Gettysburg


4h 8m 1993

Brief Synopsis

On July 1, 1863, more than 150,000 soldiers were drawn by fate to the defining moment of the Civil War. Men of honor in an age when honor meant everything, they fought out of loyalty to country or homeland, or to preserve states' rights; many more were moved to the defense of individual freedom. Whe...

Film Details

MPAA Rating
Genre
War
Action
Adaptation
Drama
Historical
Period
Release Date
1993
Production Company
Thomas Kost
Distribution Company
ALLIANCE RELEASING/NEW LINE CINEMA (NEW LINE)
Location
Gettysburg, Pennsylvania, USA

Technical Specs

Duration
4h 8m

Synopsis

On July 1, 1863, more than 150,000 soldiers were drawn by fate to the defining moment of the Civil War. Men of honor in an age when honor meant everything, they fought out of loyalty to country or homeland, or to preserve states' rights; many more were moved to the defense of individual freedom. When it was over, a third of their number lay wounded or dead in the quiet wheat fields outside Gettysburg, PA. The Union Army had prevailed. The Republic would survive. Based on Michael Shaara's Pulitizer Prize-winning novel "The Killer Angels," GETTYSBURG dramatically depicts the three most courageous days in American History as experienced by the leaders of the Confederate and Union Armies. The film renders the human dimension of the war with passion and power--from the fierce disagreements of Generals Longstreet and Lee, the brilliant Confederate leaders, to the Union's General Buford, who foresaw the devastation ahead.

Crew

Anna Abbey

Costumes

Elton Ahi

Other

Lara Aldrich

Office Assistant

Norma Allard

Driver

Eduardo Andrade

Production Assistant

Allan Apone

Makeup Supervisor

Rhett Arnold

Craft Service

Donald Aros

Electrician

Hank Atterbury

Special Effects Assistant

Kim Barta

Wrangler

Marsha Barton

Wardrobe

Yvonne Barton

Other

Kelly Beadling

Special Effects Assistant

Ralph Kendall Berge

Location Coordinator

Lisa Bianco

Assistant Editor

James W Bigham

Special Thanks To

Taylor Black

Special Effects

Joel Blanchard

Special Effects

E Michael Bledsoe

Transportation Captain

Ron Bledsoe

Transportation Coordinator

Gabor S Boritt

Other

Dan Boston

Wrangler

John Botkin

Caterer

Joe Bowden

Liaison

James D Boyd

Props

Michael T Boyd

Costume Designer

Vincent Leo Boyle

Driver

Steve Boyum

Stunt Coordinator

Curtiss Bradford

Gaffer

Adam Brandy

Makeup Artist

James Bratner

Special Thanks To

Mark Bream

Special Thanks To

Bob F Brown

Stunts

Rodney T Brown

Foreman

Carol Buckley

Special Thanks To

Charles Buckley

Special Thanks To

Bonnie Burnham

Special Effects

Nancy Bushey

Special Thanks To

Brian Buzzelli

Grip

Carolyn Caldera

Assistant

Jane Cameron

Sound

Dana Campbell

Set Costumer

Tim Carr

On-Set Dresser

Marie E Chambers

Dialect Coach

Steve Chambers

Stunts

Ellsworth Chou

Electrician

Jose A Cisneros

Special Thanks To

Douglas Coates

Electrician

Alan Colbert

Electrician

Kenneth J Cole

Special Thanks To

Karen E Collins

Assistant Director

Tim Collins

Dolly Grip

Mark Combs

Stunts

Mark Combs

Key Grip

Richard Corwin

Adr Editor

Skip Cosper

Assistant Director

Butch Culpepper

Wrangler

Terry Daley

Special Thanks To

Wendy Dallas

Assistant Director

Richard Davis

Assistant Sound Editor

Steve M Davison

Stunts

Noel Dimitri Del Castillo

Production Assistant

Hans Der Bezemer

Other

Stuart Deutsch

Sound Mixer

Joseph V Dickerson

Grip

Joanie Diener

Music Editor

Jay Anna Dorsey

Assistant Costume Designer

Don Dramer

Wrangler

Dawn Dreiling

Script Supervisor

Duane D Eckert

Driver

Randy Edelman

Music

Corky Ehlers

Editor

Susan Ehlers

Assistant Editor

Tom Elliott

Stunts

Moctesuma Esparza

Producer

Moctesuma Esparza

Stunts

Tonatiuh Esparza

On-Set Dresser

Pat Falci

Advisor

Kelly G. Farrah

Property Master

Ralph Ferraro

Original Music

Dale E Fetzer

Other

Thomas W. Fife

Special Effects Assistant

Clay Fissel

Driver

Graham Ford

Unit Production Manager

Gwenn Forsythe

Office Assistant

David Franco

Music Supervisor

Billy "butch" Frank

Wrangler

Gary G Frank

Wrangler

Rami Frankl

Production Assistant

Paul French

Driver

Rodney G French

Grip

Mark Fulks

Wrangler

Mark Fulks

Stunt Man

Rusty Gardner

Electrician

Christopher George

Assistant Camera Operator

Peter H Gerber

Special Effects Assistant

Karl German

Wrangler

Keith E Gibson

Other

Buddy Gilyard

Stunts

Ray Giron

Assistant Property Master

Dwight Gladhill

Dailies

Andrew Golov

Post-Production

Tom Gonta

Foley Mixer

Thomas Greco

Camera

A Wilson Greene

Other

Mike Grigaliunas

Dailies

Nancie W Gudmestad

Other

Barbara Haberecht

Set Decorator

Lori Haddox

Other

Peter Halbert

Boom Operator

Stephen Halbert

Sound Mixer

Marge Hall

Assistant

Paul Hamacher

Grip

Joe Hanna

Other

Nick Hanns

Craft Service

Ted Hanson

Special Thanks To

David A Harp

Assistant Camera Operator

Catherine Harper

Foley

Tom Harper

Stunts

Judy C Harris

Assistant

Glenn Hartzell

Special Thanks To

Jim Hatsell

Wrangler

Stephen M Hearst

Production Assistant

Dana Heim

Special Thanks To

Erik Heinila

Photography

Jonathan Herron

Camera Operator

Beth Hickman

Production Coordinator

Sherri Holland

Special Effects Assistant

Hank Hooker

Stunts

Thomas J Huff

Stunts

Richard Huggins

Special Effects

Jason Ingram

Driver

Susan Ingram

Camera Assistant

Hala Iqal

Hair Stylist

Chuck Johnson

Wrangler

Don Johnson

Special Thanks To

J. Stanley Johnston

Sound Editor

J. Stanley Johnston

Rerecording

Katie Karppala

Dailies

Robert Katz

Producer

Jeff Kay

Assistant Director

Sarah Kelly

Production Assistant

Dennis Kern

Location Manager

Dennis Kern

Special Thanks To

Ossama Khuluki

Foley

John Kock

Wrangler

Thomas Kost

Cable Operator

Michael Kraus

Other

Timothy Kuebreth

Assistant Production Coordinator

Joseph Kurtz

Grip

Victoria Land

Set Production Assistant

Dan Laroc

Craft Service

Amy Lauritsen

Set Production Assistant

Jerry Lee

Grip

Rick Leisenring

Assistant

Gerry Lentz

Rerecording

Peter Locaccio

Assistant Location Manager

Nick Lombardo

Coproducer

Karl Luthen

Wrangler

G Gary Mahas

Wrangler

Sandy Martin

Associate Producer

Ernesto Mas

Adr Editor

Jeff Mather

Special Effects Assistant

Jon Maxwell

Set Production Assistant

Olivia Maxwell

Set Production Assistant

Ron Maxwell

Screenplay

Ron Maxwell

Main Title Design

Crispin May

Assistant Camera Operator

Tony May

Special Thanks To

Patrick Mcallister

Electrician

John Lindsey Mccormick

Art Department Coordinator

Tommy Mccutheon

On-Set Dresser

Tanya Mcginnis-potvin

Assistant Engineer

Gary Mclarty

Stunts

Mitchell A Medford

Special Effects Assistant

John C. Meier

Stunts

Carl Alexander Merritt

Special Effects Assistant

Mark J. Meyers

Wrangler

Dean Miller

Special Effects

Stanley L Moore

Costume Supervisor

Chris Moseley

Camera Operator

Jay Mullenax

Special Effects Assistant

Jeff Naparstek

Special Effects

John Nash

Dolly Grip

Mike Nash

Grip

Cal Naylor

Unit Manager

Bruce Nazarian

Sound Editor

Kelly Neese

Boom Operator

Mace Neufeld

Producer

Pamela Newton

Driver

Henrietta C O'shea

Driver

James P O'shea

Driver

Chemen Ochoa

Assistant Director

Kaaren F Ochoa

Assistant Director

Michael Olswfski

Driver

Rafael Ortiz

Camera Operator

Pat Owens

Driver

Onofrio Pansini

Assistant Camera Operator

Don Patterson

Special Thanks To

Kelly Paull

Assistant

Film Details

MPAA Rating
Genre
War
Action
Adaptation
Drama
Historical
Period
Release Date
1993
Production Company
Thomas Kost
Distribution Company
ALLIANCE RELEASING/NEW LINE CINEMA (NEW LINE)
Location
Gettysburg, Pennsylvania, USA

Technical Specs

Duration
4h 8m

Articles

Gettysburg (1993) - Gettysburg


No movie director has focused on the Civil War more intently than Ronald F. Maxwell, who wrote and directed one of film history's most extensive treatments of a single battle - the humongous Gettysburg of 1993, clocking in at almost four and a half hours - and followed it a decade later with the humongous Gods and Generals (2003), a prequel about the Confederate general known as Stonewall Jackson in the months leading up to the Gettysburg melee. Gods and Generals looks at things from the perspective of what eventually became the losing side, but Gettysburg works hard to be evenhanded, alternating between Southern and Northern viewpoints and expressing sympathy for all concerned.

Gettysburg does all the things a large-scale historical docudrama is expected to do. It details the preparations for the legendary battle, lays out the whys and wherefores of key strategic and tactical decisions, sketches the personalities of rank-and-file troops as well as important Union and Confederate officers, and depicts the major engagements of the conflict in wide-screen images photographed on 70mm film. True to the historical record, the movie ends by acknowledging that Gettysburg did not become the decisive clash that General Robert E. Lee hoped it would be, but was merely the prelude to two more years of bitter, bloody fighting. Although it lasted only three days, the combat involved some 160,000 troops - 70,000 in the Confederate Army of Northern Virginia facing off against 90,000 in the Union Army of the Potomac - and more than 53,000 of them fell on the battlefield. In a scene that captures the tragedy with particular force, Lee rides onto the field when the killing has stopped, casts his troubled eyes on the aftermath of the slaughter, sees with bewilderment that Major General Pickett is not standing with the men under his command, and orders him to return instantly to his division - whereupon Pickett sorrowfully tells him that he has no division to return to, since every one of his men has been killed.

The movie's neutrality with regard to North and South is admirable in some respects, reminding us that war is always hell, wreaking equal measures of misery and destruction on the young and the old, the eager and the reluctant, the just and the unjust alike. Maxwell's insistence on impartiality leads to a certain moral slipperiness, though, even on the core issue of slavery. Asked by a Union officer why he's fighting in the conflict, for instance, a captured Confederate soldier gives what he sees as a sensible answer. "I ain't fightin' for no darkies one way or the other," the young Southerner says to the Northerner. "I'm fightin' for my rights....Why can't you just live the way you want to live, and let us live the way we do?" This is the argument for states' rights that segregationists continued to exploit for another hundred years, and I wanted to hear the Union officer make the case for the other side, perhaps asking why the Southern states don't let black people live the way they want to live. But the officer abruptly changes the subject, allowing the matter to rest instead of challenging the prisoner's profoundly flawed reasoning. At moments like this, Maxwell's scrupulously balanced treatment shows that neutrality has its limits.

The super-long running time of Gettysburg derives from its origin as a TV miniseries backed by Turner Pictures, the production company owned by Ted Turner, who was so pleased with the results Maxwell achieved that he delayed the film's television premiere for a year so his distribution outlet, New Line Pictures, could give it a limited theatrical run first. This wasn't the most profitable decision Turner ever made - box-office earnings were modest - but it was a smart publicity move, building anticipation among American-history buffs who made the picture a rousing hit when it reached the TV and video circuits (Turner also turns up in a brief cameo as a doomed Confederate). History enthusiasts played a significant role in the making of the film as well. Drawing on the dedication of Civil War re-enactors, Maxwell placed more than 5,000 of them before the cameras, portraying everyone from neophyte soldiers to horsemen, marching musicians, and color guards. Cooperation also came from the National Park Service, which granted permission for filming at Gettysburg National Military Park. Principal photography also took place on farmland in neighboring Adams County, Pennsylvania, and Maxwell's creative partners - especially cinematographer Kees Van Oostrum and editor Corky Ehlers -blended all of the locations into a convincing geographical whole.

Along with its anonymous foot soldiers, Gettysburg benefits from famous faces in higher-level roles. Chief among them are Martin Sheen, conspicuously dignified as General Lee, and Jeff Daniels, who brings both gravity and a touch of his trademarked folksiness to Joshua Chamberlain, an important Union colonel. Others include Tom Berenger as Lieutenant General James Longstreet and Richard Jordan as Brigadier General Lewis Armistead, in Confederate grey, and C. Thomas Howell as Lieutenant Thomas Chamberlain and Sam Elliott as Brigadier General John Buford, wearing Union blue. Kevin Conway and John Diehl also stand out as Union enlisted men. Not every actor managed to impress the critics, though. New York Times reviewer Stephen Holden, for instance, found qualities of nobility, quiet suffering, and pensive self-reproach in Sheen's portrayal of Lee, but faulted Sheen for not presenting "a flash of holiness that would make the character a spiritual lightning rod."

Other critics have found the movie too long and slow-moving for comfort, and I've always wondered why the neatly coiffed hair and bushy, bogus-looking beards of the battle-weary officers rarely look mussed-up or dirty no matter how draining their physical and psychological ordeals become. More important, I wish the movie were more attentive to the extremes of bloodthirsty mayhem that produced the appalling images in some of Matthew Brady's great Civil War photographs. Detailed, expansive, relentlessly solemn, and pious to a fault, Gettysburg is likely to thrill Civil War connoisseurs and history mavens more than general audiences looking for lively, fast-paced entertainment; as Roger Ebert wrote in his mostly favorable review, it's a picture "that Civil War buffs will find indispensable, even if others might find it interminable." But even skeptics may see its depiction of old-fashioned, hand-to-hand, sword-and-musket-slinging combat a welcome change from the hyperkinetic, tech-heavy violence of most modern war movies.

Director: Ronald F. Maxwell
Producers: Robert Katz, Moctesuma Esparza
Screenplay: Ronald F. Maxwell; based on the novel The Killer Angels by Michael Shaara
Cinematographer: Kees Van Oostrum
Film Editing: Corky Ehlers
Production Design: Cary White Music: Randy Edelman
With: Tom Berenger (James Longstreet), Jeff Daniels (Joshua L. Chamberlain), Martin Sheen (Robert L. Lee), Kevin Conway (Sgt. "Buster" Kilrain), C. Thomas Howell (Lieut. Thomas D. Chamberlain), Richard Jordan (Brig. Gen. Lewis A. Armistead), Royce D. Applegate (Brig. Gen. James L. Kemper), Richard Anderson (Maj. Gen. George G. Meade), John Diehl (Private Bucklin), Maxwell Caulfield (Col. Strong Vincent), Patrick Gorman (Maj. Gen. John Bell Hood), Cooper Huckabee (Henry T. Harrison), James Lancaster (Lieut. Col. Arthur Fremantle), Brian Mallon (Maj. Gen. Winfield Scott Hancock), Andrew Prine (Brig. Gen. Richard B. Garnett), John Rothman (Maj. Gen. John F. Reynolds), Tim Scott (Lieut. Gen. Richard S. Ewell), Morgan Sheppard (Maj. Gen. Isaac R. Trimble), Stephan Lang (Pickett), Sam Elliott (General John Buford).
C-254m.

by David Sterritt
Gettysburg (1993) - Gettysburg

Gettysburg (1993) - Gettysburg

No movie director has focused on the Civil War more intently than Ronald F. Maxwell, who wrote and directed one of film history's most extensive treatments of a single battle - the humongous Gettysburg of 1993, clocking in at almost four and a half hours - and followed it a decade later with the humongous Gods and Generals (2003), a prequel about the Confederate general known as Stonewall Jackson in the months leading up to the Gettysburg melee. Gods and Generals looks at things from the perspective of what eventually became the losing side, but Gettysburg works hard to be evenhanded, alternating between Southern and Northern viewpoints and expressing sympathy for all concerned. Gettysburg does all the things a large-scale historical docudrama is expected to do. It details the preparations for the legendary battle, lays out the whys and wherefores of key strategic and tactical decisions, sketches the personalities of rank-and-file troops as well as important Union and Confederate officers, and depicts the major engagements of the conflict in wide-screen images photographed on 70mm film. True to the historical record, the movie ends by acknowledging that Gettysburg did not become the decisive clash that General Robert E. Lee hoped it would be, but was merely the prelude to two more years of bitter, bloody fighting. Although it lasted only three days, the combat involved some 160,000 troops - 70,000 in the Confederate Army of Northern Virginia facing off against 90,000 in the Union Army of the Potomac - and more than 53,000 of them fell on the battlefield. In a scene that captures the tragedy with particular force, Lee rides onto the field when the killing has stopped, casts his troubled eyes on the aftermath of the slaughter, sees with bewilderment that Major General Pickett is not standing with the men under his command, and orders him to return instantly to his division - whereupon Pickett sorrowfully tells him that he has no division to return to, since every one of his men has been killed. The movie's neutrality with regard to North and South is admirable in some respects, reminding us that war is always hell, wreaking equal measures of misery and destruction on the young and the old, the eager and the reluctant, the just and the unjust alike. Maxwell's insistence on impartiality leads to a certain moral slipperiness, though, even on the core issue of slavery. Asked by a Union officer why he's fighting in the conflict, for instance, a captured Confederate soldier gives what he sees as a sensible answer. "I ain't fightin' for no darkies one way or the other," the young Southerner says to the Northerner. "I'm fightin' for my rights....Why can't you just live the way you want to live, and let us live the way we do?" This is the argument for states' rights that segregationists continued to exploit for another hundred years, and I wanted to hear the Union officer make the case for the other side, perhaps asking why the Southern states don't let black people live the way they want to live. But the officer abruptly changes the subject, allowing the matter to rest instead of challenging the prisoner's profoundly flawed reasoning. At moments like this, Maxwell's scrupulously balanced treatment shows that neutrality has its limits. The super-long running time of Gettysburg derives from its origin as a TV miniseries backed by Turner Pictures, the production company owned by Ted Turner, who was so pleased with the results Maxwell achieved that he delayed the film's television premiere for a year so his distribution outlet, New Line Pictures, could give it a limited theatrical run first. This wasn't the most profitable decision Turner ever made - box-office earnings were modest - but it was a smart publicity move, building anticipation among American-history buffs who made the picture a rousing hit when it reached the TV and video circuits (Turner also turns up in a brief cameo as a doomed Confederate). History enthusiasts played a significant role in the making of the film as well. Drawing on the dedication of Civil War re-enactors, Maxwell placed more than 5,000 of them before the cameras, portraying everyone from neophyte soldiers to horsemen, marching musicians, and color guards. Cooperation also came from the National Park Service, which granted permission for filming at Gettysburg National Military Park. Principal photography also took place on farmland in neighboring Adams County, Pennsylvania, and Maxwell's creative partners - especially cinematographer Kees Van Oostrum and editor Corky Ehlers -blended all of the locations into a convincing geographical whole. Along with its anonymous foot soldiers, Gettysburg benefits from famous faces in higher-level roles. Chief among them are Martin Sheen, conspicuously dignified as General Lee, and Jeff Daniels, who brings both gravity and a touch of his trademarked folksiness to Joshua Chamberlain, an important Union colonel. Others include Tom Berenger as Lieutenant General James Longstreet and Richard Jordan as Brigadier General Lewis Armistead, in Confederate grey, and C. Thomas Howell as Lieutenant Thomas Chamberlain and Sam Elliott as Brigadier General John Buford, wearing Union blue. Kevin Conway and John Diehl also stand out as Union enlisted men. Not every actor managed to impress the critics, though. New York Times reviewer Stephen Holden, for instance, found qualities of nobility, quiet suffering, and pensive self-reproach in Sheen's portrayal of Lee, but faulted Sheen for not presenting "a flash of holiness that would make the character a spiritual lightning rod." Other critics have found the movie too long and slow-moving for comfort, and I've always wondered why the neatly coiffed hair and bushy, bogus-looking beards of the battle-weary officers rarely look mussed-up or dirty no matter how draining their physical and psychological ordeals become. More important, I wish the movie were more attentive to the extremes of bloodthirsty mayhem that produced the appalling images in some of Matthew Brady's great Civil War photographs. Detailed, expansive, relentlessly solemn, and pious to a fault, Gettysburg is likely to thrill Civil War connoisseurs and history mavens more than general audiences looking for lively, fast-paced entertainment; as Roger Ebert wrote in his mostly favorable review, it's a picture "that Civil War buffs will find indispensable, even if others might find it interminable." But even skeptics may see its depiction of old-fashioned, hand-to-hand, sword-and-musket-slinging combat a welcome change from the hyperkinetic, tech-heavy violence of most modern war movies. Director: Ronald F. Maxwell Producers: Robert Katz, Moctesuma Esparza Screenplay: Ronald F. Maxwell; based on the novel The Killer Angels by Michael Shaara Cinematographer: Kees Van Oostrum Film Editing: Corky Ehlers Production Design: Cary White Music: Randy Edelman With: Tom Berenger (James Longstreet), Jeff Daniels (Joshua L. Chamberlain), Martin Sheen (Robert L. Lee), Kevin Conway (Sgt. "Buster" Kilrain), C. Thomas Howell (Lieut. Thomas D. Chamberlain), Richard Jordan (Brig. Gen. Lewis A. Armistead), Royce D. Applegate (Brig. Gen. James L. Kemper), Richard Anderson (Maj. Gen. George G. Meade), John Diehl (Private Bucklin), Maxwell Caulfield (Col. Strong Vincent), Patrick Gorman (Maj. Gen. John Bell Hood), Cooper Huckabee (Henry T. Harrison), James Lancaster (Lieut. Col. Arthur Fremantle), Brian Mallon (Maj. Gen. Winfield Scott Hancock), Andrew Prine (Brig. Gen. Richard B. Garnett), John Rothman (Maj. Gen. John F. Reynolds), Tim Scott (Lieut. Gen. Richard S. Ewell), Morgan Sheppard (Maj. Gen. Isaac R. Trimble), Stephan Lang (Pickett), Sam Elliott (General John Buford). C-254m. by David Sterritt

Quotes

Trivia

Miscellaneous Notes

Released in United States Fall October 8, 1993

Expanded Release in United States October 22, 1993

Released in United States on Video March 16, 1994

Released in United States 1993

Released in United States September 1993

Released in United States September 27, 1993

Released in United States October 1993

Released in United States September 1994

Shown at Boston Film Festival September 13-23, 1993.

Shown at MIFED in Milan October 24-29, 1993.

Shown at Deauville Film Festival September 2-11, 1994.

Began shooting July 20, 1992.

Completed shooting October 1992.

In memory of Michael Shaara and Richard Jordan.

Released in United States Fall October 8, 1993

Expanded Release in United States October 22, 1993

Released in United States on Video March 16, 1994

Released in United States 1993 (Premiere release for Turner Pictures. Opened theatrically prior to telecast on Turner Network Television in late 1993.)

Released in United States September 1993 (Shown at Boston Film Festival September 13-23, 1993.)

Released in United States September 27, 1993 (Gala premiere in Washington, DC September 27, 1993.)

Released in United States October 1993 (Shown at MIFED in Milan October 24-29, 1993.)

Released in United States September 1994 (Shown at Deauville Film Festival September 2-11, 1994.)