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Directed by | |||
| George Stevens | |||
| David Lean | (some scenes) (uncredited) | ||
| Jean Negulesco | (some scenes) (uncredited) | ||
Writing credits | ||
| Fulton Oursler | (book) | |
| Henry Denker | (source writings) | |
| James Lee Barrett | (screenplay) and | |
| George Stevens | (screenplay) | |
| Carl Sandburg | uncredited | |
Produced by | |||
| Frank I. Davis | .... | executive producer | |
| George Stevens | .... | producer | |
| George Stevens Jr. | .... | associate producer | |
| Antonio Vellani | .... | associate producer | |
Original Music by | |||
| Alfred Newman | |||
Cinematography by | |||
| Loyal Griggs | |||
| William C. Mellor | |||
Film Editing by | |||
| Harold F. Kress | |||
| Argyle Nelson Jr. | |||
| J. Frank O'Neill | (as Frank O'Neil) | ||
Casting by | |||
| Lynn Stalmaster | |||
Art Direction by | |||
| William J. Creber | (as William Creber) | ||
| Richard Day | |||
| David S. Hall | (as David Hall) | ||
Set Decoration by | |||
| Fred M. MacLean | (as Fred MacLean) | ||
| Ray Moyer | |||
| Norman Rockett | |||
Costume Design by | |||
| Marjorie Best | |||
| Vittorio Nino Novarese | |||
Art Department | |||
| Sam Gordon | .... | property master | |
Sound Department | |||
| Charles E. Wallace | .... | sound | |
Visual Effects by | |||
| A. Arnold Gillespie | .... | special visual effects | |
| Robert R. Hoag | .... | special visual effects | |
| J. McMillan Johnson | .... | special visual effects | |
| Clarence Slifer | .... | special visual effects | |
| Jan Domela | .... | matte painter (uncredited) | |
| Cliff Shirpser | .... | effects camera operator (uncredited) | |
| Albert Simpson | .... | matte painter (uncredited) | |
| Matthew Yuricich | .... | matte painter (uncredited) | |
Stunts | |||
| Henry Wills | .... | stunt coordinator | |
| Carol Daniels | .... | stunts (uncredited) | |
| John Epper | .... | stunts (uncredited) | |
| Johnny Hagner | .... | stunts (uncredited) | |
| Loren Janes | .... | stunts (uncredited) | |
| Neil Summers | .... | stunts (uncredited) | |
| Norm Taylor | .... | stunts (uncredited) | |
| Bob Terhune | .... | stunt double: John Wayne (uncredited) | |
| Henry Wills | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| R.B. Garig | .... | grip | |
| Homer Plannette | .... | gaffer (uncredited) | |
Costume and Wardrobe Department | |||
| John Intlekofer | .... | costumer (uncredited) | |
Editorial Department | |||
| Hal Ashby | .... | assistant editor (uncredited) | |
| Eliot Elisofon | .... | color coordinator (uncredited) | |
Music Department | |||
| Ken Darby | .... | choral supervisor | |
| Jack Hayes | .... | orchestrator | |
| Alfred Newman | .... | conductor | |
| Leo Shuken | .... | orchestrator | |
| Hugo Friedhofer | .... | composer: additional music (uncredited) | |
| Fred Steiner | .... | composer: additional music (uncredited) | |
Transportation Department | |||
| Gene Clinesmith | .... | driver | |
Other crew | |||
| John Dutton | .... | script supervisor (as John C. Dutton) | |
| Carl Sandburg | .... | creative associate | |
| Tony Van Renterghem | .... | director of research | |
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On 9/18/00 I received a letter from George Stevens, Jr., replying to my earlier letter to him encouraging his support of his father's four-hour, "uncut," version of "The Greatest Story Ever Told" preparing for dvd. I had suggested in my letter that the original version was undoubtedly his father's artistic vision and thus was the one worthy of preservation for dvd.
Stevens, Jr. responded, in part, " . . . the dvd of 'The Greatest Story Even Told' is underway and MGM-UA has found the original negative of the four-hour version of the film.
There has been a good deal of confusion about the 'official' version of 'The Greatest Story Ever Told.' In recent years I became satisfied that the 3 hour and 20 minute version was the one that my father considered his picture. That came as a result of conversations with Toni Vellani, who worked with my father and has since passed on, and others.
My father, according to Toni, rushed the film for its first two premieres and immediately, at his own initiative, started trimming it to the 3:15 version. He was pleased with this cut. . . .
There was a later shorter version that my father authorized UA to make in an effort to recoup some money -- and that version which ran under 3 hours is of no value at all.
Frankly, I will be interested to see what the additional 40 minutes represents in the long version because, over the years, I've been familiar with the version that runs approximately 3:15. . . ."
This generous explanation from Mr. Stevens, Jr. certainly reveals the intracacies of the purely artistic process as balanced with the business aspect. It also makes one aware that the assumption that the "cut" version was not the preference or the adequate representation of the director, may be inaccurate. In any event at this point, the four-hour dvd version of "The Greatest Story Ever Told" is most eagerly awaited.