A work in constant progress (and occasional regress).
Release Date:
September 23, 2000
Original Title:
The House of Mirth
Alternate Titles:
Die verborgene Leidenschaft der Lily Bart
Gledens hus
Haus Bellomont - Die verborgene Leidenschaft der Lily Bart
La casa de la alegrÃa
Genres:
Drama | Romance
Production Companies:
Arts Council of England
Diaphana Films
Film4 Productions
Granada Productions
Kinowelt Median
National Lottery
Progres Film Distribution
Showtime Networks
The Glasgow Film Fund
The Scottish Arts Council
Three Rivers Production
Production Countries:
France | Germany | United Kingdom | United States of America
Ratings / Certifications:
DE: 12 IE: PG
Runtime: 135
In early 20th century New York City, an impoverished socialite desperately seeks a suitable husband as she gradually finds herself betrayed by her friends and exiled from high society.
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ADR Mixer:
Ted Swanscott
Additional Casting:
Julia Duff
Additional Editing:
Martin Brinkler
Additional Grip:
Stuart Bunting
Art Direction:
Diane Dancklefsen
Jo Graysmark
Assistant Accountant:
Neil Cairns
Assistant Art Director:
Tim Monroe
Ursula Cleary
Assistant Camera:
Gordon McMillan
Assistant Editor:
Lea Morement
Assistant Location Manager:
Beverley Syme
Best Boy Electric:
Ian Franklin
Boom Operator:
Tony Cook
Carpenter:
Richard Hassall
Casting:
Billy Hopkins
Kerry Barden
Suzanne Smith Crowley
Casting Assistant:
Gemma Hancock
Deborah Maxwell Dion
Mark Bennett
Jennifer McNamara
Clapper Loader:
Harry Bowers
Co-Producer:
Alan J. Wands
Conductor:
Terry Davies
Construction Manager:
Danny Sumsion
Costume Design:
Monica Howe
Dialect Coach:
Julia Wilson Dickson
Dialogue Editor:
Stewart Henderson
Director:
Terence Davies
Director of Photography:
Remi Adefarasin
Editor:
Michael Parker
Electrician:
Brian Sullivan
Executive Producer:
Pippa Cross
Bob Last
First Assistant Director:
Guy Travers
First Assistant Editor:
Celia Haining
Focus Puller:
Mark Milsome
Foley Editor:
Michael Redfern
Foley Mixer:
Ted Swanscott
Gaffer:
Jimmy Wilson
Hairstylist:
Eva Marieges Moore
Key Grip:
John Arnold
Location Manager:
Sarah Lee
Makeup & Hair:
Eva Marieges Moore
Dianne Millar
Christine Powers
Meg Speirs
Jan Harrison Shell
Music Director:
Adrian Johnston
Music Supervisor:
Heather Bownass
Novel:
Edith Wharton
Painter:
Bobby Gee
Post Production Accountant:
Tarn Harper
Post Production Consulting:
Michael Solinger
Post Production Coordinator:
Anita M. Patel
Post Production Supervisor:
Sarah Lee
Producer:
Olivia Stewart
Production Accountant:
Louise Coulter
Production Coordinator:
Mandy McKay
Production Design:
Don Taylor
Production Manager:
Wendy Broom
Sarah Lee
Production Secretary:
Sonya Dunwoodge
Property Master:
Alan Bailey
Publicist:
Charles McDonald
Rigging Gaffer:
Barrie More
Script Supervisor:
Pat Rambaut
Second Assistant Director:
William Booker
Second Unit Director:
Sarah Lee
Second Unit Director of Photography:
Chris Plevin
Set Decoration:
John Bush
Sound Re-Recording Mixer:
Paul Hamblin
Sound Recordist:
Louis Kramer
Special Effects Supervisor:
Stuart Murdoch
Stand In:
Rosalind Nashashibi
Still Photographer:
Jaap Buitendijk
Supervising Sound Editor:
Catherine Hodgson
Third Assistant Director:
Nanna Mailand-Mercado
Transportation Captain:
Jeff Derby
Unit Manager:
Tony Hood
Unit Publicist:
Chris Paton
Visual Effects Producer:
Susi Roper
Visual Effects Supervisor:
John Paul Docherty
Wardrobe Assistant:
Adrian Ratley
Guy Speranza
Kate Burnett
Tom Hornsby
Wardrobe Coordinator:
Anna Lau
Wardrobe Supervisor:
Ann Taylor Cowan
Wigmaker:
Paul Huntley
Renate Leuschner
Writer:
Terence Davies
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.