Reds
Brief Synopsis
American activist John Reed travels to Russia to witness the revolution and its aftermath.
Cast & Crew
Read More
Warren Beatty
Director
Warren Beatty
John Reed
Diane Keaton
Louise Bryant
Edward Herrmann
Max Eastman
Jerzy Kosinski
Girgory Zinoviev
Bessie Love
Film Details
Also Known As
NST
MPAA Rating
Genre
Romance
Biography
Drama
Historical
Political
War
Release Date
1981
Location
Sussex, England, United Kingdom; Lincolnshire, England, United Kingdom; Seville, Spain; Guadix, Spain; London, England, United Kingdom; Ivalo, Finland; Los Angeles, California, USA; Rovaniemi, Finland; New York City, New York, USA; Greater Manchester, England, United Kingdom; Kemijarvi, Finland; Madrid, Spain; Villa Canjasi, Spain; Helsinki, Finland; Washington, DC, USA; Segovia, Spain
Technical Specs
Duration
3h 20m
Synopsis
Political drama about the stormy romantic partnership of journalist-revolutionary Jack Reed, author of "Ten Days That Shook the World," and writer-artist Louise Bryant, set against the backdrop of World War I and the Russian Revolution.
Cast
Warren Beatty
John Reed
Diane Keaton
Louise Bryant
Edward Herrmann
Max Eastman
Jerzy Kosinski
Girgory Zinoviev
Bessie Love
M. Emmet Walsh
Andrew Dasburg
Ian Wolfe
Leigh Curran
Christopher Malcolm
George Plimpton
Arne Swabeck
Stefan Gryff
Henry Miller
Pertti Weckstrom
Denis Pekarev
Ake Lindman
Jack Kehoe
John Ballato
Bernadine Szold-fritz
Kathryn Grody
William Daniels
Dorothy Frooks
Isaac Don Levine
Harry Carlisle
Jan Triska
Gene Hackman
Harry Ditson
Norman Chancer
Brenda C. Currin
R. G. Armstrong
Nina Macarova
Hugo Gellert
Maureen Stapleton
Roger Baldwin
George Seldes
Arthur Mayer
John J Hooker
Scott Nearing
Jacob Bailin
Dave King
Rebecca West
George Jessel
Jerry Hardin
Ramon Bieri
Jack O'leary
Hamilton Fish
Kenneth Chamberlain
Lucita Williams
Jose Defillippo
Stuart Richman
Eleanor Wilson
Galina Von Meck
Blanche Hays Fagen
Shane Rimmer
Josef Sommer
Jack Nicholson
Eugene O'Neill
Pat Starr
Heaton Vorse
Emmanuel Herbert
Oleg Kerensky
Dolph Sweet
Will Weinstone
Paul Sorvino
Louis C. Fraina
Arthur Shields
Tony Sibbald
Dora Russell
Max Wright
Roger Sloman
Joseph Buloff
Nikko Seppala
Adele Nathan
Will Durant
Nicolas Coster
Tess Davis
Macintyre Dixon
Adela Rogers St. Johns
Nancy Duiguid
Gerald Hiken
Andreas Lacasa
Crew
Roberto Alberti
Other
David Allen
Sound Engineer
Dede Allen
Executive Producer
Dede Allen
Editor
David Appleby
Photography
Paco Ardura
Wrangler
Jennifer Auge
Apprentice
Nat D. Ayer
Song
George Ball
Props
George Ball
Property Master
Debra Bard
Apprentice
Reverend Sabine Baring-gould
Song
Zelda Barron
Consultant
Zelda Barron
Script Supervisor
Donah Bassett
Negative Cutting
Katherine Lee Bates
Song
Eric Beason
Assistant Editor
Warren Beatty
Producer
Warren Beatty
Screenplay
Robert Birnbaum
Assistant Director
Bruce Bisenz
Sound Mixer
Stan Bochner
Sound Editor
Harry Peck Bolles
Sound Editor
Simon Bosanquet
Location Manager
Rebecca Breed
Wardrobe
A Seymour Brown
Song
Richard Brown
Carpenter
Fern Buchner
Makeup
Alex Burks
Camera Operator
Linda Burtenshaw
Assistant
Louis F Bush
Song
Filippo Cafolla
Electrician
Roy Carnon
Art Department
Joan Carpenter
Hair
Jack Cartier
Construction Manager
Sean Casey
Other
Lou Cerborino
Sound Editor
Lance Chapman
Other
Richard P. Cirincione
Sound Editor
Laura Civiello
Sound Editor
Nobby Clark
Other
Juan Clemente
Location Manager
George M. Cohan
Song
Randall Coleman
Sound Editor
Joe Cooper
Song
Angelo Corrao
Associate Editor
Luigi Creatore
Song
Tony Cridlin
Grip
Noel Davis
Casting
Bob Dawson
Special Effects
Pierre Degeyter
Song
Marjorie Deutsch
Sound Editor
Marion Dougherty
Casting
Jay Dranch
Sound Editor
Nic Ede
Wardrobe Assistant
Des Edwards
Sound
Carolyn L. Elias
Makeup
Carolyn L. Elias
Hair
Paul Engelen
Makeup
Vicente Escriva
Production Manager
Judith Evans
Researcher
Martin Evans
Best Boy
Helen L Feibelmann
Assistant
Sam Fine
Editor
Wayne Fitzgerald
Titles
Tom Fleischman
Sound
Nancy Foy
Casting
Edward Francis
Props
Peter C Frank
Sound Editor
Enrique Gabriel
Assistant Director
Leslie Gaulin
Assistant Editor
Jeremy Gee
Other
Gail Geibel
Production Coordinator
David Gelfand
Sound Editor
Paul Gemignani
Music Conductor
Paul Gemignani
Music Supervisor
L. Wolfe Gilbert
Song
Fernando Gonzalez
Art Director
Michael G Green
Assistant Director
Jerry Greenberg
Editing
Gillian Gregory
Choreographer
Trevor Griffiths
Screenplay
Marshall Grupp
Sound Editor
Dave Grusin
Music
Thomas Gulino
Sound Editor
Catherine Halloran
Wardrobe Assistant
Eddy Hanson
Song
Darrell Hanzalik
Sound Editor
Paul Heffernan
Set Decorator
John Andrew Hill
Apprentice
Walter Hirsch
Song
Kate Hirson
Sound Editor
Richard Hiscott
Editing
A. Kitman Ho
Production Manager
Simon Holland
Art Director
Kaj Holmberg
Production Manager
Alan Hopkins
Assistant Director
Denis Hopperton
Props
Ray Hubley
Assistant Editor
Barbara Huger
Other
Jane Jenkins
Casting
Alan John
Accounting Assistant
Charles L Johnson
Song
Scott Joplin
Song
Carl Joy
Casting
Frank Kaluga
Sound
Michael Karp
Song
Simon Kaye
Sound
Beverley Keogh
Casting Associate
Alan Killick
Assistant Editor
Dave King
Researcher
Jack King
Production Accountant
John King
Other
Rosalie King
Accounting Assistant
Bruce Kitzmeyer
Sound Editor
Joseph John Kontra
Assistant Director
Fritz Kreisler
Song
William Kruzykowski
Apprentice
Richard Lamotte
Costume Supervisor
Bob Lawrance
Makeup
Bob Lawrence
Makeup
Susan Lazarus
Sound Editor
Tommy Lee
Transportation
Toivo Lehmusvirta
Unit Manager
Martin Levenstein
Assistant Editor
Hal Levinsohn
Sound Editor
Sam Lewis
Song
Dan Lieberstein
Sound Editor
Ake Lindman
Production Consultant
Doug Lister
Transportation
William Loger
Wardrobe
Bert Long
Carpenter
David L Macleod
Associate Producer
Micki Manning
Production Assistant
Alfredo Marchetti
Grip
Mario Marchetti
Grip
Mauro Marchetti
Camera Assistant
Richard Marden
Editing
Elaine May
Screenplay
Jane Mcculley
Sound Editor
Craig Mckay
Editor
Anneli Merila
Accountant
Anneli Merila
Other
Carl Mesterton
Assistant Editor
Joan Metzger
Assistant Editor
Al Mian
Sound
Al Mian
Sound Mixer
Lillian Michelson
Researcher
Redmond Morris
Location Manager
Louis R Muir
Song
Yvette Nable
Sound Editor
Phil Naso
Hair
Peter Odabashian
Sound Editor
Antonio Parra
Special Effects
Brian Peachey
Associate Editor
Hugo Peretti
Song
H W Petrie
Music
Jeremy Pikser
Consultant
Richard Pointing
Wardrobe Supervisor
Patsy Pollock
Casting
Martina Diaz Porras
Wardrobe
Eugene Pottier
Song
Mickey Pugh
Props
Marilyn Putnam
Wardrobe
Jill Quertier
Production
James T Quinn
Assistant Director
Asad Qureshi
Production Assistant
Mark Rathaus
Sound Editor
David Ray
Sound Editor
David Reibman
Editor
Simon Relph
Executive Producer
Simon Relph
Assistant Director
Gretchen Rennell
Casting
Barry Richardson
Hair
Joshua Rifkin
Song Performer
Kuki Lopez Rodero
Assistant Director
David Rogow
Apprentice
Cindy Kaplan Rooney
Assistant Editor
Gina Roose
Sound Editor
Fred Rosenberg
Sound Editor
Robert A Rosenstone
Consultant
Thomas Roysden
Set Decorator
Shirley Russell
Costume Designer
Philip Sanderson
Assistant Editor
Jill Savitt
Assistant Editor
William S. Scharf
Assistant Editor
Maurice Schell
Sound Editor
Phillip Schopper
Color
B Thomas Seidman
Assistant Director
Michael Seirton
On-Set Dresser
Laurie Shane
Electrician
David Sharlein
Video
Rosalind Shingleton
Assistant Art Director
David J Siegel
Sound Editor
Judy Silberstein
Apprentice
Claire Simpson
Assistant Editor
Barney Snelgrove
Song
Glen Snelgrove
Song
Seymore Snelgrove
Song
Stephen Sondheim
Music
Videos
Movie Clip
Trailer
Hosted Intro
Film Details
Also Known As
NST
MPAA Rating
Genre
Romance
Biography
Drama
Historical
Political
War
Release Date
1981
Location
Sussex, England, United Kingdom; Lincolnshire, England, United Kingdom; Seville, Spain; Guadix, Spain; London, England, United Kingdom; Ivalo, Finland; Los Angeles, California, USA; Rovaniemi, Finland; New York City, New York, USA; Greater Manchester, England, United Kingdom; Kemijarvi, Finland; Madrid, Spain; Villa Canjasi, Spain; Helsinki, Finland; Washington, DC, USA; Segovia, Spain
Technical Specs
Duration
3h 20m
Award Wins
Best Cinematography
1981
Best Director
1981
Warren Beatty
Best Supporting Actress
1981
Maureen Stapleton
Award Nominations
Best Actor
1981
Warren Beatty
Best Actress
1981
Diane Keaton
Best Art Direction
1981
Richard Sylbert
Best Costume Design
1981
Shirley Russell
Best Editing
1981
Dede Allen
Best Editing
1981
Craig Mckay
Best Original Screenplay
1981
Best Picture
1981
Best Sound
1981
Best Supporting Actor
1981
Jack Nicholson
Articles
George Plimpton, 1927-2003
George Plimpton, the wry, self-effacing author whose engaging film appearances enlivened many movies over the years, died of a heart attack on September 25 in his Manhattan apartment. He was 76. George Ames Plimpton was born on March 18, 1927 in New York City. The son of a diplomat, he was well connected to high society. A scholarly man of the letters, hip, urbane bohemians knew him for decades as the unpaid editor to the much respected literary quarterly, The Paris Review, which introduced emerging authors such as Gore Vidal and Jack Kerouac. In 1963, the gaunt, unassuming Plimpton documented his time training with the Detroit Lions, and turned the antics into a shrewd, witty piece of sports fulfillment, Paper Lion. The film was adapted for the big screen by Alex March in 1968 with Alan Alda playing the role of Plimpton. That same year, he made his film debut as a reporter in Gordon Douglas' police thriller The Detective (1968) starring Frank Sinatra and followed that up with an amusing cameo as a gunman shot my John Wayne in Howard Hawks' Rio Lobo (1970). A few more cameos came up over the years, but it wasn't until the '90s that he proved he himself a capable performer and found regular film work: an appropriate role as a talk show moderator in Jodie Foster's Little Man Tate's (1991), the president's lawyer in Oliver Stone's Nixon (1995); a psychologist in Gus Van Zandt's Good Will Hunting (1997); a clubgoer in Whit Stillman's discursive drama The Last Day's of Disco (1998); and a very comical doctor in Jean- Marie Poire's Just Visiting</I&! gt; (2001). His acceptance as a pop culture icon came to a full head when he appeared in an episode of The Simpsons playing a professor who runs a fixed spelling bee! He is survived by his wife Sara Whitehead Dudley and four children. Michael T. Toole
George Plimpton, 1927-2003
George Plimpton, the wry, self-effacing author whose engaging film appearances enlivened many movies over the years, died of a heart attack on September 25 in his Manhattan apartment. He was 76. George Ames Plimpton was born on March 18, 1927 in New York City. The son of a diplomat, he was well connected to high society. A scholarly man of the letters, hip, urbane bohemians knew him for decades as the unpaid editor to the much respected literary quarterly, The Paris Review, which introduced emerging authors such as Gore Vidal and Jack Kerouac. In 1963, the gaunt, unassuming Plimpton documented his time training with the Detroit Lions, and turned the antics into a shrewd, witty piece of sports fulfillment, Paper Lion. The film was adapted for the big screen by Alex March in 1968 with Alan Alda playing the role of Plimpton. That same year, he made his film debut as a reporter in Gordon Douglas' police thriller The Detective (1968) starring Frank Sinatra and followed that up with an amusing cameo as a gunman shot my John Wayne in Howard Hawks' Rio Lobo (1970). A few more cameos came up over the years, but it wasn't until the '90s that he proved he himself a capable performer and found regular film work: an appropriate role as a talk show moderator in Jodie Foster's Little Man Tate's (1991), the president's lawyer in Oliver Stone's Nixon (1995); a psychologist in Gus Van Zandt's Good Will Hunting (1997); a clubgoer in Whit Stillman's discursive drama The Last Day's of Disco (1998); and a very comical doctor in Jean- Marie Poire's Just Visiting</I&! gt; (2001). His acceptance as a pop culture icon came to a full head when he appeared in an episode of The Simpsons playing a professor who runs a fixed spelling bee! He is survived by his wife Sara Whitehead Dudley and four children. Michael T. Toole
Reds
In the figure of John Reed (1887-1920), Beatty found a compelling paradox. Born to privilege and educated at Harvard, the experiences of his journalism career led him to leftist thought. Reporting from Russia as the Bolsheviks rose to power, he authored his best-known work Ten Days That Shook the World in 1919. The year after its publication, Reed, then in the employ of the Soviet propaganda ministry, took ill and died, becoming the only American laid to rest in the Kremlin. In a 1976 collaboration with British playwright Trevor Griffiths, Beatty fashioned a script that juxtaposed Reed's notorious public life with his ongoing affair with Louise Bryant, the Oregon housewife and amateur journalist who left her world behind to travel in Reed's circle of Greenwich Village intellectuals.
The screenplay would subsequently undergo tweaking by Elaine May and Robert Towne, and Beatty assembled a distinguished cast and crew, including his off-screen leading lady of the moment, Diane Keaton, to play Bryant to his Reed. The film's opening sequence establishes Reed's thirst to be on the cutting edge of history, depicting his reckless pursuit of frontline action during the Mexican Revolution. The following year finds Reed at home in his native Portland, flirting with Bryant as she tries to wrest an interview from him. His charisma leads her to follow him east, where she uncomfortably tries to hold her own with his formidable cronies such as Emma Goldman (Maureen Stapleton), Max Eastman (Edward Herrmann) and Eugene O'Neill (Jack Nicholson).
To salvage the relationship, the couple set up housekeeping in Provincetown. It doesn't take long for the restless Reed to chafe under those circumstances, however, and he heads for Chicago, against Bryant's wishes, to cover the 1916 Democratic Convention. In his absence, she falls into an affair with O'Neill; the returning Reed owns up to his own infidelities once he learns of the truth. Bryant takes flight to Europe to work as a war correspondent; Reed, after a flare-up of the kidney disorder that eventually killed him, opts to take the same path. Reluctantly reunited as professionals, the two find their passion rekindled as they are swept up in the fall of Russia's czarist regime.
All these events merely take Reds up to the intermission. The second act follows Reed's short life in the wake of Ten Days' publication, and the growing disillusionment he suffered with both the American socialist movement and the bureaucracy that the Bolsheviks imposed on Moscow that he experienced firsthand when he accepted his political appointment.
In Reds, Beatty used an intriguing device to effectively lend his narrative a sense of time and place. Interspersed throughout the film is interview footage, shot against a simple black background, featuring the recollections of over two dozen of Reed and Bryant's contemporaries. Beatty opted against the use of superimposed graphics to identify his "witnesses"-- including Henry Miller, Adela Rogers St. John, Rebecca West, George Jessel, Will Durant and George Seldes-- in order to avoid giving the film an overly documentary feel.
The shoot for Reds spanned a grueling 240 days from August 1979 to July 1980. Beatty's request to the Soviet government to film in Leningrad was rejected, so he turned to Helsinki for its architectural similarities. The film would ultimately be primarily shot in England, with more location work in New York, Washington, and the Seville region in Spain, which was utilized to double for Baku in Russia. (In a famous incident, director Beatty sought to explain to his Spanish extras their motivation by playing out Reed's beliefs. They responded by holding out for a $20-a-day pay hike.)
Between Beatty's creative demands on his cast and crew, and the front office pressure he was feeling as the cost overruns continued to mount, tensions ran high on the set. The strains would ultimately take a toll on Beatty's relationship with Keaton. In Jonathan Moor's Diane Keaton: The Story of the Real Annie Hall mention was made of a photo journal from the set kept by the novelist Jerzy Kosinski, whom Beatty had very effectively cast as the martinet functionary Zinoviev. "[I]n many, many of these photographs a very angry Keaton is captured arguing with a scowling Beatty in front of the camera," Moor observed.
Whether the blame rests with prevalent political sentiment or an ill-conceived and executed marketing campaign, Reds struggled to find a popular audience. It was a tide that the film's considerable Oscar buzz-- 12 nominations overall, with three prizes going to Stapleton, Beatty's direction, and Vittorio Storaro's cinematography-- did little to stem. It's unfortunate, as the film plays far less like an endorsement of communist thought than as an indictment of Reed's shortcomings. At its core is a story of a man willing to make the ultimate sacrifice for principle, told in a fashion that transcends its political and historical context.
Producer: Warren Beatty, David L. MacLeod, Simon Relph, Dede Allen
Director: Warren Beatty
Screenplay: Warren Beatty, Trevor Griffiths, John Reed (book)
Cinematography: Vittorio Storaro
Film Editing: Dede Allen, Craig McKay
Art Direction: Simon Holland
Music: Stephen Sondheim, Dave Grusin
Cast: Warren Beatty (John Reed), Diane Keaton (Louise Bryant), Edward Herrmann (Max Eastman), Jerzy Kosinski (Grigory Zinoviev), Jack Nicholson (Eugene O'Neill), Paul Sorvino (Louis Fraina), Maureen Stapleton (Emma Goldman), Nicolas Coster (Paul Trullinger), M. Emmet Walsh (Speaker at Liberal Club), Bessie Love (Mrs. Partlow), Ian Wolfe (Mr. Partlow), George Plimpton (Horace Whigham), Dolph Sweet (Big Bill Haywood).
C-194m. Letterboxed. Closed captioning.
by Jay S. Steinberg
Reds
Timing, as they say, is everything. In 1981, with the Reagan Era dawning, the American movie-going public might have been by and large disinclined to embrace an epic-length historical romance centered on two prominent radical socialists of the 1910s. The timing ultimately proved less than precipitous for Warren Beatty, who had nurtured the concept since the early 1970s, and whose belief in the project was sufficient to get the green light from the powers that be at Paramount. Ultimately, Reds (1981) would struggle to recoup its staggering production costs (an estimated $45 million) in theaters. The critical praise garnered by the film was considerable, however, and it stands as a work of considerable sweep and scope with a realistic and, at times, painfully honest love story at its core.
In the figure of John Reed (1887-1920), Beatty found a compelling paradox. Born to privilege and educated at Harvard, the experiences of his journalism career led him to leftist thought. Reporting from Russia as the Bolsheviks rose to power, he authored his best-known work Ten Days That Shook the World in 1919. The year after its publication, Reed, then in the employ of the Soviet propaganda ministry, took ill and died, becoming the only American laid to rest in the Kremlin. In a 1976 collaboration with British playwright Trevor Griffiths, Beatty fashioned a script that juxtaposed Reed's notorious public life with his ongoing affair with Louise Bryant, the Oregon housewife and amateur journalist who left her world behind to travel in Reed's circle of Greenwich Village intellectuals.
The screenplay would subsequently undergo tweaking by Elaine May and Robert Towne, and Beatty assembled a distinguished cast and crew, including his off-screen leading lady of the moment, Diane Keaton, to play Bryant to his Reed. The film's opening sequence establishes Reed's thirst to be on the cutting edge of history, depicting his reckless pursuit of frontline action during the Mexican Revolution. The following year finds Reed at home in his native Portland, flirting with Bryant as she tries to wrest an interview from him. His charisma leads her to follow him east, where she uncomfortably tries to hold her own with his formidable cronies such as Emma Goldman (Maureen Stapleton), Max Eastman (Edward Herrmann) and Eugene O'Neill (Jack Nicholson).
To salvage the relationship, the couple set up housekeeping in Provincetown. It doesn't take long for the restless Reed to chafe under those circumstances, however, and he heads for Chicago, against Bryant's wishes, to cover the 1916 Democratic Convention. In his absence, she falls into an affair with O'Neill; the returning Reed owns up to his own infidelities once he learns of the truth. Bryant takes flight to Europe to work as a war correspondent; Reed, after a flare-up of the kidney disorder that eventually killed him, opts to take the same path. Reluctantly reunited as professionals, the two find their passion rekindled as they are swept up in the fall of Russia's czarist regime.
All these events merely take Reds up to the intermission. The second act follows Reed's short life in the wake of Ten Days' publication, and the growing disillusionment he suffered with both the American socialist movement and the bureaucracy that the Bolsheviks imposed on Moscow that he experienced firsthand when he accepted his political appointment.
In Reds, Beatty used an intriguing device to effectively lend his narrative a sense of time and place. Interspersed throughout the film is interview footage, shot against a simple black background, featuring the recollections of over two dozen of Reed and Bryant's contemporaries. Beatty opted against the use of superimposed graphics to identify his "witnesses"-- including Henry Miller, Adela Rogers St. John, Rebecca West, George Jessel, Will Durant and George Seldes-- in order to avoid giving the film an overly documentary feel.
The shoot for Reds spanned a grueling 240 days from August 1979 to July 1980. Beatty's request to the Soviet government to film in Leningrad was rejected, so he turned to Helsinki for its architectural similarities. The film would ultimately be primarily shot in England, with more location work in New York, Washington, and the Seville region in Spain, which was utilized to double for Baku in Russia. (In a famous incident, director Beatty sought to explain to his Spanish extras their motivation by playing out Reed's beliefs. They responded by holding out for a $20-a-day pay hike.)
Between Beatty's creative demands on his cast and crew, and the front office pressure he was feeling as the cost overruns continued to mount, tensions ran high on the set. The strains would ultimately take a toll on Beatty's relationship with Keaton. In Jonathan Moor's Diane Keaton: The Story of the Real Annie Hall mention was made of a photo journal from the set kept by the novelist Jerzy Kosinski, whom Beatty had very effectively cast as the martinet functionary Zinoviev. "[I]n many, many of these photographs a very angry Keaton is captured arguing with a scowling Beatty in front of the camera," Moor observed.
Whether the blame rests with prevalent political sentiment or an ill-conceived and executed marketing campaign, Reds struggled to find a popular audience. It was a tide that the film's considerable Oscar buzz-- 12 nominations overall, with three prizes going to Stapleton, Beatty's direction, and Vittorio Storaro's cinematography-- did little to stem. It's unfortunate, as the film plays far less like an endorsement of communist thought than as an indictment of Reed's shortcomings. At its core is a story of a man willing to make the ultimate sacrifice for principle, told in a fashion that transcends its political and historical context.
Producer: Warren Beatty, David L. MacLeod, Simon Relph, Dede Allen
Director: Warren Beatty
Screenplay: Warren Beatty, Trevor Griffiths, John Reed (book)
Cinematography: Vittorio Storaro
Film Editing: Dede Allen, Craig McKay
Art Direction: Simon Holland
Music: Stephen Sondheim, Dave Grusin
Cast: Warren Beatty (John Reed), Diane Keaton (Louise Bryant), Edward Herrmann (Max Eastman), Jerzy Kosinski (Grigory Zinoviev), Jack Nicholson (Eugene O'Neill), Paul Sorvino (Louis Fraina), Maureen Stapleton (Emma Goldman), Nicolas Coster (Paul Trullinger), M. Emmet Walsh (Speaker at Liberal Club), Bessie Love (Mrs. Partlow), Ian Wolfe (Mr. Partlow), George Plimpton (Horace Whigham), Dolph Sweet (Big Bill Haywood).
C-194m. Letterboxed. Closed captioning.
by Jay S. Steinberg
Quotes
Trivia
Miscellaneous Notes
Released in United States Winter December 4, 1981
Released in United States 2006
Shown at New York Film Festival September 29-October 15, 2006.
Released in USA on video.
Released in United States Winter December 4, 1981
Released in United States 2006 (Shown at New York Film Festival September 29-October 15, 2006.)
Released in United States December 1981
Released in United States December 1981
