Glazer manages to inject an element of black humor into the proceedings. The comedy often takes the form of twisted surrealism, such as when a giant boulder rolls down a nearby hillside and lands plop in Gal's beloved pool, barely missing taking Gal to the bottom with it. The filmmakers also have an effective way of heightening the tension through indirection, particularly in the early scenes which prime us to dread Logan's entrance as much as the characters who don't want to see him and we haven't even met him yet. This technique of telegraphing information ahead of time contributes immensely to heightening the suspenseful quality of the film.
`Sexy Beast' provides superb performances, a nasty sense of humor and a fascinating glimpse into the dark side of human nature.