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The Tulse Luper Suitcases, Part 1: The Moab Story (2003)
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Overview
User Rating:
Contact:
View company contact information for The Tulse Luper Suitcases, Part 1: The Moab Story on IMDbPro.Release Date:
18 July 2003 (Spain) morePlot:
The first of three parts, we follow Tulse Luper in three distinct episodes: as a child during the first World War... more | add synopsisAwards:
1 win & 1 nomination moreNewsDesk:
(2 articles)
Cannes Contestants (From Studio Briefing - Film News. 23 April 2003)
'River' Will Roll in Cannes
(From Studio Briefing - Film News. 23 April 2003)
User Comments:
Almost impossible to comment on it... more (15 total)Cast
(in credits order)
Directed by | |||
| Peter Greenaway | |||
Writing credits(in alphabetical order) | ||
| Peter Greenaway | writer | |
Produced by | |||
| Wouter Barendrecht | .... | executive producer | |
| Eva Baró | .... | co-producer | |
| Jet Christiaanse | .... | line producer | |
| Jimmy de Brabant | .... | co-producer | |
| Carlo Dusi | .... | executive producer | |
| Susanne Fischer | .... | assistant executive producer: Italy | |
| Kees Kasander | .... | producer | |
| Ragna Arny Larusdottir | .... | assistant line producer | |
| Aleksandr Mikhajlov | .... | co-producer | |
| Gherardo Pagliei | .... | co-producer | |
| Elisabetta Riga | .... | co-producer | |
| Edmon Roch | .... | line producer | |
| Aron Sipos | .... | co-producer | |
| Antoni Sole | .... | co-producer | |
| Sándor Söth | .... | co-producer | |
| Esther Thedinga | .... | assistant line producer | |
| Klaus Volkenborn | .... | co-producer | |
| Michael J. Werner | .... | executive producer | |
Original Music by | |||
| Borut Krzisnik | |||
| Eduardo Polonio | |||
Cinematography by | |||
| Reinier van Brummelen | (director of photography) | ||
Film Editing by | |||
| Elmer Leupen | |||
| Chris Wyatt | |||
Casting by | |||
| Pep Armengol | |||
| Sharon Howard-Field | |||
| Radica Jovicic | |||
| Peter Wooldridge | |||
Production Design by | |||
| Márton Ágh | |||
| Davide Bassan | |||
| Billy Lelieveld | |||
| Pirra Jesús Lorenzo | |||
| Bettina Schmidt | |||
Costume Design by | |||
| Andrea Flesch | |||
| Beatrice Giannini | |||
Makeup Department | |||
| Aurélie Elich | .... | makeup artist | |
| Sara Meerman | .... | key makeup artist | |
| Joël Seiller | .... | assistant hair stylist | |
| Evelyne Sittig | .... | assistant hair stylist | |
| Evelyne Sittig | .... | assistant makeup artist | |
Art Department | |||
| Pau Albin | .... | assistant props buyer | |
| Manuel Demoulling | .... | prop buyer | |
| Dominique De Pompignan | .... | stand-by props | |
| Queralt Antú Serrano | .... | calligraphy artist | |
| Queralt Antú Serrano | .... | props | |
| Seth Turner | .... | assistant art director | |
Sound Department | |||
| Caoimhe Doyle | .... | foley artist | |
| Csaba Erös | .... | boom operator: Budapest | |
| Dani Fontrodona | .... | sound recordist | |
| Max Frick | .... | sound editor | |
| Arni Gustafsson | .... | boom operator | |
| Bart Jilesen | .... | sound re-recording mixer | |
| Bart Jilesen | .... | supervising sound editor | |
| János Köporosy | .... | sound recordist: Budapest | |
| Han Otten | .... | sound designer | |
| Han Otten | .... | sound effects editor | |
| Han Otten | .... | sound re-recording mixer | |
| György Rajna | .... | utility sound: Budapest | |
Special Effects by | |||
| Sara Meerman | .... | special effects makeup | |
Visual Effects by | |||
| Francesco Paglia | .... | digital compositor | |
| Mauro Vicentini | .... | digital compositor | |
| Raymond Viveen | .... | digital compositor | |
Camera and Electrical Department | |||
| Raül Campos Arroyo | .... | electrician | |
| Ruzbeh Babol | .... | camera operator | |
| László Berger | .... | assistant camera | |
| Juan Gonzalez Guerrero | .... | assistant gaffer | |
| Laura Martínez | .... | grip | |
| Alex Narváez | .... | electrician | |
| José Alberto Pinto de Jesus | .... | electrician | |
| Frank Restle | .... | crane operator | |
| Mike Roberts | .... | video assist operator | |
| Attila Szûcs | .... | dolly grip | |
| Balázs Vákár | .... | gaffer | |
Casting Department | |||
| Pep Armengol | .... | casting: Spain | |
Costume and Wardrobe Department | |||
| Magdalena Marczynska | .... | wardrobe assistant | |
| Marrit van der Burgt | .... | wardrobe | |
| József Varjú | .... | dresser: men | |
Editorial Department | |||
| Jaap Praamstra | .... | additional editor | |
| Jon Thompson | .... | post-production consultant | |
Transportation Department | |||
| Gaby Meyers | .... | driver: cast | |
| Francois Muller | .... | truck driver | |
| Igor Pecirep | .... | driver: director | |
Other crew | |||
| Bob Bellion | .... | financial manager | |
| Alexandre Brown | .... | facilities supervisor | |
| Pauline Burt | .... | risk manager | |
| Guy Hebeler | .... | location manager | |
| Zoltán A. Kerényi | .... | managing director: Focusfilm Kft. | |
| Joe Kotroczo | .... | production office assistant | |
| Patricia Kretschmer | .... | assistant to producer | |
| Annick Lockman | .... | production coordinator: Luxembourg | |
| Roberto Longobardi | .... | production accountant | |
| Alba Morera-Vallverdu | .... | production assistant | |
| Francois Muller | .... | location security officer | |
| Sébastien Peiffer | .... | additional location assistant | |
| Otfried Suppin | .... | location assistant | |
| Elly Verduyckt | .... | script supervisor | |
| Allard van der Werff | .... | assistant: Peter Greenaway | |
Production Companies
- ABS Production
- Delux Productions
- Focusfilm Kft.
- Gam Films
- Kasander Film Company
- NET Entertainment
- Net Entertainment
- Studio 12-A
- A-Film Distribution (2003) (Netherlands) (theatrical)
- Istituto Luce (2004) (Italy) (theatrical)
- Laurenfilm (2003) (Spain) (theatrical)
- A-Film Home Entertainment (2004) (Netherlands) (DVD)
- Fatts post-production script services
- Film & Television Facilities facility vehicles
- Location Consulting & Facilities facilities vehicles
- Mayflower Recording sound post-production
- Open Casting casting
- Open Casting extras casting
Additional Details
Also Known As:
Las maletas de Tulse Luper: La historia de Moab (Spain)Le valigie di Tulse Luper - La storia di Moab (Italy)
more
Parents Guide:
Add content advisory for parentsRuntime:
France:127 min (Cannes Film Festival)Color:
ColorAspect Ratio:
1.85 : 1 moreSound Mix:
Dolby DigitalFun Stuff
Trivia:
'Tulse Luper' was first mentioned in Greenaway's A Walk Through H: The Reincarnation of an Ornithologist (1978), as the owner of the 92 maps. moreMovie Connections:
Featured in The Tulse Luper Suitcases, Part 3: From Sark to the Finish (2003) moreFAQ
This FAQ is empty. Add the first question.more (15 total)
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How can I write something about this movie…as it's almost impossible to write a review about such a film! Get all the other Greenaway's movies, add a doze of Gillian and Lynch and you can get an idea about what this movie is all about it. I think the students that learn about what film editing means, should use this film as the most perfect example. Multiple scenes flying across the screen, multiple dialogs, theater-like atmosphere and a good music score, adds up to create a unique experience! I have to reckon that I had big expectations about this movie, after reading the reviews, seeing the web site related to the whole story, and of course, seeing all the other Greenaway's movies… and I was not disappointed- this film is something that I have waited to see since long time ago: a blend of reality, imagination and a perfect manipulation of movie editing.
Definitely this movie should be seen in the theater, as its just too small for a normal TV-there is so much information on the screen…or maybe if you have a projector at home:)
There are probably lots of `mistakes'(like a very hard to follow script, too many characters...etc) in this film, and many people would not understand a thing, but this is just normal, because there is no other movie that can be compare with this one!
IF you love art movies, and you are prepared to give some `food' to your brain, then see this movie, you won't be disappointed.
Probably, Greenaway's idea of creating this multimedia Magnus Opus would be doomed to a commercial failure, but for the real art lovers, I think the movies created for this project would set a landmark.
10 out 10