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Directed by | |||
| Diane Keaton | |||
Writing credits(WGA) | ||
| Delia Ephron | (book) | |
| Delia Ephron | (screenplay) & | |
| Nora Ephron | (screenplay) | |
Produced by | |||
| Delia Ephron | .... | executive producer | |
| Nora Ephron | .... | producer | |
| Laurence Mark | .... | producer | |
| Diana Pokorny | .... | co-producer | |
| Bill Robinson | .... | executive producer | |
Original Music by | |||
| David Hirschfelder | |||
Cinematography by | |||
| Howard Atherton | (director of photography) | ||
Film Editing by | |||
| Julie Monroe | |||
Casting by | |||
| Lisa Beach | |||
Production Design by | |||
| Waldemar Kalinowski | |||
Art Direction by | |||
| Troy Sizemore | |||
Set Decoration by | |||
| Florence Fellman | |||
Costume Design by | |||
| Bobbie Read | |||
Makeup Department | |||
| Janice Alexander | .... | hair supervisor (as Jan Alexander) | |
| Fríða Aradóttir | .... | hair stylist: Ms. Ryan | |
| Steve Artmont | .... | makeup supervisor | |
| Kelcey Fry | .... | makeup artist: Ms. Keaton | |
| Angela Levin | .... | makeup artist: Ms. Kudrow | |
| Edward St. George | .... | hair stylist: Ms. Kudrow | |
| Toni-Ann Walker | .... | hair stylist: Ms. Keaton | |
Production Management | |||
| Michelle Morrissey | .... | production supervisor | |
| Diana Pokorny | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Paula Case | .... | second second assistant director (as Paula Harris) | |
| K.C. Colwell | .... | first assistant director | |
| Darin Rivetti | .... | second assistant director | |
| Laurie Webb | .... | dga trainee | |
Art Department | |||
| Deana Albers | .... | assistant property master | |
| Mick Cukurs | .... | set designer | |
| Maureen Farley | .... | property master | |
| Barry Kingston | .... | construction coordinator | |
| Brent Rice | .... | lead man | |
| Lee Runnels | .... | greensman | |
| Michael Stone | .... | assistant art director | |
| François Audouy | .... | illustrator (uncredited) | |
| Tony Castagnola | .... | greens foreman (uncredited) | |
| Judson Crowder | .... | set dresser (uncredited) | |
| Paul Dowler | .... | set dresser (uncredited) | |
| Patricio M. Farrell | .... | assistant art director: reshoots (uncredited) | |
| Monica Frommholz | .... | art department coordinator (uncredited) | |
| Gregor Habsburg | .... | assistant to production designer: Fine Art reproduction (uncredited) | |
| Joshua Hunt | .... | set dresser (uncredited) | |
| Helen Kozora | .... | set decoration buyer (uncredited) | |
| Scott Lafferty | .... | carpenter (uncredited) | |
| Steven Light-Orr | .... | set dresser (uncredited) | |
| Mark A. Mancinelli | .... | plaster supervisor (uncredited) | |
| Merdyce McClaran | .... | on-set dresser (uncredited) | |
| Fred O'Connor | .... | propmaker (uncredited) | |
| Eric Sundahl | .... | set designer (uncredited) | |
| Jason Sweers | .... | graphic designer (uncredited) | |
Special Effects by | |||
| Tom Seymour | .... | special effects | |
| J.D. Streett | .... | special effects supervisor | |
| Charles Cooley | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Christopher Grandel | .... | visual effects coordinator (uncredited) | |
| Ralph Maiers | .... | in house supervisor: CRC Digital (uncredited) | |
Stunts | |||
| Charlie Brewer | .... | stunts | |
| Jack Gill | .... | stunt coordinator | |
| Al Goto | .... | stunts | |
| Jimmy Graham | .... | stunts | |
| Tabby Hanson | .... | stunts | |
| Craig Hosking | .... | stunts | |
| Jeff Imada | .... | stunts | |
| Kevin Scott | .... | stunts | |
Casting Department | |||
| Sarah Katzman | .... | casting associate | |
| Kelly Mittelman | .... | casting assistant | |
| Steve Spiker | .... | extras casting (uncredited) | |
Costume and Wardrobe Department | |||
| Terry Anderson | .... | key costumer | |
| Elinor Bardach | .... | costume supervisor | |
| Alison Gail Bixby | .... | set costumer | |
| Romeo Pompa | .... | costumer (uncredited) | |
Editorial Department | |||
| Charles Bunn | .... | first assistant film editor | |
| Gary Burritt | .... | negative cutter | |
| Jordan Dawes | .... | assistant film editor | |
| Matvey Shatz | .... | color timer | |
| Dale Jones | .... | avid technician (uncredited) | |
| Eric Rigney | .... | avid technician (uncredited) | |
Music Department | |||
| Bonnie Greenberg | .... | music consultant | |
| Thomas Pasatieri | .... | orchestrator | |
| Dennis S. Sands | .... | music scoring mixer (as Dennis Sands) | |
| Richard Whitfield | .... | music editor | |
Transportation Department | |||
| Cesar Angebaldo | .... | transportation co-captain (as Cesar Angobaldo) | |
| Randy White | .... | transportation captain | |
| J. Armin Garza II | .... | driver: camera car (uncredited) | |
| Kenneth Newland | .... | driver (uncredited) | |
Other crew | |||
| Deanna Adney | .... | assistant location manager | |
| Chad Ahrendt | .... | assistant: Mr. Mark | |
| Petra Alexandria | .... | executive: LMP | |
| Matthew Cope | .... | production assistant | |
| Robert Earl Craft | .... | location manager | |
| Victoria Gregory | .... | first assistant accountant | |
| Anna E. Hayward | .... | production assistant (as Anna Hayward) | |
| Laura Hogan | .... | production assistant | |
| Brigette Lester | .... | production coordinator | |
| Eric Mansur | .... | assistant: Mr. Mark | |
| Amanda McHugh | .... | executive: Blue Relief | |
| Jonathan Pecarsky | .... | assistant: Mr. Robinson | |
| Michele Posch | .... | production assistant | |
| Tiffany Powell | .... | production secretary | |
| Elena Ritchie | .... | assistant: Ms. Keaton | |
| J.J. Sacha | .... | assistant: Ms. Nora Ephron | |
| Spooky Stevens | .... | unit publicist | |
| Elizabeth Tompkins | .... | production accountant (as Elizabeth K. Tompkins) | |
| Marion Tumen | .... | script supervisor | |
| Derek Jan Vermaas | .... | assistant production coordinator | |
| Kristin Webb | .... | production assistant | |
| Jesse Yoshimura | .... | production assistant | |
| Jennifer Burkley | .... | production assistant: pre-production (uncredited) | |
| Gary Michael Clark | .... | lead payroll accountant (uncredited) | |
| Dawn Clounch | .... | assistant: Diana Pokorny (uncredited) | |
| Danita Cole | .... | second assistant accountant (uncredited) | |
| Lannie Franklin | .... | production assistant (uncredited) | |
| Peter Hansen | .... | caterer: pastry chef (uncredited) | |
| Jack E. Herman | .... | extras set coordinator (uncredited) | |
| Lucy Herrera | .... | second assistant accountant (uncredited) | |
| Jean Hodges | .... | food stylist (uncredited) | |
| Paul Kruhm | .... | location services: EastWest Locations (uncredited) | |
| Anne Lockhart | .... | adr voice (uncredited) | |
| Diane Modafferi | .... | accounting clerk (uncredited) | |
| Danny Mormino | .... | set production assistant: second unit (uncredited) | |
| Carrie Shaw | .... | blocking actor (uncredited) | |
| John Trujillo | .... | layout board (uncredited) | |
| Greg Yaitanes | .... | visual consultant (uncredited) | |
| Garson Yu | .... | title designer (uncredited) | |
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The late Walter Matthau ended his long and illustrious career as a film actor in `Hanging Up,' playing, appropriately, the dying father of three adult daughters. I wish I could say that the vehicle he chose as his eventual swan song were one truly worthy of his enormous skill and talent. Unfortunately or rather fortunately however, this will not be the film for which he is most remembered.
Like so many films, `Hanging Up' starts off with the most noble of intentions. Writer Delia Ephron and director Diane Keaton have attempted to come to terms with the most complex issue facing the aging baby boomer generation: how does one cope with ailing, aging and dying parents while trying to keep a grip on one's own hectic life and personal commitments? And, to make matters more complicated, how does one expend the physical and emotional energy needed for such a task when the parent himself is often irascible, crusty and even downright unlikable in his behavior and nature? And, finally, how does a wounded child ultimately find it in his or her heart to forgive the parent and arrive at that moment of reconciliation so crucial when death finally comes?
When `Hanging Up' focuses on this theme, it achieves moments of point and relevance. All of us can identify with the main character, Eve (Meg Ryan), a sweet, warmhearted young woman who, alone of the three daughters, has unflaggingly dedicated herself to the care of a father who, more often than not, strikes out at her in unappreciative scorn and anger. Wearied and harassed by the enormous burdens of her hectic life and her own inability to say `no' to the people who demand so much from her, Eve emerges as a truly winning and believable character. Unfortunately, her two sisters, Georgia (Diane Keaton), a magazine magnate, and Maddy (Lisa Kudrow), a soap opera actress, come across as shallow, two-dimensional characters whose self-absorption and seeming indifference are (ho hum) really masks for the insecurity and hurt hidden deep beneath their composed surfaces.
Somehow, however, for all its attempts to deal with a truly universal theme, `Hanging Up' never seems quite real in its look and demeanor it always feels like a movie. Maybe it is the overall slickness of the approach that undermines the seriousness of the drama. The actresses, good though they are, seem somehow too glamorous, their careers too unrepresentative of most of the people in the audience. Another problem is that the film can never seem to settle on an appropriate tone. One moment we find ourselves steeped in searing drama followed the next by a scene of trivial slapstick. Time and again, Ryan is forced to trip over a discarded toy, tangle with an overgrown mutt or bang away at an uncooperative coffee dispenser. Such incidents end up reducing the level of the drama to little more than sitcom status.
`Hanging Up' has, however, been blessed with a wonderful cast. Ryan, Keaton, Kudrow and Matthau pore on the charm and play off each other nicely. (And the film has some devilish fun playing up the physical similarities between Matthau and Richard Nixon). These fine performers obviously had a terrific time making the film together. That is why one regrets the fact, that for all their hard work, the film they left behind is so lacking in credibility and grit. At the end of his career and life, Matthau deserved better.