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In the Bedroom (2001)
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Overview
User Rating:
Release Date:
11 January 2002 (USA) moreTagline:
A young man. An older woman. Her ex-husband. Things are about to explode...Plot:
A New England couple's college-aged son dates an older woman with two small children and an unwelcome ex-husband. Then something terrible occurs in this wrenching, emotional drama. full summary | add synopsisAwards:
Nominated for 5 Oscars. Another 27 wins & 41 nominations moreNewsDesk:
(39 articles)
Grant: 'Hollywood has made me crazy' (From digitalspy. 3 October 2009, 11:56 AM, PDT)
Grant: 'I Think I'm Crazy'
(From WENN. 2 October 2009, 5:11 AM, PDT)
User Comments:
something's going on in the bedroom more (499 total)Cast
(in credits order) (verified as complete)
Directed by | |||
| Todd Field | |||
Writing credits | ||
| Andre Dubus | (story "Killings") | |
| Robert Festinger | (screenplay) (as Rob Festinger) and | |
| Todd Field | (screenplay) | |
Produced by | |||
| Stephen Dembitzer | .... | co-executive producer | |
| Todd Field | .... | producer | |
| Ted Hope | .... | executive producer | |
| Ross Katz | .... | producer | |
| Graham Leader | .... | producer | |
| John Penotti | .... | executive producer | |
| Penn Sicre | .... | co-executive producer (as PennSicre) | |
| Tim Williams | .... | co-producer | |
Original Music by | |||
| Thomas Newman | |||
Cinematography by | |||
| Antonio Calvache | |||
Film Editing by | |||
| Frank Reynolds | |||
Casting by | |||
| Randi Hiller | |||
| Belinda Monte | |||
Art Direction by | |||
| Shannon Hart | (uncredited) | ||
Set Decoration by | |||
| Josh Outerbridge | (as Joshua Outerbridge) | ||
Costume Design by | |||
| Melissa Economy | |||
Makeup Department | |||
| Bob Harper | .... | additional makeup artist | |
| Sally J. Harper | .... | hair stylist (as Sally Harper) | |
| Terri Harper | .... | makeup artist | |
Production Management | |||
| Mary Feuer | .... | production supervisor | |
| Per Melita | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Victoria Lang | .... | assistant director | |
| Aida Rodgers | .... | assistant director | |
| Amanda Slater | .... | assistant director | |
| Daniel M. Stillman | .... | first assistant director (as Dan Stillman) | |
| Eric Yellin | .... | second assistant director | |
Art Department | |||
| Laurie Anne Gardner | .... | property assistant | |
| Kirsten Gilg | .... | set dresser | |
| Terry Goodhue | .... | construction | |
| Shannon Hart | .... | sets | |
| Cameron Matheson | .... | set dresser | |
| Martin Merritt | .... | scenic | |
| Matthew Nagle | .... | set dresser | |
| Meghan Nichols | .... | art department assistant | |
| Wilder Oaks | .... | scenic | |
| Tim Payson | .... | property master | |
| Tyris Smith | .... | lead man | |
| Kenneth Weinberg | .... | set dresser | |
| Harmony Gosbee | .... | set dresser (uncredited) | |
Sound Department | |||
| Bruce Greenspan | .... | additional dialogue editor | |
| Chris Jenkins | .... | sound re-recording mixer | |
| Frank A. Montaño | .... | sound re-recording mixer (as Frank Montano) | |
| Mark Narramore | .... | sound recordist | |
| Will Riley | .... | supervising sound editor | |
| John Roesch | .... | foley artist: Warner Hollywood | |
| Caleb Snyder | .... | boom operator | |
| Edward Tise | .... | sound recordist | |
| Lisa Varetakis | .... | sound editor | |
Special Effects by | |||
| Brian Ricci | .... | special effects | |
Visual Effects by | |||
| Ben Apley | .... | digital effects coordinator | |
| Rod Basham | .... | digital effects composite artist | |
| Clyde Beamer | .... | digital effects supervisor | |
| Jonathan Bradstreet | .... | rendering artist | |
| Keith Bryant | .... | digital effects producer | |
| Kyle Cooper | .... | supporting digital effects artist | |
| Peter Frankfurt | .... | supporting digital effects artist | |
| Ray Harvie | .... | rendering artist (as Raymond Harvie) | |
| Chip Houghton | .... | supporting digital effects artist | |
| Jonathan Morse | .... | rendering artist | |
Casting Department | |||
| Rachel Carey | .... | casting assistant | |
| Dee Cooke | .... | extras casting | |
Costume and Wardrobe Department | |||
| Shana Schoepke | .... | wardrobe mistress | |
Editorial Department | |||
| Mia Goldman | .... | editorial consultant | |
| Chris Regan | .... | color timer (as Christopher Regan) | |
| Betsy James Wyeth | .... | editor: "The Wyeths" | |
| Heidi Zellner | .... | negative cutter: West Coast Editorial | |
Music Department | |||
| Bill Bernstein | .... | music editor | |
| Julian Bratolyubov | .... | music preparation | |
| Jordan Corngold | .... | assistant music editor (as Jordon Corngold) | |
| Joe Gaswirt | .... | music mastering | |
| Marcy Gesnic | .... | music contractor (as Marcy Gensic) | |
| Joel Iwataki | .... | music scoring mixer | |
| Ohkee Kim | .... | assistant music scoring mixer (as Okhee Kim) | |
| Leslie Morris | .... | music contractor | |
| Thomas Pasatieri | .... | orchestrator: strings | |
| Sharon Smith | .... | music editor: temp music (uncredited) | |
Transportation Department | |||
| Bob Carnes | .... | transportation captain | |
| Allan Macdonald | .... | driver | |
| George Smith | .... | driver | |
Thanks | |||
| Ann Marie Almeida | .... | acknowledgment: Camden Amphitheatre | |
| Louis Bacon | .... | grateful acknowledgment: GreeneStreet Films | |
| Hannah Baldwin | .... | grateful acknowledgments: Graham Leader | |
| Joel Baldwin | .... | grateful acknowledgments: Graham Leader | |
| Jonathan Brand | .... | acknowledgment: Ship Street House | |
| Monica Brand | .... | acknowledgment: Ship Street House | |
| Julie Bryer | .... | acknowledgment: Trevette Country Store | |
| George Carrol | .... | grateful acknowledgments: Graham Leader | |
| Clifford Christensen | .... | acknowledgment: Mace's | |
| Marcella Christensen | .... | acknowledgment: Mace's | |
| Lester Dembitzer | .... | grateful acknowledgments: Graham Leader | |
| Greg Dorr | .... | acknowledgment: City of Rockland city attorney | |
| Andre Dubus | .... | dedicatee | |
| Michael Garfinkle | .... | grateful acknowledgment: GreeneStreet Films | |
| Robert Gasper | .... | grateful acknowledgments: Graham Leader | |
| Gordon Goldstein | .... | grateful acknowledgments: Graham Leader | |
| Tom Hall | .... | acknowledgment: City of Rockland town manager | |
| James Harmon | .... | acknowledgment: Old Orchard Beach | |
| Richard Harrison | .... | grateful acknowledgments: Graham Leader | |
| Chip Highfield | .... | acknowledgment: Crockett's Beach | |
| Frances Holdgate | .... | acknowledgment: Market on Main | |
| Patricia Hubbard | .... | acknowledgment: Lincoln Street Center for the Arts | |
| Jimmy Kalloch | .... | acknowledgment: The Woods | |
| David Ladik | .... | grateful acknowledgments: Graham Leader | |
| Jeff Lewis | .... | acknowledgment: Trevette Country Store | |
| Carolyn May | .... | acknowledgment: The GrassHopper Shop | |
| Kimberly McLain | .... | acknowledgment: Trevette Country Store | |
| Roger Moody | .... | acknowledgment: City of Camden town manager | |
| Ellen Myers | .... | grateful acknowledgments: Graham Leader | |
| Frank O'Hara | .... | acknowledgment: Boat House | |
| Joanne Parsons | .... | acknowledgment: Stinson Seafood/Cannery | |
| Friederike Penberg | .... | grateful acknowledgments: Graham Leader | |
| Mitchell Penberg | .... | grateful acknowledgments: Graham Leader | |
| Simon Pentecost | .... | grateful acknowledgments: Graham Leader | |
| Christopher Pia | .... | grateful acknowledgment: GreeneStreet Films (as Chris Pia) | |
| Mary Spitzer | .... | grateful acknowledgments: Graham Leader | |
| Philip Spitzer | .... | grateful acknowledgments: Graham Leader | |
| Johanna Strassberg | .... | acknowledgment: The GrassHopper Shop | |
| Janette Sulides | .... | acknowledgment: Ginn's Point | |
| John Sutin | .... | grateful acknowledgments: Graham Leader | |
| Kevin Taylor | .... | acknowledgment: The Landings | |
Production Companies
- Good Machine
- Standard Film Company (made by) (as Eastern Standard Film Company)
- Good Machine International (2001) (worldwide) (all media)
- Miramax Films (2001-2002) (USA) (theatrical)
- New Films International (2001) (non-USA) (all media)
- Alfa Films (2002) (Argentina) (theatrical)
- Bac Films (2002) (France) (theatrical)
- Laurenfilm (2002) (Spain) (theatrical)
- Medusa Distribuzione (2002) (Italy) (theatrical)
- Odeon (2002) (Greece) (theatrical)
- Paradiso Entertainment (2002) (Netherlands) (theatrical)
- Sagittaire Films (2002) (France) (theatrical)
- Scanbox Entertainment (2002) (Finland) (theatrical)
- Triangelfilm (2002) (Sweden) (theatrical)
- United International Pictures (UIP) (2002) (Germany) (theatrical)
- British Broadcasting Corporation (BBC) (2005) (UK) (TV) (BBC2)
- Buena Vista Television (200?) (USA) (TV)
- Imagem Filmes (2002) (Brazil) (DVD)
- Imagem Filmes (2002) (Brazil) (VHS)
- Miramax Home Entertainment (2005) (USA) (DVD)
- Paradiso Home Entertainment (2002) (Netherlands) (DVD)
- RTL Entertainment (2006) (Netherlands) (TV) (RTL7) (first national airing)
- Walt Disney Home Video (2002) (USA) (VHS)
- ABCD Books furnishings and paintings by
- ARRI cameras by
- Bay View Street Cinema film projection
- Bruce Gamage Jr. Antiques furnishings and paintings by
- Camden Accommodations cast and crew accomodations
- Camden Country Inn cast and crew accomodations
- Camden-Rockport Police Department police assistance
- D.R. Reiff & Associates insurance
- Dolby Laboratories sound post-production (uncredited)
- Film Finances completion bond
- Film Services lighting equipment
- High Output lighting equipment
- Imaginary Forces title design and composite
- J. Barbour & Sons of North America (I) clothing provided by
- Knox County Sheriff's Department police assistance
- Lincoln County Sherrif's Department police assistance
- Mab Ashforth clothing provided by
- Maine Highway Patrol police assistance
- Major League Baseball Properties courtesy: Boston Redsox Radio Simulcast on WEEI Boston & WQSS Camden
- Manhattan Transfer dailies
- Mark Berghash furnishings and paintings by
- Oceanview Mastering music mastered at (as Ocean View)
- Pratesi of Boston clothing provided by
- Red Herring Motion Picture Lighting Inc. lighting equipment (as Red Herring)
- Robert Allen Fabrics clothing provided by
- Rockland Ford production vehicles
- Rockland Maine Antique Market furnishings and paintings by (as Rockland Antique Market)
- Rockland Police Department police assistance
- T.H.E. Tools editing equipment (as The Tools)
- The Boston Connection Inc. editing equipment (as Boston Connection)
- The Newark Vermont Balkan Girls Chorus chorus
- Thomaston Police Department police assistance
- Title House Digital title opticals
- Todd-AO Scoring Stage music recorded at
- Todd-AO Scoring Stage sound recorded at (as Todd-AO)
- Tradewinds Motor Inn cast and crew accomodations
- Village Recorder, The music recorded and mixed at
- Vintage Books - Randomhouse publisher: "Selected Stories" by Andre Dubus (as Vintage Books New York)
- West Coast Editorial negative cutting
- Wiscasset Police Department police assistance
- Worldwide Pants courtesy: "The Late Show with Craig Kilborn" (as World Wide Pants)
- Zeiss & Angenieux lenses
Additional Details
MPAA:
Rated R for some violence and language.Parents Guide:
View content advisory for parentsRuntime:
130 min | USA:138 min (Sundance Film Festival)Country:
USALanguage:
EnglishColor:
ColorAspect Ratio:
2.35 : 1 moreSound Mix:
Dolby DigitalCertification:
Iceland:14 | Iceland:16 (video rating) | Malaysia:18PL (uncut version) | Malaysia:U (cut version) | USA:TV-MA (TV rating) | Singapore:NC-16 (re-rating) | Singapore:PG (cut) | Netherlands:16 | Argentina:13 | Australia:MA | Brazil:14 | Canada:14A | Finland:K-11 | France:U | Germany:12 | Hong Kong:IIA | Norway:15 | Peru:14 | Spain:13 | Sweden:11 | Switzerland:14 (canton of Geneva) | Switzerland:14 (canton of Vaud) | UK:15 | USA:R | Philippines:R-18Fun Stuff
Trivia:
The Red Sox games heard on the radio are from 8 July 2000 and 9 July 2000. moreGoofs:
Crew or equipment visible: The camera lens is plainly visible in the shot of Matt Fowler driving in his car. moreSoundtrack:
Dobro-Dosle moreFAQ
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9 out of 10
Watching Todd Field's feature film debut `In the Bedroom,' I could not help but be impressed by the sheer audacity of the film, by the spot-on performances, and by the many twists and turns that no critic should reveal. Yet amidst all the film's obvious strengths, there was still something missing-something to tie it all together, something to endow the film with more than just a fleeting impression.
Ironically perhaps, I was provided this missing bit of information not by the film, but by a male audience member sitting at the end of my aisle, trying to explain the point of the film in less than derogatory terms to his female companion.
`You're missing the whole point of the film,' he said. `It was all about men being controlled by women.'
No doubt he read this interpretation from someone else's review of the film (and what a sweet piece of justice it would be if that critic were a woman). It is quite possible that he was not even aware of the ramifications of what he had said. But this man's legitimacy aside, his statement has not left me since, and the film in turn has had the same luck in escaping me.
We are first introduced to Frank Fowler (Nick Stahl, `Bully') and Natalie Strout (Marisa Tomei, `My Cousin Vinny'), he a young college student with no immediate plans to settle down, she an older divorcee raising two children. They are in love, though for Frank she is little more than a `summer fling.' Meanwhile Natalie's ex-husband, Richard (William Mapother, `Mission: Impossible 2'), is unwilling to let her out of his life, and begins to be physically abusive to Frank. Frank's parents, Matt (Tom Wilkinson, `The Full Monty') and Ruth (Sissy Spacek, `The Straight Story')-both in top form here-show appropriate concern for their only son, and they intervene in this dangerous love triangle with unexpected twists and tragic results.
The film jumps about in tone from a light romantic romp to a seeming political treatise to a creepy, nocturnal thriller. Some have criticized the film for this alleged inconsistency in tone, slow pacing, and a deliberate ending. But these naysayers have overlooked the point.
Frank may not even really love Natalie, so much as he loves being controlled by her and sating his mother by being with her. Richard becomes a threat to everyone because he is unwilling to let Natalie consider him out of her life; he is a slave to her whim. The resulting tension reveals a rift between Frank's parents, and in particular, his father's actions in the end demonstrate a helpless allegiance to his wife and her command.
Field, who up until now has been primarily an actor (he was the piano player in `Eyes Wide Shut'), understands these important points but does not beat the viewer over the head with them. He presents a reality more raw and true than any other piece of film in recent memory. Yet he does so with a restraint that Hollywood seems to have forgotten. Most of the film's violence is overheard or implied, and only explicitly shown when necessary for the audience to completely understand what has happened. This allows for more subtle details, like a bridgekeeper who must run around in circles to alternate traffic between the road and the sea, to emerge as truly haunting, lasting images.
But `In the Bedroom' is not about any of these things. It is, first and foremost, about its characters. It does not fall prey to plot mechanics, nor does it flinch at exploring even the most sympathetic characters' darkest sides. For this and so many other reasons which are best left discussed behind closed doors between loved ones, `In the Bedroom' succeeds at turning the camera on flawed relationships of all forms, and it is one of the best films of the year.