| Photos (see all 4 | slideshow) | Videos |
| Scott Glenn | ... | Glaeken Trismegestus | |
| Alberta Watson | ... | Eva Cuza | |
| Jürgen Prochnow | ... | Captain Klaus Woermann | |
| Robert Prosky | ... | Father Mihail Fonescu | |
| Gabriel Byrne | ... | Major Kaempffer | |
| Ian McKellen | ... | Dr. Theodore Cuza | |
| William Morgan Sheppard | ... | Alexandru (as Morgan Sheppard) | |
| Royston Tickner | ... | Tomescu | |
| Phillip Joseph | ... | Sergeant Oster | |
| Michael Carter | ... | Molasar | |
| John Vine | ... | Lutz | |
| Jona Jones | ... | Otto | |
| Wolf Kahler | ... | S.S. Adjutant | |
| Rosalie Crutchley | ... | Josefia | |
| Frederick Warder | ... | Border Guard #1 | |
| Bruce Payne | ... | Border Guard #2 | |
| David Cardy | ... | Alexandru's Son | |
| John Eastham | ... | Alexandru's Second Son | |
| Philip Bloomfield | ... | Josefia's Son | |
| Yashaw Adem | ... | Carlos | |
| Stephen Whittaker | ... | S.S. Commando | |
| Lan Ruskin | ... | S.S. Commando | |
| Stephen Jenn | ... | S.S. Commando | |
| Benedick Blythe | ... | S.S. Commando | |
| Robin Langford | ... | S.S. Commando | |
| Renny Krupinski | ... | Wehrmacht Soldier | |
| Peter Guinness | ... | Wehrmacht Soldier | |
| Sean Baker | ... | Wehrmacht Soldier | |
| Timothy Block | ... | Wehrmacht Soldier |
Directed by | |||
| Michael Mann | |||
Writing credits | ||
| F. Paul Wilson | (novel) | |
| Michael Mann | (screenplay) | |
Produced by | |||
| Richard Brams | .... | associate producer | |
| Colin M. Brewer | .... | executive producer | |
| Theresa Curtin | .... | associate producer | |
| Gene Kirkwood | .... | producer | |
| Hawk Koch | .... | producer (as Howard W. Koch Jr.) | |
| Gavin MacFadyen | .... | associate producer | |
Original Music by | |||
| Christopher Franke | (as Tangerine Dream) | ||
| Edgar Froese | (as Tangerine Dream) | ||
| Johannes Schmölling | (as Tangerine Dream) | ||
Cinematography by | |||
| Alex Thomson | (director of photography) | ||
Film Editing by | |||
| Dov Hoenig | |||
| Chris Kelly | |||
| Tony Palmer | (uncredited) | ||
Production Design by | |||
| John Box | |||
Art Direction by | |||
| Alan Tomkins | |||
| Herbert Westbrook | |||
Set Decoration by | |||
| Michael Seirton | |||
Costume Design by | |||
| Anthony Mendleson | |||
Makeup Department | |||
| Jan Dorman | .... | hairdresser | |
| Graham Freeborn | .... | makeup artist | |
| Joyce James | .... | hairdresser | |
| Beryl Lerman | .... | makeup artist | |
| Nick Maley | .... | makeup designer | |
| Richard Mills | .... | makeup artist | |
| Barbara Ritchie | .... | hair stylist | |
Production Management | |||
| Patrick Clayton | .... | production supervisor | |
| Phil Sanderson | .... | post-production supervisor | |
Art Department | |||
| George Ball | .... | property master | |
| Peter Benson | .... | propman: floor | |
| Albert Blackshaw | .... | construction manager | |
| Denis Hopperton | .... | chargehand floor propman | |
| Geoff Langley | .... | assistant construction manager | |
| Kevin Phipps | .... | draughtsman | |
| Jill Quertier | .... | production buyer | |
| Lucy Richardson | .... | assistant art director | |
| Rosalind Shingleton | .... | draughtswoman | |
| Bill Stallion | .... | storyboard artist | |
| Leslie Tomkins | .... | art director: models | |
| Peter Wilkinson | .... | assistant construction manager | |
| Lawrie Ayres | .... | stand-by props: second unit (uncredited) | |
Sound Department | |||
| Campbell Askew | .... | footstep editor | |
| Robin Gregory | .... | sound mixer | |
| Peter Horrocks | .... | dialogue editor | |
| John Iles | .... | consultant: dolby sound | |
| Stephen Janisz | .... | assistant sound editor | |
| Bob Jones | .... | dubbing mixer | |
| Peter Pennell | .... | assistant sound editor | |
| Terry Sharratt | .... | boom operator | |
| Stephen Spencer | .... | assistant sound editor | |
| Jeremy Strachan | .... | assistant dialogue editor | |
| Graham Sutton | .... | assistant footsteps editor | |
| William Trent | .... | sound editor (as Bill Trent) | |
| Doug E. Turner | .... | sound re-recording mixer (as Doug Turner) | |
Special Effects by | |||
| Nick Allder | .... | special effects supervisor | |
| Alan Bryce | .... | special effects technician (as Allan Bryce) | |
| Kevin Herd | .... | special effects technician | |
| Garth Inns | .... | special effects | |
| John McGoldrick | .... | special effects technician | |
| Melvyn Pearson | .... | special effects | |
Visual Effects by | |||
| Robin Browne | .... | visual effects supervisor | |
| Roy Carnell | .... | matte camera operator | |
| Ron Crees | .... | matte cameraman | |
| Doug Ferris | .... | matte artist | |
| Roy Field | .... | optical effects | |
| Denis Fitzgibbons | .... | matte camera operator (as Denis Fitzgibbon) | |
| John Fletcher | .... | visual effects focus puller | |
| Stuart Galloway | .... | matte camera operator | |
| Denis Hall | .... | optical effects | |
| Jamie Harcourt | .... | optical camera operator | |
| Keith Holland | .... | matte camera operator | |
| John Palmer | .... | matte cameraman | |
| Keith Thomas | .... | visual effects focus puller | |
| John Turner | .... | matte camera operator (as John Turner-Grant) | |
| Wally Veevers | .... | visual effects supervisor | |
| Ken Worringham | .... | optical camera operator | |
| Keith Holland | .... | visual effects camera operator (uncredited) | |
Stunts | |||
| Andy Bradford | .... | stunts | |
| Jim Dowdall | .... | stunts | |
| Tracey Eddon | .... | stunts | |
| Nick Hobbs | .... | stunts | |
| Alf Joint | .... | stunt coordinator | |
| Doug Robinson | .... | stunts | |
| Paddy Ryan | .... | stunts | |
Camera and Electrical Department | |||
| Kenneth Atherfold | .... | camera grip (as Ken Atherfold) | |
| Graham Attwood | .... | still photographer | |
| Dave Clarke | .... | supervising electrician (as David Clarke) | |
| Wick Finch | .... | electrician | |
| Anthony Gaudioz | .... | focus puller (as Tony Gaudioz) | |
| Bill Geddes | .... | camera grip | |
| John Golding | .... | second camera operator | |
| Arthur Lavis | .... | unit cinematographer | |
| Shaun O'Dell | .... | camera operator | |
| Shane O'Neill | .... | clapper loader | |
| Steve Parker | .... | assistant camera | |
| Peter Robinson | .... | focus puller | |
| Andrew Shields | .... | video playback operator | |
| Gary Spratling | .... | clapper loader | |
| John Ward | .... | Steadicam operator | |
| Micky Wilson | .... | electrician | |
Animation Department | |||
| Ann Ducommun | .... | assistant animator | |
Casting Department | |||
| Noel Davis | .... | casting: U.K. | |
| Nancy Klopper | .... | casting: USA | |
| Bonnie Timmermann | .... | casting: USA | |
Costume and Wardrobe Department | |||
| Rosemary Burrows | .... | costume supervisor | |
| June Kirby | .... | wardrobe assistant | |
| Ken Lawton | .... | wardrobe master | |
Editorial Department | |||
| Chris Kelly | .... | associate editor (as Christopher Kelly) | |
| Steve Maguire | .... | second assistant editor | |
| Tony Palmer | .... | second assistant editor | |
| Pamela Power | .... | additional editor | |
| Phil Sanderson | .... | first assistant editor | |
| Andy Stears | .... | assistant optical editor | |
| Adam Unger | .... | second assistant editor | |
Music Department | |||
| Bob Badami | .... | music editor | |
| Gordon Greenaway | .... | assistant music editor | |
| Laurie Anderson | .... | score mixer (uncredited) | |
Other crew | |||
| Julie Adams | .... | dialogue coach | |
| Enki Bilal | .... | illustrator: demon | |
| John Carr | .... | laser effects | |
| Bryan Coates | .... | location manager | |
| Vicki Deason | .... | production assistant (as Vicki Manning) | |
| Ann Edwards | .... | continuity | |
| Ken Goddard | .... | laser effects | |
| Denise Horsham | .... | creature crew | |
| Aneuryn Jones | .... | animal supplier: North Wales | |
| Bob Keen | .... | creature crew | |
| Doreen Landry | .... | unit publicist | |
| Nick Maley | .... | creature designer | |
| Nick Maley | .... | prosthetics designer | |
| Andrew Mollo | .... | historical consultant | |
| Josephine Olive-O'Neill | .... | assistant production accountant (as Josephine O'Neill) | |
| Christine Overs | .... | creature crew | |
| Richard Padbury | .... | creature crew | |
| Basil Somner | .... | location manager | |
| John Bernard Wall | .... | production accountant | |
| Kevin Westley | .... | set runner | |
| David White | .... | creature crew | |
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Some people mention movies like LORD OF THE RINGS and BLACK HAWK DOWN as being extremely poor stories saved by their technical truimphs and watching THE KEEP I can understand where they`re coming from . This is a visually striking atmospheric movie with a rather confused and under developed script
All the best aspects of THE KEEP are mainly to do with what`s on screen . Alex Thomson`s cinematography is awesome , check out the scene of the fishing boat sailing into the rising sun , or the full moon shining out from behind the clouds or that fantastic scene where Lutz looks into the cavern as the camera pans back for almost a full minute . Michael Mann brings an unspeakably doomladen atmosphere to the movie and manages a quite remarkable image featuring the initial appearance of Molasar . Considering the budget is only 6 million dollars the special effects are quite good for this scene featuring an image of smoke , light and a haunting soundtrack . Mind you this one of the very few instances where Tangerine Dreams synth soundtrack is successful , elsewhere in the movie it`s very inappropiate . The acting too is a mixed bag . Most of the cast are merely okay while Gabriel Byrne plays just about the most blood chilling and convincing Nazi I`ve ever seen in a movie , but Scott Glen is wooden and Ian McKellen gives an awful performance as Dr Cuza , a Jewish intellectual who seems to have all the speech patterns and mannerisms of a Hollywood producer . Having said that it is interesting to see McKellen play someone who goes through a character arc similar to the one Frodo goes through in THE LORD OF THE RINGS
Michael Mann`s treatment of the screenplay is far less successful than his directing . A gestapo death squad battle against a monster , er so who are we supposed to root for ? During the war even some hardened Waffen SS men despised these murder squads and this is echoed by the character interaction between Captain Woermann and Major Kaempffer . However it turns out Woermann has profoundly anti fascist ideals in a conversation with Dr Cuza which means he stops being a character and becomes a cliche . Was everyone in Germany at this time either a Nazi or an anti Nazi with no in between ? I just wish Mann had blurred the lines a little . It should also be pointed out that Woermann`s first words of dialogue actually do sound like they come from a Nazi stormtrooper which indicates Mann has written inconsistently for the character . Another serious error with the screenplay is that it`s never really explained who Glaeken and Molasar are . Some people have described Molasar as a Golem , but he`s not . A Golem is basically a clay statue from Jewish folklore not as is Molasar an ethereal being of great power . Of course it could be that because Molasar needs Cuza`s help he appears to Cuza as a Golem but once again this seems to confused a lot of people due to the script , and I`m puzzled as to how Glaeken fits into all this . When adapting a screenplay everything should be made clear on screen to everybody , not just to people who have read the source novel
I gave THE KEEP seven out of ten mainly due to the technical achievements ( Remember this only cost $6 million ) but a word of warning only watch this if it`s in a widescreen letterbox format . I saw this on Sky movies the other night and a poor quality scanned version was used which meant the visual impact was totally absent