Popularity: 5 (history)
| Director: | Jon Amiel |
|---|---|
| Writer: | Sarah Kernochan, Anthony Shaffer, Nicholas Meyer |
| Staring: |
| Set in the South just after the US Civil War, Laurel Sommersby is just managing to work the farm without her husband, believed killed in battle. By all accounts, Jack Sommersby was not a pleasant man, thus when he suddenly returns, Laurel has mixed emotions. It appears that Jack has changed a great deal, leading some people to believe that this is not actually Jack but an imposter. Laurel herself is unsure, but willing to take the man into her home, and perhaps later into her heart. | |
| Release Date: | Feb 05, 1993 |
|---|---|
| Director: | Jon Amiel |
| Writer: | Sarah Kernochan, Anthony Shaffer, Nicholas Meyer |
| Genres: | Drama, Romance, Mystery, Thriller |
| Keywords | ku klux klan, southern usa, husband wife relationship, war veteran, return, village life, gallows, violent husband, suspicion of murder, court case, death sentence, peasant, agriculture, racial segregation, based on true story, look-alike, impostor, hanging, post civil war, soldier's wife, reconstruction era |
| Production Companies | Warner Bros. Pictures, Le Studio Canal+, Regency Enterprises, Alcor Films |
| Box Office |
Revenue: $140,081,992
Budget: $30,000,000 |
| Updates |
Updated: Jul 30, 2025 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Jodie Foster | Laurel Sommersby |
| Richard Gere | John Robert Sommersby / Horace Townsend |
| Bill Pullman | Orin Meecham |
| James Earl Jones | Judge Barry Conrad Issacs |
| Lanny Flaherty | Buck |
| William Windom | Reverend Powell |
| Wendell Wellman | Travis |
| Brett Kelley | Little Rob |
| Clarice Taylor | Esther |
| Frankie Faison | Joseph |
| R. Lee Ermey | Dick Mead |
| Richard Hamilton | Doc Evans |
| Karen Kirschenbauer | Mrs. Evans |
| Carter McNeese | Storekeeper Wilson |
| Dean Whitworth | Tom Clemmons |
| Stephanie Weaver | Mrs. Bundy |
| Muse Watson | Drifter #1 |
| Paul Austin | KKK #1 / Folsom |
| Frank Hoyt Taylor | KKK #2 |
| Doug Sloan | Marshall #2 |
| Ray McKinnon | Lawyer Webb |
| Maury Chaykin | Lawyer Dawson |
| Richard Lineback | Timothy Fry |
| Name | Job |
|---|---|
| Jon Amiel | Director |
| Sarah Kernochan | Screenplay |
| Dana Campbell | Costumer |
| Anthony Shaffer | Author |
| Danny Elfman | Original Music Composer |
| Marilyn Vance | Costume Design |
| Josh McLaglen | First Assistant Director |
| Bob Minor | Stunts |
| Steve Saklad | Assistant Art Director |
| Peter Robb-King | Key Makeup Artist |
| Gregory J. Barnett | Stunts |
| Cydney Bernard | Production Manager |
| Eva Z. Cabrera | Script Supervisor |
| Billy Hopkins | Casting |
| Douglas A. Raine | Second Assistant Director |
| Ted Morris | First Assistant Camera |
| Carol Dantuono | Post Production Supervisor |
| Dwight Joseph Lavers | Dolly Grip |
| Paul Beahm | Stunt Coordinator |
| Merritt Yohnka | Stunts |
| Patricia A. Galvin | Assistant Editor |
| Cha Blevins | Costumer |
| Michael Seirton | Set Decoration |
| Peter Boyle | Editor |
| P. Michael Johnston | Art Direction |
| Anastas N. Michos | Steadicam Operator, Camera Operator |
| Chris Newman | Sound Mixer |
| Elaine Short | Key Hair Stylist |
| Greg Hull | Special Effects Coordinator |
| Jill Stokesberry | Stunts |
| Jonathan Lucas | Assistant Editor |
| Xochi Blymyer | Second Second Assistant Director |
| Mitchell Ray Kenney | Costumer |
| Kathleen Walker | Assistant Art Director |
| Paul Sonski | Assistant Art Director |
| Ron Downing | Property Master |
| Chris Furia | Post Production Accountant |
| George M. Chappell | Electrician |
| Michael Alexonis | Grip |
| Simon Coke | Sound Editor |
| Dave Kulczycki | Sound Editor |
| Karen G. Wilson | Sound Editor |
| Linda Symcox | Assistant Sound Editor |
| Bob Badami | Music Editor |
| Jerry Jackson | Transportation Coordinator |
| Michael Minkler | Sound Re-Recording Mixer |
| Dan O'Connell | Foley Artist |
| Nerses Gezalyan | Foley Recordist |
| Donah Bassett | Negative Cutter |
| Bruno Rubeo | Production Design |
| Lisa Lovaas | Costume Supervisor |
| Dennis Maitland II | Boom Operator |
| C. Alan Rawlins Sr. | Key Grip |
| John Clifford | Still Photographer |
| Carole A. Kenneally | Assistant Editor |
| Scott Elias | Location Manager |
| Barry Kellogg | Costumer |
| Dennis Bradford | Assistant Art Director |
| Paul Arthur Hartman | Leadman |
| Jack English | Chief Lighting Technician |
| Scott Graves | Electrician |
| Jay Wilkinson | Supervising Sound Editor |
| Teri E. Dorman | Sound Editor |
| John A. Larsen | Sound Editor |
| Jerelyn J. Harding | ADR Editor |
| Blake R. Cornett | Assistant Sound Editor |
| Doug Sloan | Animal Wrangler |
| Stanley Brossette | Unit Publicist |
| Chris Carpenter | Sound Re-Recording Mixer |
| Hilda Hodges | Foley Artist |
| Charleen Richards-Steeves | ADR Mixer |
| Marco Rubeo | Set Designer |
| Nicole Furia | Production Accountant |
| James Babineaux | Assistant Chief Lighting Technician |
| J. Wayne Parker | Best Boy Grip |
| Lauren Palmer | Supervising Sound Editor |
| Rodger Pardee | Sound Editor |
| Jessica Gallavan | ADR Editor |
| Ellen Segal | Music Editor |
| Richard Blankenship | Construction Coordinator |
| Julie Adams | Dialect Coach |
| Bob Beemer | Sound Re-Recording Mixer |
| James Ashwill | Foley Mixer |
| Shawn Murphy | Scoring Mixer |
| Scott A. Hecker | Sound Editor |
| Nicholas Meyer | Author |
| Philippe Rousselot | Director of Photography |
| Suzanne Smith Crowley | Casting |
| Mary McLaglen | Unit Production Manager |
| Name | Title |
|---|---|
| Maggie Wilde | Executive Producer |
| Steven Reuther | Producer |
| Richard Gere | Executive Producer |
| Arnon Milchan | Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 26 | 37 | 15 |
| 2024 | 5 | 28 | 45 | 17 |
| 2024 | 6 | 23 | 34 | 14 |
| 2024 | 7 | 23 | 36 | 11 |
| 2024 | 8 | 25 | 45 | 14 |
| 2024 | 9 | 16 | 22 | 11 |
| 2024 | 10 | 16 | 26 | 11 |
| 2024 | 11 | 19 | 41 | 10 |
| 2024 | 12 | 16 | 28 | 9 |
| 2025 | 1 | 20 | 36 | 12 |
| 2025 | 2 | 13 | 22 | 3 |
| 2025 | 3 | 6 | 22 | 1 |
| 2025 | 4 | 1 | 3 | 1 |
| 2025 | 5 | 2 | 3 | 1 |
| 2025 | 6 | 2 | 3 | 1 |
| 2025 | 7 | 2 | 3 | 1 |
| 2025 | 8 | 3 | 7 | 1 |
| 2025 | 9 | 4 | 7 | 2 |
| 2025 | 10 | 3 | 5 | 2 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 9 | 422 | 689 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 6 | 638 | 663 |
You and this child are in danger of spending eternity in everlasting damnation! Directed by Jon Amiel, Sommersby is adapted from the historical account of 16th Century French peasant Martin Guerre. It was previously filmed as The Return of Martin Guerre in 1982. It stars Richard Gere, Jodie Fos ... ter and Bill Pullman. Music is by Danny Elfman and cinematography by Philippe Rousselot. In simple terms the film is about a man (Jack Sommersby) who went off to war and was presumed dead by his wife (Laurel) and the village folk of the village where he lived. Some 9 years later he returns a changed man, back in the marital bed and a hero to the village. But then questions start to crop up and it becomes a possibility that this man may not after all be who he claims to be. Sounds bizarre for sure, yet it's a true story, and a fascinating one at that. For this American version we get top line production values across the board, with the film propelled with grace and skill by Gere and Foster in the lead roles of Jack and Laurel Sommersby. Director Amiel rightly uses the slow burn approach, a consideration to the art of story telling. This draws the viewer firmly into the post Civil War period and lets us get to know the principal players and their surroundings. The core narrative thrust is a moving romance, one consistently under pressure of a mystery to be proved or disproved. But there's also economic issues to hand, very much so, and the vile stench of racism still hangs in the air. There's a lot going on in Sommersby and it never sags because of it. Also refreshing that in spite of some critical grumblings in some quarters, the ending is potent and not very Hollywood at all. It's not flawless and although it's based on a true story, some suspension of disbelief is needed as regards physical appearance of Jack and his means and motives. Yet this is a lovely film, simple in story telling structure, beautifully photographed and performed, it very much feels and plays like a classic era period piece. 8/10