A work in constant progress (and occasional regress).
Release Date:
October 11, 1996
Original Title:
The Ghost and the Darkness
Alternate Titles:
Duch i Mrok
Привид та Пітьма
Привид і Темрява
暗夜獵殺
黑夜幽靈
Genres:
Action | Adventure | History | Horror | Thriller
Production Companies:
Bernina Film
Constellation Films
Douglas/Reuther Productions
Mont Blanc Entertainment GmbH
Paramount Pictures
Production Countries:
Germany | United States of America
Ratings / Certifications:
AR: +16 AU: M BR: 14 CZ: 12+ DE: 12 FR: U GB: 15 GR: 15 HU: 16 IE: 15 IT: T KR: 15 MX: A NO: 15 SE: 15 SG: NC16 US: R
Runtime: 109
Sir Robert Beaumont is behind schedule on a railroad in Africa. Enlisting noted engineer John Henry Patterson to right the ship, Beaumont expects results. Everything seems great until the crew discovers the mutilated corpse of the project's foreman, seemingly killed by a lion. After several more attacks, Patterson calls in famed hunter Charles Remington, who has finally met his match in the bloodthirsty lions.
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"A" Camera Operator:
Neal Norton
"B" Camera Operator:
Joseph D. Urbanczyk
ADR Editor:
Joe Dorn
ADR Mixer:
Thomas J. O'Connell
ADR Recordist:
Rick Canelli
ADR Voice Casting:
Barbara Harris
Art Direction:
Giles Masters
Malcolm Stone
Assistant Costume Designer:
Michael Dennison
Assistant Sound Editor:
Jeff Cranford
Paul Aulicino
Dana LeBlanc Frankley
Associate Editor:
Sean Hubbert
Boom Operator:
Tommy Staples
Casting:
Mary Selway
Sarah Trevis
Co-Producer:
Grant Hill
Color Timer:
Bob Kaiser
Construction Coordinator:
Rodney Armanino
Construction Foreman:
Alan Allinger
Costume Design:
Ellen Mirojnick
Dialogue Editor:
John Leveque
Kimberly Lowe Voigt
Marshall Winn
Mildred Iatrou
Director:
Stephen Hopkins
Director of Photography:
Vilmos Zsigmond
Dolby Consultant:
Thom 'Coach' Ehle
Dolly Grip:
Guy Micheletti
Editor:
Roger Bondelli
Robert Brown
Steve Mirkovich
Executive Producer:
Steven Reuther
Michael Douglas
First Assistant "A" Camera:
Dennis Seawright
First Assistant "B" Camera:
Carlos De Carvalho
First Assistant Director:
José Luis Escolar
First Company Grip:
Mike Miller
Foley Artist:
John Roesch
Hilda Hodges
Foley Editor:
Shawn Sykora
Bob Beher
Mark Pappas
Foley Mixer:
Mary Jo Lang
Foley Recordist:
Carolyn Tapp
Foley Supervisor:
Michael Dressel
Hairstylist:
Vera Mitchell
Key Costumer:
Leigh Bishop
Dan Grace
Key Hair Stylist:
Suzanne Stokes-Munton
Key Makeup Artist:
Paul Engelen
Location Manager:
Kevin De La Noy
Makeup Artist:
Tom Lucas
Meg Speirs
Music Editor:
Sally Boldt
Negative Cutter:
Mo Henry
Novel:
John Henry Patterson
Original Music Composer:
Jerry Goldsmith
Producer:
A. Kitman Ho
Gale Anne Hurd
Paul B. Radin
Production Accountant:
Marge Rowland
Production Design:
Stuart Wurtzel
Production Supervisor:
Michael L. Games
Property Master:
Philip McDonald
Screenplay:
William Goldman
Script Supervisor:
Nikki Clapp
Second Assistant "A" Camera:
Lars Cox
Second Assistant Director:
David H. Venghaus Jr.
Patrick Kinney
Matt Rebenkoff
Jamie Christopher
Second Second Assistant Director:
Javier Chinchilla
Second Unit Director:
Josh McLaglen
Second Unit Director of Photography:
Gabriel Beristain
Set Decoration:
Hilton Rosemarin
Sound Effects Editor:
Lance Brown
Glenn Hoskinson
Steve Mann
Steven F. Nelson
Kim Secrist
Donald L. Warner Jr.
Richard E. Yawn
Gary Mundheim
Gordon Ecker
Sound Mixer:
Simon Kaye
Sound Re-Recording Mixer:
Donald O. Mitchell
Rick Hart
Frank A. Montaño
Special Effects Supervisor:
Chris Corbould
Still Photographer:
Frank Connor
Stunt Coordinator:
Danny Baldwin
Supervising ADR Editor:
Becky Sullivan
Supervising Art Director:
George Richardson
Steve Saklad
Supervising Music Editor:
Kenneth Hall
Supervising Sound Editor:
Bruce Stambler
Unit Production Manager:
Grant Hill
Unit Publicist:
Stuart Fink
Visual Effects Coordinator:
Ryan Berg
Visual Effects Supervisor:
Stuart Robertson
Tim McGovern
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.