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| Anthony Hopkins | ... | Frederick Treves | |
| John Hurt | ... | John Merrick | |
| Anne Bancroft | ... | Mrs. Kendal | |
| John Gielgud | ... | Carr Gomm | |
| Wendy Hiller | ... | Mothershead | |
| Freddie Jones | ... | Bytes | |
| Michael Elphick | ... | Night Porter | |
| Hannah Gordon | ... | Mrs. Treves | |
| Helen Ryan | ... | Princess Alex | |
| John Standing | ... | Fox | |
| Dexter Fletcher | ... | Bytes' Boy | |
| Lesley Dunlop | ... | Nora | |
| Phoebe Nicholls | ... | Merrick's Mother | |
| Pat Gorman | ... | Fairground Bobby | |
| Claire Davenport | ... | Fat Lady | |
| Orla Pederson | ... | Skeleton Man | |
| Patsy Smart | ... | Distraught Woman | |
| Frederick Treves | ... | Alderman | |
| Stromboli | ... | Fire Eater | |
| Richard Hunter | ... | Hodges | |
| James Cormack | ... | Pierce | |
| Robert Lewis Bush | ... | Messenger (as Robert Bush) | |
| Roy Evans | ... | Cabman | |
| Joan Rhodes | ... | Cook | |
| Nula Conwell | ... | Nurse Kathleen | |
| Tony London | ... | Young Porter | |
| Alfie Curtis | ... | Milkman | |
| Bernadette Milnes | ... | 1st Fighting Woman | |
| Brenda Kempner | ... | 2nd Fighting Woman | |
| Carol Harrison | ... | Tart (as Carole Harrison) | |
| Hugh Manning | ... | Broadneck | |
| Dennis Burgess | ... | 1st Committee Man | |
| Fanny Carby | ... | Mrs. Kendal's Dresser | |
| William Morgan Sheppard | ... | Man In Pub (as Morgan Sheppard) | |
| Kathleen Byron | ... | Lady Waddington | |
| Gerald Case | ... | Lord Waddington | |
| David Ryall | ... | Man With Whores | |
| Deirdre Costello | ... | 1st Whore | |
| Pauline Quirke | ... | 2nd Whore | |
| Kenny Baker | ... | Plumed Dwarf | |
| Chris Greener | ... | Giant | |
| Marcus Powell | ... | Midget | |
| Gilda Cohen | ... | Midget | |
| Lesley Scoble | ... | Siamese Twin (as Lisa Scoble) | |
| Teri Scoble | ... | Siamese Twin | |
| Eiji Kusuhara | ... | Japanese Bleeder | |
| Robert Day | ... | Little Jim | |
| Patricia Hodge | ... | Screaming Mum | |
| Tommy Wright | ... | First Bobby | |
| Peter Davidson | ... | Second Bobby | |
| John Rapley | ... | King In Panto | |
| Hugh Spight | ... | Puss In Panto | |
| Teresa Codling | ... | Princess In Panto | |
| Marion Betzold | ... | Principal Boy | |
| Caroline Haigh | ... | Tree | |
| Florenzio Morgado | ... | Tree | |
| Victor Kravchenko | ... | Lion / Coachman | |
| Beryl Hicks | ... | Fairy | |
| Michele Amas | ... | Horse | |
| Lucie Alford | ... | Horse | |
| Penny Wright | ... | Horse | |
| Janie Kells | ... | Horse | |
| Lydia Lisle | ... | Merrick's Mother | |
| rest of cast listed alphabetically: | |||
| Eric Bergren | ... | Lyra Box Player #1 (uncredited) | |
| Adam Caine | ... | Kid at Train Station (uncredited) | |
| Christopher De Vore | ... | Lyra Box Player #2 (uncredited) | |
| Harry Fielder | ... | Police man (uncredited) | |
Directed by | |||
| David Lynch | |||
Writing credits | ||
| Christopher De Vore | (screenplay) & | |
| Eric Bergren | (screenplay) & | |
| David Lynch | (screenplay) | |
| Sir Frederick Treves | book "The Elephant Man and Other Reminiscences" and | |
| Ashley Montagu | book "The Elephant Man: A Study in Human Dignity" | |
Produced by | |||
| Stuart Cornfeld | .... | executive producer | |
| Jonathan Sanger | .... | producer | |
| Mel Brooks | .... | executive producer (uncredited) | |
Original Music by | |||
| John Morris | |||
Cinematography by | |||
| Freddie Francis | (director of photography) | ||
Film Editing by | |||
| Anne V. Coates | |||
Casting by | |||
| Maggie Cartier | |||
Production Design by | |||
| Stuart Craig | |||
Art Direction by | |||
| Robert Cartwright | (as Bob Cartwright) | ||
Set Decoration by | |||
| Hugh Scaife | |||
Costume Design by | |||
| Patricia Norris | |||
Makeup Department | |||
| Paula Gillespie | .... | hairdressing | |
| Stephanie Kaye | .... | hairdressing | |
| Beryl Lerman | .... | makeup artist | |
| Michael Morris | .... | makeup artist | |
| Wally Schneiderman | .... | makeup application: 'Elephant Man' | |
| Wally Schneiderman | .... | makeup supervisor | |
| Christopher Tucker | .... | makeup creator: 'Elephant Man' | |
| Christopher Tucker | .... | makeup designer: 'Elephant Man' | |
Production Management | |||
| Terence A. Clegg | .... | executive in charge of production | |
Second Unit Director or Assistant Director | |||
| Gerry Gavigan | .... | second assistant director | |
| Anthony Waye | .... | assistant director | |
Art Department | |||
| Reg Richards | .... | construction manager | |
| Terry Wells | .... | property master | |
| John Roberts | .... | set designer (uncredited) | |
| Adrian Start | .... | chargehand painter (uncredited) | |
Sound Department | |||
| Robin Gregory | .... | sound mixer | |
| Peter Horrocks | .... | sound editor | |
| John Iles | .... | engineer: Dolby | |
| David Lynch | .... | sound designer | |
| Alan Splet | .... | sound designer | |
| Alan Splet | .... | special sound effects | |
| Doug E. Turner | .... | dubbing mixer (as Doug Turner) | |
| Terry Sharratt | .... | boom operator (uncredited) | |
Special Effects by | |||
| Graham Longhurst | .... | special effects | |
| Neil Corbould | .... | special effects (uncredited) | |
| Paul Corbould | .... | special effects (uncredited) | |
| Martin Gutteridge | .... | special effects supervisor (uncredited) | |
| Garth Inns | .... | special effects (uncredited) | |
Camera and Electrical Department | |||
| Frank Connor | .... | still photographer | |
| Jim Dawes | .... | dolly grip | |
| Jerry Dunkley | .... | camera operator | |
| Roy Larner | .... | gaffer | |
| Wick Finch | .... | electrician (uncredited) | |
| John Matthews | .... | best boy (uncredited) | |
Costume and Wardrobe Department | |||
| Tiny Nicholls | .... | wardrobe supervisor | |
Editorial Department | |||
| Patrick Moore | .... | assistant editor | |
Music Department | |||
| Jack Hayes | .... | orchestrator | |
| John Morris | .... | conductor | |
Transportation Department | |||
| Brian Hathaway | .... | transportation | |
| Gerry Turner | .... | transportation | |
Other crew | |||
| Randy Auerbach | .... | researcher | |
| Ceri Evans | .... | continuity | |
| Graham Ford | .... | location manager | |
| Loretta Ordewer | .... | production secretary | |
| John Trehy | .... | production accountant | |
| Ellen Adolph | .... | manager of production accounting (uncredited) | |
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| The Elephant Man | From Hell | Johnny Got His Gun | Edvard Munch | Chariots of Fire |
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David Lynch is a remarkable director and The Elephant Man is a remarkable film. Inspired by a true story in the streets of London during the Victorian Age, the film is based entirely around the life of John Merrick (John Hurt), an individual dubbed by his `owner' Bytes (Freddie Jones) and others as 'The Elephant Man' because of his hideous deformities. With this film, Lynch grasps his audience and stretches them to a new parallel of an emotionally capturing film. And what makes this so daunting and so intriguing is the fact that 'The Elephant Man' is a true story, no part of it is fictional. Anthony Hopkins plays Dr. Frederick Treves, the man who somewhat saves John from those who persecute him for being a freak, being a `monster.' A story of human triumph could never be so remarkable as that of The Elephant Man. Lynch takes The Elephant Man to a new level of technical aspiration with a dark, dank setting shot completely in black and white. This film is amazing and would undoubtedly be just okay any other way. The black and white adds to the story in a way that touches the audience much deeper and much more personal. Not to mention stunning performances and dialogue by all cast, `David Lynch's portrait of John 'The Elephant Man' Merrick stands as one of the best biographies on film.' Literary critic Leslie Fiedler maintains that freaks stir `both supernatural terror and natural sympathies' because they `challenge conventional boundaries between male and female, sexed and sexless, animal and human, large and small, self and other.' In this very interesting and moving film, we are challenged to clarify our values in regard to `very special people.' However, in one powerful scene of tension and curiosity, John Merrick screams out, `I am not an animal! I am a human being! I.am.a man!' This particular sequence, I believe, is incredible and it ties in with the whole focus of the film itself, human dignity and emotion. David Lynch is known for some pretty twisted films, and yet, The Elephant Man is not that twisted at all. Even though his audience views John Merrick as not the average person because of his medical condition, the story is cherished because of how it is put onto the big screen. Compared to his other films such as Blue Velvet and Eraserhead, The Elephant Man is more surreal in terms of what Lynch was going for. Lynch does a magnificent job in portraying his version of The Elephant Man, and many people along with critics alike agree. I can easily rate The Elephant Man with four stars because David Lynch deserves no less. The Elephant Man is a classic, a striking and devastating film depicting the account of John Merrick's search for a dignified and normal life. I would definitely recommend this film to those in search of a wonderful story about one man's conquest to a regular life. Dr. Treves' account with John not only presents him with respect and normalcy, but also takes him as far as an uplifting scene where upon John states `my life is full because I know I am loved.' With such an inspirational and true story, David Lynch puts on a film that should be loved by many, if not all.