at Crackle

| Photos (see all 6 | slideshow) | Videos |
| Stacy Keach | ... | Tully | |
| Jeff Bridges | ... | Ernie | |
| Susan Tyrrell | ... | Oma | |
| Candy Clark | ... | Faye | |
| Nicholas Colasanto | ... | Ruben | |
| Art Aragon | ... | Babe | |
| Curtis Cokes | ... | Earl | |
| Sixto Rodriguez | ... | Lucero | |
| Billy Walker | ... | Wes | |
| Wayne Mahan | ... | Buford | |
| Ruben Navarro | ... | Fuentes | |
| rest of cast listed alphabetically: | |||
| Álvaro López | ... | Rosales (uncredited) | |
| Carl D. Parker | ... | Paymaster (uncredited) | |
| Al Silvani | ... | Referee-Tully / Lucero fight (uncredited) | |
Directed by | |||
| John Huston | |||
Writing credits | ||
| Leonard Gardner | (novel "Fat City") | |
Produced by | |||
| David Dworski | .... | associate producer | |
| John Huston | .... | producer | |
| Ray Stark | .... | producer | |
Cinematography by | |||
| Conrad L. Hall | (as Conrad Hall) | ||
Film Editing by | |||
| Walter Thompson | |||
Casting by | |||
| Fred Roos | |||
| Jennifer Shull | |||
Production Design by | |||
| Richard Sylbert | |||
Set Decoration by | |||
| Morris Hoffman | |||
Costume Design by | |||
| Dorothy Jeakins | |||
Makeup Department | |||
| Virginia Jones | .... | hair stylist | |
| Jack H. Young | .... | makeup artist (as Jack Young) | |
Production Management | |||
| Russell Saunders | .... | unit production manager (as Russ Saunders) | |
Second Unit Director or Assistant Director | |||
| Russell Saunders | .... | assistant director (as Russ Saunders) | |
Art Department | |||
| Richard M. Rubin | .... | property master | |
Sound Department | |||
| Tom Overton | .... | sound | |
| Arthur Piantadosi | .... | sound | |
Special Effects by | |||
| Paul Stewart | .... | special effects | |
Stunts | |||
| Nick Bullom | .... | stunts (uncredited) | |
| Rachel Schedler | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Thomas Del Ruth | .... | assistant camera (uncredited) | |
| Richard Moore | .... | additional photographer (uncredited) | |
Costume and Wardrobe Department | |||
| John A. Anderson | .... | wardrobe (uncredited) | |
Editorial Department | |||
| Margaret Booth | .... | supervising editor | |
| Abe Lincoln Jr. | .... | assistant editor (uncredited) | |
Music Department | |||
| Kenneth Hall | .... | music editor (as Ken Hall) | |
| Marvin Hamlisch | .... | music supervisor | |
Other crew | |||
| Wayne Fitzgerald | .... | title designer | |
| Gladys Hill | .... | assistant: John Huston | |
| Marshall Schlom | .... | script supervisor | |
| Denny Shanahan | .... | unit publicist | |
| Al Silvani | .... | fight consultant (uncredited) | |
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| Rocky II | Rocky Balboa | Rocky | Rocky V | The Contender |
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| Full cast and crew | Company credits | External reviews |
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American audiences don't generally go in for realistic stories of human despair and suffering that offer very little in the way of hope or relief. This may explain why John Huston's Fat City has been condemned to obscurity, a real shame considering what a great flick it is. It's the sort of movie you see and remember but can't quite pick it out of a line-up... a shuffling, mumbling story of down-and-out pugs in an off-the-map burgh. You're taunted with the possibilities of the story picking up to... well if not epic at least noteworthy proportions... but, all of the characters' minor victories are mitigated by their simultaneous defeats. Keach's Tully is the main thrust of the story, though it tends to veer off on the occasional tangent. A has-been who possibly never really was, crushed by the departure of his wife and overwhelmed by the constant little defeats in his life. Huston really drives this point home, that all of these little defeats add up. Without giving too much away, suffice to say Fat City is a film where mood overshadows plot. The mood is indelibly rendered by Conrad Hall's dark, dirty images, which nearly swallow the characters in the depth of their shadows. Watching it back to back with fellow pugilist opus Raging Bull (1980), it's easy to see that Huston was a keen observer of human behaviour, while Scorsese was a keen observer of Hollywood films of the thirties. And don't even talk about Rocky. I would compare it favourably with Barbet Schroeder's Barfly (1987), another film about fringe life in California, and even Vincent Gallo's excellent Buffalo '66 (1998), though of the three it is the bleakest and the least accessible.