| Fotos (ver todos los 43 | slideshow) | Videos (see all 14) |
Dirigida por | |||
| Justin Chadwick | |||
Créditos del guión | ||
| Peter Morgan | (screenplay) | |
| Philippa Gregory | (novel) | |
Música original por | |||
| Paul Cantelon | |||
Fotografía por | |||
| Kieran McGuigan | (director of photography) | ||
Montaje por | |||
| Paul Knight | |||
| Carol Littleton | |||
Casting | |||
| Karen Lindsay-Stewart | |||
Diseño de producción por | |||
| John Paul Kelly | (as John-Paul Kelly) | ||
Dirección artística | |||
| David Allday | (supervising art director) | ||
| Matthew Gray | (as Matt Gray) | ||
| Emma MacDevitt | |||
| Kevin Phipps | |||
Decorados | |||
| Sara Wan | |||
Diseño de vestuario por | |||
| Sandy Powell | |||
Departamento de maquillaje | |||
| Paul Gooch | .... | hair stylist | |
| Paul Gooch | .... | makeup artist | |
| Barbara Olvera | .... | hair stylist: Ms. Johansson | |
| Peter Owen | .... | wig designer | |
| Lisa Pickering | .... | hair stylist | |
| Lisa Pickering | .... | makeup artist | |
| Ivana Primorac | .... | hair designer | |
| Ivana Primorac | .... | makeup designer | |
| Nikita Rae | .... | makeup artist: Ms. Portman | |
| Andy Seston | .... | hair trainee | |
| Andy Seston | .... | makeup trainee | |
| Barbara Taylor | .... | crowd hair stylist | |
| Barbara Taylor | .... | crowd makeup artist | |
| Heba Thorisdottir | .... | makeup artist: Ms. Johansson | |
| Christine Whitney | .... | hair stylist (as Chrissie Whitney) | |
| Christine Whitney | .... | makeup artist (as Chrissie Whitney) | |
| Suzanne Jansen | .... | crowd hair stylist (uncredited) | |
| Suzanne Jansen | .... | crowd makeup artist (uncredited) | |
| Camilla Kirk-Reynolds | .... | makeup trainee (uncredited) | |
Dirección de producción | |||
| Tania Blunden | .... | post-production supervisor | |
| Mally Chung | .... | unit manager | |
| Rachel Neale | .... | unit production manager | |
Departamento de Arte | |||
| Ken Barley | .... | hod plasterer (as Kenny Barley) | |
| Mark Goodman | .... | stand-by stagehand | |
| David Haberfield | .... | hod painter (as Dave Haberfield) | |
| Katy Harvey | .... | stand-by art director | |
| Catherine Haugh | .... | construction coordinator | |
| Springer Horrill | .... | property master (as David Springer Horrill) | |
| Thomas Martin | .... | construction manager | |
| Tom Martin | .... | construction manager | |
| Dan Maslen | .... | storyboard artist | |
| John McGee | .... | stand-by carpenter | |
| John O'Brien | .... | hod carpenter | |
| Alan Payne | .... | graphic artist | |
| Sui Rajakaruna | .... | assistant art director | |
| Claire Nia Richards | .... | leadman (as Claire Richards) | |
| Sophie Tyler | .... | assistant set decorator | |
| David Weller | .... | stand-by rigger (as Dave Weller) | |
| Penny White | .... | assistant property mistress | |
| Derek Whorlow | .... | hod stagehand | |
| Eddie Wolstencroft | .... | stand-by painter | |
| Giles Asbury | .... | storyboard artist (uncredited) | |
| Chris Cull | .... | property master: additional photography (uncredited) | |
| Laurent Ferrie | .... | drapesman (uncredited) | |
| Nick Gottschalk | .... | art director: additional photography (uncredited) | |
| Lee Hedges | .... | dressing prop daily (uncredited) | |
| Mark Hedges | .... | dressing prop daily (uncredited) | |
| Shay Leonard | .... | props key (uncredited) | |
| Niall Moroney | .... | supervising art director: additional photography (uncredited) | |
| Andrew Palmer | .... | junior draughtsman (uncredited) | |
| Stuart Read | .... | dressing props: dailies, additional photography (uncredited) | |
| Bill Thomas | .... | propmaker (uncredited) | |
| Remo Tozzi | .... | set designer (uncredited) | |
| Oli van der Vijver | .... | props (uncredited) | |
| Peter Woods | .... | chargehand dressing prop (uncredited) | |
| Jackie Yau | .... | assistant buyer (uncredited) | |
Departamento de sonido | |||
| Peter Burgis | .... | foley artist (as Pete Burgis) | |
| Danny Crowley | .... | boom operator | |
| Andie Derrick | .... | foley artist (as Andi Derrick) | |
| Mike Dowson | .... | sound re-recording mixer | |
| Michael Fentum | .... | foley editor | |
| Paul Govey | .... | sound re-recording mixer | |
| Arthur Graley | .... | foley editor | |
| Charlotte Gray | .... | sound assistant | |
| James Harrison | .... | sound effects editor | |
| Nigel Heath | .... | sound re-recording mixer | |
| John Midgley | .... | production sound mixer | |
| Clive Osborne | .... | boom operator | |
| Julian Slater | .... | supervising sound editor | |
| Ian Wilkinson | .... | adr editor | |
| Ian Wilkinson | .... | dialogue editor | |
| Harry Barnes | .... | additional foley editor (uncredited) | |
| Antony Bayman | .... | adr recordist (uncredited) | |
| John Casali | .... | sound mixer: additional shooting (uncredited) | |
| Ed Colyer | .... | sound mixer (uncredited) | |
| James Corless | .... | sound mix technician (uncredited) | |
| Gary Dodkin | .... | boom operator: additional photography (uncredited) | |
| Robert Edwards | .... | adr recordist (uncredited) | |
| Glen Gathard | .... | assistant adr & foley mixer (uncredited) | |
| Ashley Haller | .... | sound mix technician (uncredited) | |
| Chris Murphy | .... | assistant sound: additional photography (uncredited) | |
Efectos especiales | |||
| Stuart Brisdon | .... | special effects supervisor | |
| Joseph Geday | .... | special effects technician | |
| Mark Haddenham | .... | special effects senior technician | |
| Terry Palmer | .... | special effects technician | |
| Nigel Wilkinson | .... | special effects technician | |
| Paul Clancy | .... | special effects senior technician (uncredited) | |
| Steve Knowles | .... | senior special effects technician (uncredited) | |
| Ian Lowe | .... | senior special effects technician (uncredited) | |
Visual Effects | |||
| Lucy Ainsworth-Taylor | .... | visual effects producer: Moving Picture Company | |
| Jonathan Attenborough | .... | visual effects lighting technical director: Moving Picture Company (as Jon Attenborough) | |
| Angela Barson | .... | visual effects supervisor: Moving Picture Company | |
| Stuart Bullen | .... | compositor: Moving Picture Company | |
| Jon Capleton | .... | matchmover: Moving Picture Company | |
| Helen Clare | .... | visual effects production coordinator: Moving Picture Company | |
| Michael Elson | .... | visual effects executive producer: Moving Picture Company | |
| Martin Hession | .... | visual effects modeler: Moving Picture Company | |
| John Leonti | .... | cg supervisor: Moving Picture Company | |
| Elliot Newman | .... | texture artist: Moving Picture Company | |
| Tony Peck | .... | compositor: Moving Picture Company (as Anthony Peck) | |
| Olivier Pron | .... | digital matte painter: Moving Picture Company | |
| Ollie Rankin | .... | visual effects animator: Moving Picture Company | |
| Steve J. Sanchez | .... | compositor: Moving Picture Company (as Steve Sanchez) | |
| Pat Wintersgill | .... | on-line editor | |
| Luke Butler | .... | roto/prep: MPC (uncredited) | |
| Ben Gillingham-Sutton | .... | paint and rotoscope artist (uncredited) | |
| Ryan Hutchings | .... | roto/prep artist: MPC (uncredited) | |
| Owen Jones | .... | matchmove artist (uncredited) | |
| Begoña Lopez | .... | digital lab producer: MPC (uncredited) | |
| Marlin McGlone | .... | data operative (uncredited) | |
| David Swift | .... | digital matte artist: MPC (uncredited) | |
| Neil Szymanski | .... | data operative (uncredited) | |
| Aaron Taylor | .... | data operative: MPC (uncredited) | |
| Adam Walker | .... | modeller (uncredited) | |
Especialistas | |||
| Derek Lea | .... | stunts | |
| Tony Lucken | .... | stunts | |
| Gerard Naprous | .... | stunt coordinator | |
| Andy Butcher | .... | horse stunts (uncredited) | |
| Paul Hornsby | .... | horse stunts (uncredited) | |
| Paul Hornsby | .... | horse wrangler (uncredited) | |
| Lee Sheward | .... | stunt coordinator (uncredited) | |
Departamento de reparto | |||
| Anna Cooper | .... | casting assistant | |
| Ilenka Jelowicki | .... | extras casting | |
Departamento de vestuario | |||
| Sue Casey | .... | costumer | |
| Annie Hadley | .... | chief pattern cutter | |
| Helen Ingham | .... | costumer | |
| Joe Kowalewski | .... | assistant costume supervisor | |
| David Otzen | .... | costumer | |
| Debbie Scott | .... | assistant costume designer (as Deborah Lynn Scott) | |
| Sunita Singh | .... | costumer | |
| Clare Spragge | .... | costume supervisor | |
| Sheara Abrahams | .... | costume trainee (uncredited) | |
| David Bethell | .... | costume prop (uncredited) | |
| Barbara Brady | .... | costume assistant (uncredited) | |
| Simon Brindle | .... | costume props (uncredited) | |
| Rob Brown | .... | costume assistant (uncredited) | |
| Melanie Carter | .... | costume maker (uncredited) | |
| John Cowell | .... | head costume painter (uncredited) | |
| Sally Davis | .... | costume assistant (uncredited) | |
| Caroline Fallon | .... | costume production assistant (uncredited) | |
| Oliver Garcia | .... | costume assistant (uncredited) | |
| Rose Gardner | .... | costume trainee (uncredited) | |
| Vidya Krishnamurthy | .... | costume assistant: additional photography (uncredited) | |
| Linda Lashley | .... | costumer (uncredited) | |
| Charlotte Law | .... | costume assistant (uncredited) | |
| Jane Law | .... | costumes: Eric Bana and Ana Torent (uncredited) | |
| Rachel Lilley | .... | costume trainee (uncredited) | |
| Martin Mandeville | .... | costume coordinator (uncredited) | |
| Stephen Miles | .... | costume maker (uncredited) | |
| Liannah Pile | .... | costume trainee (uncredited) | |
| Lora E. Revitt | .... | junior costume assistant (uncredited) | |
| Sharon Robertson | .... | costume assistant (uncredited) | |
| Jackie Thomas | .... | costume assistant (uncredited) | |
| Wyn Vaughan-Humphreys | .... | costume assistant (uncredited) | |
| Michael Weldon | .... | costume assistant: additional photography (uncredited) | |
| Dominic Young | .... | costume maker (uncredited) | |
Departamento de Edición | |||
| Matthew Bristowe | .... | digital intermediate supervisor: Moving Picture Company | |
| Hannah Godwin | .... | post-production coordinator | |
| Mark Neale | .... | first assistant editor | |
| Rob Redford | .... | second assistant editor (as Robert Redford) | |
| Ben Renton | .... | second assistant editor | |
| Jean-Clement Soret | .... | digital colorist: Moving Picture Company | |
| Faye Stevens | .... | post-production coordinator | |
| Lorene Dewett | .... | apprentice editor (uncredited) | |
| Hanh Nguyen | .... | editor trainee (uncredited) | |
Departamento de Música | |||
| Geoff Alexander | .... | orchestrator (as Geoffrey Alexander) | |
| Gary Chester | .... | score mixer | |
| Matt Dunkley | .... | orchestrator | |
| Matt Robertson | .... | music pre-production | |
| James Shearman | .... | conductor | |
| James Shearman | .... | orchestrator | |
| Graham Sutton | .... | music editor | |
| Youki Yamamoto | .... | music programmer | |
| Paul Cantelon | .... | musician (uncredited) | |
| Anne Pope | .... | score consultant (uncredited) | |
| Miroslav Vilímec | .... | musician (uncredited) | |
Departamento de Transporte | |||
| Gary Birmingham | .... | transportation captain | |
| Jimmy Carruthers | .... | transportation co-captain (uncredited) | |
| Alan Emanuel | .... | unit driver (uncredited) | |
| Lee Isgar | .... | driver: Scarlett Johansson (uncredited) | |
| Roy Kirkman | .... | driver (uncredited) | |
Otros miembros del equipo | |||
| Sheara Abrahams | .... | production assistant | |
| Andy Brunskill | .... | assistant: Ms. Owen | |
| Noel Butler | .... | etiquette coach | |
| Roisin Carty | .... | dialect coach | |
| Francesca Castellano | .... | production coordinator | |
| Andrea Coles | .... | assistant: Mr.Rudin | |
| Taryn Cox | .... | assistant: Ms. Johanssen | |
| Tom Crooke | .... | location manager | |
| Caroline Fallon | .... | production assistant | |
| Elton Farla | .... | medic | |
| Polly Fletcher | .... | assistant accountant | |
| Linda Gamble | .... | unit publicist | |
| Jen Gasson | .... | assistant: Mr. Bana | |
| Jacquie Glanville | .... | assistant: Mr. Chadwick | |
| Synnöve Godeseth | .... | production assistant | |
| Paul Harris | .... | choreographer | |
| Jo Harrop | .... | assistant production coordinator: Los Angeles | |
| Katie Heller | .... | assistant: Ms. Portman | |
| Emily Hobbs | .... | production assistant | |
| Martin Joy | .... | location manager | |
| Nathan Kelly | .... | assistant: Mr. Rudin | |
| Adam Klaff | .... | assistant: Scott Rudin | |
| Rowan Laidlaw | .... | assistant: Mr. Cooper | |
| Aex Levenson | .... | assistant: Mr. Rudin | |
| Felix Levinson | .... | production assistant | |
| Duncan Manning | .... | chef | |
| Jill McCullough | .... | dialect coach | |
| Sanaz Missaghian | .... | assistant production coordinator | |
| Nathan Najor | .... | adr loop group | |
| Camilla Naprous | .... | assistant horse master | |
| Nathan Naylor | .... | loop group coordinator | |
| Emma Owen | .... | assistant: Mr. Chadwick | |
| Gill Raddings | .... | animal handler | |
| Norman Campbell Rees | .... | stand-in: eric banna: reshoots | |
| Lee Robertson | .... | assistant location manager | |
| Isaac Sananes | .... | assistant accountant | |
| Shruti Shah | .... | production controller | |
| Sam Smith | .... | production assistant | |
| Jayne Spooner | .... | script supervisor | |
| Ashley Tyas | .... | title designer: Moving Picture Company | |
| Ben Ward | .... | production assistant | |
| Rebecca Wolf | .... | assistant accountant | |
| Jack Yiokoumi | .... | chef | |
| Lorraine Bagshaw | .... | locations runner (uncredited) | |
| Linzi Baltrunas | .... | location scout (uncredited) | |
| Samantha Barber | .... | script supervisor: second unit (uncredited) | |
| Mona Benjamin | .... | production coordinator: additional shooting (uncredited) | |
| Charles Bodycomb | .... | armorer (uncredited) | |
| Vicky Chapman | .... | location assistant (uncredited) | |
| Rebecca Davis | .... | daily location assistant (uncredited) | |
| Gayle Dickie | .... | production assistant (uncredited) | |
| Farnaz Donovan | .... | assistant accountant (uncredited) | |
| Isabelle Duvoisin | .... | press attache: France (uncredited) | |
| Paul Fischer | .... | utility stand-in (uncredited) | |
| Tania Gordon | .... | crowd runner: dailies (uncredited) | |
| Tanya Gordon | .... | production assistant (uncredited) | |
| Will Haynes | .... | runner (uncredited) | |
| Dan Hillsdon | .... | assistant accountant (uncredited) | |
| Jérôme Jouneaux | .... | press attache: France (uncredited) | |
| Jennifer Lambert | .... | nurse (uncredited) | |
| Jamie Lengyel | .... | location manager: additional photography (uncredited) | |
| Sandrine Loisy | .... | set production assistant: Dailies (uncredited) | |
| James McGrady | .... | floor runner: additional photography (uncredited) | |
| Louise Melzack | .... | locations runner (uncredited) | |
| Alex Molden | .... | production runner: additional photography (uncredited) | |
| Gerard Naprous | .... | horse master (uncredited) | |
| Michael Northern | .... | location runner (uncredited) | |
| Finlay Pile | .... | assistant location manager: additional photography (uncredited) | |
| Holly Pullinger | .... | accommodation coordinator (uncredited) | |
| Matthieu Rey | .... | press attache: France (uncredited) | |
| Keleigh Slaight | .... | production coordinator: Studio (uncredited) | |
| Kelly Taylor-Dias | .... | assistant production coordinator: additional photography (uncredited) | |
| Anna Turner | .... | locations runner (uncredited) | |
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| Gone with the Wind | The Good Earth | Juana la Loca | Novecento | Edvard Munch |
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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| Reparto y Personal Completos | Créditos de la compañía | Críticas externas |
| IMDb Biografía section | IMDb UK section | Add this title to MyMovies |
A quick glimpse at the Tudor family line on Wikipedia will yield hundreds of years of made-for-movie material, but none quite as compelling as the story of Anne Boleyn. Pair a classic story with airy language, beautiful sets and costumes, and some A-list names and you have Oscar magic in the making. Right? Well, not always. We've seen it before and we're not necessarily impressed with royalty anymore. The Other Boleyn Girl offers new perspectives and dramatic angles on the saga of wives that is Henry VIII's legacy, but nearly drowns in melodrama.
And it's not entirely the movie's fault. Boleyn Girl follows the story of both Anne (Natalie Portman) and Mary (Scarlett Johansson) Boleyn and their relationship with the English court. King Henry VIII (Eric Bana) has trouble producing a male heir, so the Boleyn family offers their daughter Anne to bed. When Henry has a hunting accident due to Anne's carelessness, he is nursed and subsequently charmed by innocent Mary. But Mary is already married, so the King promotes her husband and sends the couple to court where he can meet with Mary whenever he pleases. Mary falls in love with Henry and becomes his mistress. Anne, the elder sister, is scorned by what she believes is her sister's ultimate betrayal, and plots revenge. The two continue on in these roles for some time, swapping places in bed with Henry and spurting out babies while their relatives egg them on. This isn't quite how things went down in reality, but the changes are minor and seem necessary to condense the timeline and create at least one sympathetic character.
The Other Boleyn Girl fares best when it's exploring the relationship between Anne and Mary. This isn't the first story of sister rivalry, but the dynamic between Anne and Mary is extraordinarily well-played. Their previous roles and their public images make Portman and Johansson perfect fits. We believe Portman to be intelligent and coy, and Johansson to be naive and desired. More - we believe these roles might be easily reversed. As sisters, their relationship is deeply disturbing: they love each other, they hate each other, they're unable to escape the expectations placed upon them by their family. As an older sister (with an admittedly not-as-screwed-up relationship), I found this portrayal very realistic - rich with emotion and complex meaning.
I wish I could say the rest of the movie was as artful. There's constant allusion and foreshadowing to the Boleyn demise through use of visual and editing metaphors. If some details were twisted, other details might have been cut out - too many tear-filled scenes means that this eventually feels like a soap opera. At one point in the movie, Anne is sent off to France and comes back wearing a very distracting "B" charm, which she sports until the end of the movie. When I finally finished inventing what else "B" might stand for (besides Boleyn, there are plenty of other fits), I wondered about Anne's character. She's now praised as being changed and thus back in play, but I don't see it - she was smart and ambitious before, and only gained a bit of wit during her trip to France - certainly not the drastic change everyone seemed to be making it out to be. There are some very poorly done scenes where supporting cast spell out the politics of the situation for you. This is a little condescending and probably unnecessary, if not repetitive. The costumes are beautiful, but the matching dresses become unbelievable and even plain in places. PETA must have a field day with this movie and its use of fur and meat. You won't get to see Scarlett Johansson naked in this movie, in case you were wondering - just lots of fuzzy sex montages, weirdly full of backlit hair and fur. Katherine of Aragon (Henry VIII's first wife) is given some of the most powerful lines in the movie, but they're delivered with such woodenness that my disappointment must be made known.
The Other Boleyn Girl could be so much more. As a hyper-dramatic costume flick, it does stand out. There's more than meets your eye, and the costarring performances are not to be missed. There's a lot of material to cover in this story, but a simplified script would have helped keep this film farther away from melodrama. Especially with a true story as wild as this, there's not a lot that needs to be changed or added to grip the viewer. Any embellishments verge on destroying believability and creating situations we can't relate to.