| Photos (see all 29 | slideshow) | Videos (see all 14 NEW) |
Directed by | |||
| Michael Mann | |||
Writing credits(WGA) | ||
| Gregory Allen Howard | (story) | |
| Stephen J. Rivele | (screenplay) & | |
| Christopher Wilkinson | (screenplay) and | |
| Eric Roth | (screenplay) & | |
| Michael Mann | (screenplay) | |
Produced by | |||
| Paul Ardaji | .... | producer | |
| Howard Bingham | .... | executive producer | |
| Lee Caplin | .... | executive producer | |
| Gusmano Cesaretti | .... | associate producer | |
| A. Kitman Ho | .... | producer | |
| Graham King | .... | executive producer | |
| James Lassiter | .... | producer | |
| Michael Mann | .... | producer | |
| Jon Peters | .... | producer | |
| João Ribeiro | .... | consulting producer | |
| John D. Schofield | .... | co-producer | |
| Kathleen M. Shea | .... | associate producer | |
| Michael Waxman | .... | co-producer | |
Original Music by | |||
| Pieter Bourke | |||
| Lisa Gerrard | |||
Cinematography by | |||
| Emmanuel Lubezki | |||
Film Editing by | |||
| William Goldenberg | |||
| Lynzee Klingman | |||
| Stephen E. Rivkin | (as Stephen Rivkin) | ||
| Stuart Waks | |||
Casting by | |||
| Victoria Thomas | |||
Production Design by | |||
| John Myhre | |||
Art Direction by | |||
| Jonathan Lee | |||
| Bill Rea | |||
| Tomas Voth | |||
Set Decoration by | |||
| Jim Erickson | |||
| Tricia Schneider | |||
Costume Design by | |||
| Marlene Stewart | |||
Makeup Department | |||
| Pierce Austin | .... | hair stylist: Mr. Smith | |
| Mary 'Dugan' Buono | .... | hair stylist | |
| Greg Cannom | .... | special makeup effects artist | |
| Mary Cooke | .... | key hair stylist | |
| Shirley Dolle | .... | key hair stylist | |
| C. Romania Ford | .... | makeup artist | |
| Mark Garbarino | .... | prosthetic makeup artist: Mr. Voight | |
| Keith Hall | .... | makeup artist | |
| Glen Hanz | .... | sculptor | |
| Connie Kallos | .... | additional hair stylist: Chicago | |
| Erma Kent | .... | hair stylist | |
| John Kim | .... | makeup effects technician: Captive Audience Productions | |
| Mary Kim | .... | makeup effects production supervisor: Captive Audience Productions Inc. | |
| Nick Marra | .... | sculpture designer: Mr. Voight | |
| Cat'ania McCoy-Howze | .... | key makeup artist: Chicago unit | |
| Vera Mitchell | .... | hair department head | |
| Judy Murdock | .... | makeup artist: Mr. Smith | |
| Suzi Ostos | .... | makeup artist | |
| Nadyne Peoples | .... | additional makeup artist | |
| Michael Peterson | .... | makeup effects technician | |
| Margaret Prentice | .... | prosthetic makeup | |
| Beverly Jo Pryor | .... | makeup department head | |
| Joseph Michael Regina | .... | key makeup artist | |
| Brian Sipe | .... | prosthetic effects supervisor | |
| Roddy Stayton | .... | additional hair stylist | |
| Froylan Tercero | .... | makeup effects technician | |
| Alicia M. Tripi | .... | hair stylist | |
| Laine Trzinski | .... | hair stylist (as Elaine M. Cascio) | |
| Todd Tucker | .... | makeup effects technician | |
| Keith VanderLaan | .... | makeup effects producer: Captive Audience Productions | |
| Kenneth Walker | .... | hair stylist | |
| Wesley Wofford | .... | prosthetic effects supervisor | |
| Michael F. Blake | .... | makeup artist (uncredited) | |
| Anita Brabec | .... | makeup artist (uncredited) | |
| Jay Cannistraci | .... | makeup artist (uncredited) | |
| Donna Cicatelli-Lewis | .... | makeup artist (uncredited) | |
| Kim Collea | .... | makeup artist (uncredited) | |
| Timothy A. Miguel | .... | makeup artist (uncredited) | |
| James Parr | .... | special makeup effects technician (uncredited) | |
| Michael Peterson | .... | lab makeup effects (uncredited) | |
| Justin Raleigh | .... | key special makeup effects technician: Mr. Voight (uncredited) | |
| Marsha Shearrill | .... | makeup artist: second unit, Chicago (uncredited) | |
| Brian Sipe | .... | fight makeup key artist (uncredited) | |
Special Effects by | |||
| Christina Carothers | .... | special effects technician | |
| Steve King | .... | special effects technician (as Steven King) | |
| Mark Nieman | .... | silicone technician | |
| Art Pimentel | .... | mold shop supervisor (as Arthur Pimentel) | |
| Alan Poole | .... | special effects supervisor: Mozambique | |
| Max Poolman | .... | special effects supervisor: South Africa | |
| Corey Pritchett | .... | special effects foreman | |
| Peter Skehan | .... | special effects floor supervisor: Mozambique | |
| Richard Starke | .... | silicone technician | |
| David H. Watkins | .... | special effects coordinator | |
| Christopher West | .... | special effects coordinator: Mozambique | |
Visual Effects by | |||
| Matthew Adams | .... | rotoscope supervisor: Cinesite | |
| Jonathan Alvord | .... | Avid editor | |
| Jeffrey Edward Baksinski | .... | motion tracking supervisor: Cinesite | |
| Lynn Basas | .... | CG supervisor: Cinesite | |
| Wally Chin | .... | 3D technical assistant | |
| Harmon Cusack | .... | visual effects camera operator | |
| Joe Dubs | .... | digital artist: Cinesite | |
| Kevin Elam | .... | visual effects producer: Cinesite | |
| Kurt Hall | .... | video & computer graphics technician | |
| Michael Hofacre | .... | visual effects editor | |
| Dennis Hoffman | .... | head of production: Cinesite | |
| Arkay Hur | .... | digital artist: Cinesite | |
| Kent Johnson | .... | visual effects coordinator (as Kent Richard Johnson) | |
| Bridgitte Krupke | .... | visual effects coordinator: Cinesite (as Bridgette Nance) | |
| Nathan Lafionatis | .... | video consultant | |
| Krystine Lankenau | .... | digital artist: Cinesite | |
| Vincent Lavares | .... | digital asset manager: Cinesite Hollywood | |
| Don Lee | .... | digital compositor: CREO | |
| Andrew MacDonald | .... | compositor | |
| Michael J. McAlister | .... | visual effects supervisor | |
| Valerie McMahon | .... | digital artist: Cinesite | |
| Sal Migliore | .... | high def digitizing | |
| Kama Moiha | .... | digital compositor: Cinesite | |
| Oliver Moore | .... | CG character animator: Cinesite | |
| Bill Murphy | .... | visual effects coordinator | |
| Karen M. Murphy | .... | visual effects consultant | |
| Serena Naramore | .... | digital compositor: Cinesite | |
| Leslie Oliver | .... | visual effects producer: CREO | |
| Chad Owen | .... | digital artist: Cinesite | |
| James Peterson | .... | CG effects animator: Cinesite | |
| Corinne Pooler | .... | paint supervisor: Cinesite | |
| Dante Quintana | .... | CG modeler: Cinesite | |
| Dante Quintana | .... | digital artist | |
| Jon Quon | .... | technical assistant: Cinesite | |
| Liz Radley | .... | video & computer graphics supervisor | |
| Jerry Sells | .... | compositing supervisor: Cinesite | |
| Anthony Serenil | .... | motion tracker: Cinesite | |
| Robert Stadd | .... | visual effects producer | |
| Deborah Wiltman | .... | digital compositor: Cinesite | |
| Steve Wright | .... | stitch cam digital compositor: Cinesite | |
| Travis Baumann | .... | Inferno artist (uncredited) | |
| Lindsay Burnett | .... | visual effects producer: Asylum (uncredited) | |
| Robert Coquia Jr. | .... | 3D technical assistant (uncredited) | |
| Fred Jimenez | .... | 2D technical assistant (uncredited) | |
| Kevin LaNeave | .... | video editor (uncredited) | |
| John Nelson | .... | visual effects supervisor: preproduction (uncredited) | |
| Alex G. Ortoll | .... | main title sequence compositor (uncredited) | |
| Mark Robben | .... | Inferno artist: CREO (uncredited) | |
| Antonio Torres | .... | roto artist: Cinesite (uncredited) | |
Stunts | |||
| Roy T. Anderson | .... | stunt double: Mario Van Peebles | |
| Joel Kramer | .... | stunt coordinator | |
| Richard Lexsee | .... | stunts | |
| Kevin Morrow | .... | stunts | |
| Larry C. Tankson | .... | stunts (as Larry Tankson) | |
| Randolph LeRoi | .... | stunt double: Will Smith (uncredited) | |
Casting Department | |||
| Nicole Abellera | .... | casting assistant | |
| Petrie Alexandra | .... | casting associate: Los Angeles | |
| Kim Coleman | .... | casting associate | |
| Shirley Fulton Crumley | .... | location casting | |
| Vicki Jo Hertz | .... | extras casting associate: Chicago | |
| Sandy Holt | .... | adr voice casting | |
| Ellen Jacoby | .... | extras casting | |
| Jennifer Layton | .... | casting assistant | |
| Alison E. McBryde | .... | casting: New York | |
| Joan Philo | .... | extras casting | |
| Paul Richter | .... | casting assistant | |
| Christa Shamberger | .... | casting: South Africa (as Christa Schamberber) | |
| Claire Simon | .... | casting: Chicago | |
| Franklyn Warren | .... | extras casting | |
| Summer Wesson | .... | extras casting: Los Angeles | |
| Rachel Winn | .... | extras casting assistant | |
| Jillian Jester | .... | extras casting assistant (uncredited) | |
| Ka-Mook Nichols | .... | casting associate (uncredited) | |
| Grant Wilfley | .... | extras casting (uncredited) | |
Costume and Wardrobe Department | |||
| Robert Bolger | .... | costumer | |
| Artemio Carpio | .... | costumer | |
| John Casey | .... | costume supervisor | |
| Holly Davis | .... | key costumer | |
| Karan Doherty | .... | costumer | |
| Jeanne DuPont | .... | assistant costume designer | |
| Patrick Guzzo | .... | costumer | |
| Karen Hare | .... | costumer | |
| Lori Harris | .... | costumer | |
| Emelle Holmes | .... | costumer | |
| Heather Holmes | .... | costumer | |
| Lisa Hyde | .... | costumer | |
| Jessica Jorde | .... | wardrobe assistant | |
| Jo Katsaras | .... | costume supplier | |
| Carolyn Marston | .... | costumer: Mozambique | |
| Sukari McGill | .... | set costumer | |
| Elizabeth Meredith | .... | wardrobe assistant | |
| Sybil Mosely | .... | costumer | |
| Gina Marie Ome | .... | set costumer | |
| Christine Orth | .... | key costumer | |
| Ellen Ryba | .... | assistant costume designer | |
| Carolyn Schnitzer | .... | costume supervisor: Miami | |
| Dalhia Schuette | .... | costumer | |
| Catherine Wall | .... | cutter/fitter | |
| George Sartiano | .... | specialty costumes (uncredited) | |
| Thao T. Vu | .... | costume assistant (uncredited) | |
Editorial Department | |||
| Gordon Antell | .... | first assistant editor: avid | |
| Lori Ball | .... | assistant editor | |
| Kenny Becker | .... | co-color timer | |
| Rayford Berrymon | .... | assistant editor | |
| Gary Burritt | .... | negative cutter | |
| Bryan H. Carroll | .... | associate editor | |
| Timothy Colletti | .... | assistant film editor | |
| Rolando Diaz | .... | telecine dailies | |
| Alex Hepburn | .... | assistant editor: avid | |
| Michael Hofacre | .... | assistant editor | |
| Kristopher Kasper | .... | editor: main title sequence | |
| Adam Kimmerlin | .... | editorial production assistant | |
| Robert Komatsu | .... | assistant editor | |
| Gene A. Lewis Jr. | .... | editorial production assistant | |
| Edward Malone | .... | first assistant film editor | |
| Jim Passon | .... | co-color timer | |
| Brett Reed | .... | apprentice editor | |
| Mike Sowa | .... | high-definition color timer | |
| Kristina Trirogoff | .... | first assistant editor | |
| Marianne Urioste | .... | assistant editor | |
| Kim Roseborough | .... | assistant editor: location (uncredited) | |
Music Department | |||
| Tim Boot | .... | music playback operator | |
| Bill Brown | .... | composer: additional music | |
| Debbi Datz-Pyle | .... | music contractor | |
| Steve Durkee | .... | music mixer | |
| Vicki Hiatt | .... | music editor | |
| Julie Glaze Houlihan | .... | music coordinator | |
| Lisa Jaime | .... | music editor | |
| Kenneth Karman | .... | supervising music editor | |
| Stephanie Lowry | .... | music editor | |
| Christine H. Luethje | .... | coordinating music editor (as Christine Luethje) | |
| Sonnet H. Retman | .... | music consultant | |
| Sonnet H. Retman | .... | music researcher | |
| John Rodd | .... | orchestral scoring recordist | |
| James T. Sale | .... | conductor | |
| James T. Sale | .... | orchestrator | |
| Dennis S. Sands | .... | music scoring mixer | |
| Steven Scott Smalley | .... | conductor | |
| Steven Scott Smalley | .... | orchestrator | |
| Martin Tillman | .... | composer: additional music | |
| Dan Wallin | .... | music scoring mixer | |
| Michael Farrow | .... | additional music mixer (uncredited) | |
| Joseph Magee | .... | production music mixer (uncredited) | |
Transportation Department | |||
| Michael W. Broomer | .... | driver: Mr. Smith (as Michael Broomer) | |
| K.C. Colebrooke | .... | transportation co-captain | |
| Lonnie Craig | .... | driver | |
| David Glasscoe | .... | action vehicle assistant | |
| Barry E. Golob | .... | driver: Mr. Mann (as Barry Golob) | |
| Brian Hathaway | .... | transportation coordinator | |
| Chad Moore | .... | production driver | |
| Robert Nagle | .... | driver: Michael Mann | |
| Robert Nagle | .... | transportation co-captain | |
| Andrew Orlando | .... | action vehicle coordinator | |
| Mick Snell | .... | transportation coordinator: South Africa | |
| John Yarbrough | .... | transportation cars | |
| Michael R. Cairo | .... | driver: Chicago second unit (uncredited) | |
| George Grenier | .... | driver (uncredited) | |
|
|
|
|
|
| The Greatest | Malcolm X | Ray | Glory | Raging Bull |
|
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 Biography section | IMDb USA section |
| Add this title to MyMovies |
Some people never liked Ali. He is one of those characters who is so strong, most people are forced to either love him despite his weaknesses or hate him. He was one figure in American history who never really needed anybody.
He was a conscientious objector against the Viet Nam war, yet he is honored by presidents of the nation he refused to capitulate with in crimes against humanity. His story is that vital to America.
When Ali was still a teenager, he tried his best to prove his personal excellence in a society prejudiced against black people. He won the boxing gold medal at the Rome Olympics in 1960, yet he came home to Louisville and still wasn't "good enough" buy a sandwich at a white restaurant, because he was black.
He then decided if the gold medal wasn't good enough for America, then it wasn't good enough for him. At this point in his life, when he had nothing else; he took the gold medal and threw it in the river.
He observed the wrestler, Gorgeous George, and admired the way he used the negative energy generated by those who disapproved of him as fuel to become the top attraction and make fools of all those who were against him. He wanted to make people boo him. He proclaimed himself as more beautiful than any creature on the planet. He told the world he was the greatest who ever lived. The more they booed him, the more energy it gave him.
He didn't have a mentor or a manager. He assembled a group of Louisville investors to bankroll him, all by himself. He knew exactly what he wanted from the world, reached out and took it. He made a crown out of it. Nobody gave him anything, and nobody can ever take that away.
He discarded the name of a great white civil rights leader during the civil war and reasoned that if he was really free to be what HE was, then he should take a name that he thought was a natural black person's name. It didn't make sense for others who came before him to fight and win the rights to do whatever they wanted, if they were then going to do nothing but turn around and say "Thank You". He decided in order to validate the fight for freedom, his role was to be free.
Muhammad Ali is played by the maybe the only person in the universe who would dare to even attempt it and he succeeds marvelously; not just in a marginal way, but in a big, big way.
This film isn't just swagger, or an imitation of Ali. This is a deep, sensitive, poignant, and romantic story about one of the greatest public figures of the twentieth century. This man truly is a poet and he's lived the life of a poet. To a great extent, Muhammad Ali made his life a manifesto of truth about the American experience. Of all the stories of the twentieth century in America, this was one of the most important ones to tell.
This film has characters galore: from Jamie Foxx as Bundini Brown, who keeps chanting "float like a butterfly, sting like a beeee!" when everyone in the world thought Ali was going to die at the hands of Sonny Liston; Jada PinkettSmith as Ali's devoutly religious and adoring first wife; MichaelMichele playing Veronica Porche, a beautiful jet set model with whomAli had an affair, to a strong performance by Mario Van Peebles as Ali's conscience; Malcolm X, who forces Ali to think against himself and his adoring Black Muslim following in the interests of right and wrong.
This film has irony, choreography, conflict, humor, drama; and accurately portrays the highest highs of any public figure I've seen in my lifetime, as well as some of the most bitter defeats.
This is about male psychology. This is about female psychology. This is about a religious movement in America. This is about a culture in America and many cultures in America and their struggles to live together and treat each other right and fairly, while trying to do the right thing as concerns their own conscience.
The most glaring weaknesses of any sports film ever made are in the sport scenes themselves. This is the strongest point of this film and also makes it the greatest sports film ever made.
I've been a boxing fan since I was eleven. I was a part of crowds who gathered around Muhammad Ali before he became champion. I know what he looks like face to face. I've watched his boxing films dozens of times, and I'll tell you that the scenes in this movie are perfect reenactments of what actually happened in the ring. This couldn't have been done in less than dozens of takes per scene. They throw punches exactly like the fighters in the real fights. They're in the same part of the ring when they throw those punches. They react to the punches the same way. They even get knocked down in the correct parts of the ring in exactly the same way as the fighters who were in the original fight.
I'm not going to comment on whether it should have won an Oscar for best picture, best actor, best supporting actor, best direction, best photography, best choreography, or other features in the film. Maybe it's better that it didn't win those awards in that year because this film is bigger than any year.
This is the sports film that all others will be judged by from here on out by anyone with any sense of realism and art in movies.
This is one for the ages.