| Photos (see all 31 | slideshow) |
| Al Pacino | ... | Sonny Wortzik | |
| John Cazale | ... | Sal | |
| Charles Durning | ... | Det. Sgt. Eugene Moretti | |
| Chris Sarandon | ... | Leon Shermer | |
| Sully Boyar | ... | Mulvaney | |
| Penelope Allen | ... | Sylvia | |
| James Broderick | ... | Sheldon | |
| Carol Kane | ... | Jenny | |
| Beulah Garrick | ... | Margaret | |
| Sandra Kazan | ... | Deborah | |
| Marcia Jean Kurtz | ... | Miriam | |
| Amy Levitt | ... | Maria | |
| John Marriott | ... | Howard | |
| Estelle Omens | ... | Edna | |
| Gary Springer | ... | Stevie | |
| Lance Henriksen | ... | Murphy | |
| Judith Malina | ... | Vi - Mother | |
| Dominic Chianese | ... | Vi's Husband - Father | |
| Marcia Haufrecht | ... | Vi's Neighbor | |
| Susan Peretz | ... | Angela 'Angie' Wortzik | |
| Floyd Levine | ... | Phone Cop | |
| Carmine Foresta | ... | Carmine | |
| William Bogert | ... | TV Anchorman | |
| Ron Cummins | ... | TV Reporter | |
| Jay Gerber | ... | Sam | |
| Philip Charles MacKenzie | ... | Doctor | |
| Chu Chu Malave | ... | Maria's Boyfriend | |
| Lionel Pina | ... | Pizza Boy | |
| Dick Anthony Williams | ... | Limo Driver | |
| Frank Piazza | ... | Actor | |
| rest of cast listed alphabetically: | |||
| James Bulleit | ... | Sgt. Gillis (uncredited) | |
| Robert Costanzo | ... | New York Policeman (uncredited) | |
| Todd Everett | ... | Cop (uncredited) | |
| Paul E. Guskin | ... | Police Sergeant (uncredited) | |
| Ed Metzger | ... | Sgt. Murray - NYPD (uncredited) | |
| Thomas Murphy | ... | Policeman with Angie (uncredited) | |
| Raymond Serra | ... | New York Plainclothes Cop (uncredited) | |
| Lynette Sheldon | ... | Sadie (uncredited) | |
| Tom Towles | ... | Gunman (uncredited) | |
Directed by | |||
| Sidney Lumet | |||
Writing credits | ||
| P.F. Kluge | (article) and | |
| Thomas Moore | (article) | |
| Frank Pierson | (screenplay) | |
Produced by | |||
| Martin Bregman | .... | producer | |
| Martin Elfand | .... | producer | |
| Robert Greenhut | .... | associate producer | |
Cinematography by | |||
| Victor J. Kemper | |||
Film Editing by | |||
| Dede Allen | |||
Casting by | |||
| Michael Chinich | |||
| Don Phillips | |||
Production Design by | |||
| Charles Bailey | |||
Art Direction by | |||
| Douglas Higgins | (as Doug Higgins) | ||
Set Decoration by | |||
| Robert Drumheller | |||
Costume Design by | |||
| Anna Hill Johnstone | |||
Makeup Department | |||
| Max Henriquez | .... | assistant makeup artist | |
| Philip Leto | .... | hair stylist | |
| Reginald Tackley | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Burtt Harris | .... | assistant director | |
| Alan Hopkins | .... | second assistant director | |
Art Department | |||
| Stanley Cappiello | .... | scenic artist | |
| Joseph M. Caracciolo | .... | property master (as Joe Caracciolo) | |
| Carlos Quiles | .... | chief carpenter | |
| Joe Williams Sr. | .... | construction grip (as Joseph Williams) | |
Sound Department | |||
| Richard P. Cirincione | .... | sound editor (as Richard Cirincione) | |
| Jack Fitzstephens | .... | sound editor | |
| Sanford Rackow | .... | sound editor | |
| Stephen A. Rotter | .... | sound editor | |
| James Sabat | .... | sound mixer | |
| Dick Vorisek | .... | sound re-recording supervisor (as Richard Vorisek) | |
| Hal Levinsohn | .... | assistant sound editor (uncredited) | |
| Robert Rogow | .... | boom operator (uncredited) | |
| Mel Zelniker | .... | adr recordist (uncredited) | |
Stunts | |||
| A.J. Bakunas | .... | stunts (uncredited) | |
| Tom O'Connor | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| James W. Finnerty | .... | key grip (as James Finnerty) | |
| Muky | .... | still photographer | |
| Richard Quinlan | .... | gaffer | |
| Fred Schuler | .... | camera operator | |
| Jack Brown | .... | assistant camera (uncredited) | |
| Ron Zarilla | .... | assistant camera (uncredited) | |
Costume and Wardrobe Department | |||
| Clifford Capone | .... | wardrobe supervisor (as Cliff Capone) | |
| Peggy Farrell | .... | wardrobe supervisor | |
Editorial Department | |||
| Angelo Corrao | .... | assistant editor | |
Other crew | |||
| B.J. Bjorkman | .... | script supervisor | |
| Martin Danzig | .... | location manager | |
| Douglas Dean III | .... | production assistant (uncredited) | |
![]() |
![]() |
![]() |
![]() |
![]() |
| Live Free or Die Hard | The Spider Returns | The French Connection | Call Northside 777 | The Basketball Diaries |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb top 250 movies | IMDb Crime section |
| IMDb USA section | Add this title to MyMovies |
I've watched this film for the third time in a few years last night. Instead of writing a straight review, I'd like to jot down ten thoughts just off the top of my head concerning this exquisite movie:
1) Watching this film will change forever your perception of the bank heist genre, making you question the contrived cinematic conventions these films usually make use of.
2) The source of this film's paradoxical and/or farcical elements spring from life itself, not from film or pre-existing cinematic conventions. Sometimes, the absurdities of life are so great, they dwarf those included in any form of fiction. Without even trying to make that point, this film captures that concept beautifully.
3) Its tone in relation to the homosexual theme is ahead of its time. In fact it's ahead of OUR time, even, in hardly making an issue out of it at all - it just IS.
4) It captures the climate of the 70s in a manner so sober, you'll remember its unshowy yet authentic feel forever.
5) Lumet's film brings to life the concept of the distorting lens of the media and how different groups with different agendas will turn an outlaw into a hero, with far more efficiency than Oliver Stone's brash, bloated, childish and repetitive Natural Born Killers.
6) Watching this film will illustrate to the younger generations exactly why Al Pacino has earned himself the legendary status he probably no longer would deserve with his performances of the last 10 years alone. **SPOILERS**: Just watch those last ten minutes of him handcuffed against the bonnet of a car, where he doesn't say a word, but speaks volumes with his eyes and his soul just oozing out of every frame at the end of the movie; you'll remember those eyes for as long as you live!
7) Watching this film, you'll realise that firing a gun-shot is a BIG DEAL in real life, and that other films make too much use of gun fire in a highly contrived way.
8) All that tension deriving from pointed guns unable to fire a shot OR move away you realise Tarantino must've taken notes sometime along the way.
9) No genre is old or done too many times before if it's handled with this amount of freshness, inspiration and talent.
10) Watching Dog Day Afternoon for the third time has filled me with the same amount of wonder at the power of truly inspired but unobtrusive film-making as it did first time round.