 
  Popularity: 4 (history)
| Director: | Terence Davies | 
|---|---|
| Writer: | Terence Davies | 
| Staring: | 
| Bud is a lonely and quiet boy whose moments of solace occur when he sits in rapture at the local cinema, watching towering and iconic figures on the movie screen. The movies give Bud the strength to get through another day as he deals with his oppressive school environment and his burgeoning homosexuality. | |
| Release Date: | May 22, 1992 | 
|---|---|
| Director: | Terence Davies | 
| Writer: | Terence Davies | 
| Genres: | Drama | 
| Keywords | nostalgia, liverpool, england, loneliness, family relationships, lgbt, semi autobiographical, 1950s, gay theme, lgbt child | 
| Production Companies | Channel Four Films, BFI, Film Four International | 
| Box Office | Revenue: $0 Budget: $0 | 
| Updates | Updated: Feb 02, 2025 Entered: Apr 13, 2024 | 
| Name | Character | 
|---|---|
| Leigh McCormack | Bud | 
| Marjorie Yates | Mother | 
| Anthony Watson | Kevin | 
| Nicholas Lamont | John | 
| Ayse Owens | Helen | 
| Tina Malone | Edna | 
| Jimmy Wilde | Curly | 
| Robin Polley | Mr Nicholls | 
| Peter Ivatts | Mr Bushell | 
| Joy Blakeman | Frances | 
| Denise Thomas | Jean | 
| Patricia Morison | Amy | 
| Gavin Mawdsley | Billy | 
| Kirk McLaughlin | Labourer/Christ | 
| Mark Heath | Black Man | 
| Victoria Davies | Nun | 
| Brenda Peters | Nurse | 
| Karl Skeggs | Albie | 
| Lee Blennerhassett | 1st Bully | 
| Peter Hollier | 2nd Bully | 
| Jason Jevons | 3rd Bully | 
| Name | Job | 
|---|---|
| Marianne Elliott | Casting Assistant | 
| John Battsek | Publicist | 
| William Diver | Editor | 
| Chris Harvey | Production Manager | 
| Lesley Stewart | Production Coordinator | 
| Kate Mellor | Production Secretary | 
| Andrew MacDonald Brown | Location Manager | 
| Jeff Bowen | Location Manager | 
| Sheryl Leonardo | Production Accountant | 
| Susan Nicholson | Production Accountant | 
| Doreen Jones | Casting Director | 
| Gus Maclean | First Assistant Director | 
| David Gilchrist | Third Assistant Director | 
| Ben Johnson | Runner Art Department | 
| James Norton | Other | 
| Maxine Howard | Production Assistant | 
| Jim Atkins | Transportation Coordinator | 
| Harriet Cox | Camera Operator | 
| Chris Plevin | Focus Puller, Additional Photography | 
| Jeremy Kelly | Additional Photography, Clapper Loader | 
| Carol Thompson | Continuity | 
| Gary Romaine | Grip | 
| Tristam Cones | Camera Trainee | 
| David Harrison | Rigging Supervisor | 
| Paul Collard | Other | 
| Clive Neakes | Other | 
| Terry Edland | Gaffer | 
| Kevin Edland | Electrician | 
| Rick Butland | Electrician | 
| Dave Tyler | Electrician | 
| Dennis O'Connell | Electrician | 
| Kave Quinn | Art Direction | 
| Tracey Gallacher | Assistant Art Director | 
| Karen Wakefield | Property Buyer | 
| Gordon Fitzgerald | Property Master | 
| Pat Harkins | Standby Property Master | 
| Piero Jamieson | Standby Property Master | 
| Geoff Stainthorp | Standby Carpenter | 
| Ben Pulsford | Other | 
| Catherine Goodley | Scenic Artist | 
| John McMillan | Construction Manager | 
| Robin Thistlethwaite | Construction Manager | 
| Mariana Russell | Runner Art Department | 
| Stewart Cunningham | Dressing Prop | 
| Stuart Wood | Carpenter | 
| Bill Meal | Painter | 
| Dave Watson | Vehicles Wrangler | 
| Terry Thompson | Additional Construction | 
| Alan Hausmann | Additional Construction | 
| Alan Weeks | Additional Construction | 
| Ronnie Barlow | Additional Construction | 
| Albert Grassi | Additional Construction | 
| Peter Cheesman | Additional Construction | 
| Simon Clarkson | Additional Construction | 
| Charlie McMillan | Additional Construction | 
| Peter Seater | Additional Construction | 
| Jim Thompson | Additional Construction | 
| Hugh Doherty | Additional Construction | 
| Kevin Rowe | Other | 
| Jason Kent | Other | 
| David Lewis | Other | 
| Patrick Wheatley | Wardrobe Supervisor | 
| Marion Weise | Wardrobe Assistant | 
| Margaret Wicks | Thanks | 
| Aad Wirtz | Sound Mixer | 
| Adrian Rhodes | Sound Mixer | 
| Alex Mackie | Sound Editor | 
| Moya Burns | Sound Recordist | 
| June Prinz | Boom Operator | 
| Patrick O'Neill | Dialogue Editor | 
| Catherine Creed | First Assistant Editor | 
| Christine Campbell | Assistant Editor | 
| Tom Hilton | Still Photographer | 
| Sarah Fitzgerald | Other | 
| Emma Chapman | Publicist | 
| Phil Symes | Publicist | 
| Gerard O'Beirne | Vocals | 
| Ruth Davies | Vocals | 
| David Firman | Conductor | 
| Bob Last | Music Supervisor | 
| Robert Lockhart | Music Director | 
| Monica Howe | Costume Designer | 
| Aileen Seaton | Makeup & Hair | 
| Heather Jones | Makeup & Hair | 
| Christopher Hobbs | Production Design | 
| Michael Coulter | Director of Photography | 
| Angela Topping | Executive In Charge Of Production | 
| Terence Davies | Writer, Director | 
| Tommy Gormley | Second Assistant Director | 
| Dan Zeff | Production Assistant | 
| Isobel Buchanan | Vocals | 
| Jack Stew | Foley Artist | 
| Name | Title | 
|---|---|
| Olivia Stewart | Producer | 
| Maureen McCue | Associate Producer | 
| Ben Gibson | Executive Producer | 
| Colin MacCabe | Executive Producer | 
| Organization | Category | Person | |
|---|---|---|---|
| Cannes Film Festival | Best Actress | Marianne Faithfull | Won | 
| Venice Film Festival | Best Actress | N/A | Won | 
Popularity History
| Year | Month | Avg | Max | Min | 
|---|---|---|---|---|
| 2024 | 4 | 7 | 10 | 5 | 
| 2024 | 5 | 9 | 12 | 5 | 
| 2024 | 6 | 9 | 20 | 4 | 
| 2024 | 7 | 10 | 20 | 5 | 
| 2024 | 8 | 7 | 12 | 5 | 
| 2024 | 9 | 7 | 14 | 5 | 
| 2024 | 10 | 8 | 19 | 4 | 
| 2024 | 11 | 7 | 22 | 4 | 
| 2024 | 12 | 5 | 7 | 4 | 
| 2025 | 1 | 6 | 7 | 4 | 
| 2025 | 2 | 5 | 7 | 3 | 
| 2025 | 3 | 4 | 7 | 1 | 
| 2025 | 4 | 1 | 3 | 1 | 
| 2025 | 5 | 2 | 3 | 1 | 
| 2025 | 6 | 1 | 1 | 1 | 
| 2025 | 7 | 0 | 0 | 0 | 
| 2025 | 8 | 0 | 1 | 0 | 
| 2025 | 9 | 3 | 4 | 1 | 
| 2025 | 10 | 3 | 4 | 3 | 
Trending Position
Okay, I get it. This movie is artistic. Plot and character development are secondary, irrelevant even perhaps. The film is about visual snapshots, emotional memories that are alternately nostalgic or slightly painful. But I think the movie tries so hard that it fails to entertain, choosing to assume ... that if you don’t like it, that is okay, because it means you don’t “get” it. For example, do we really need the camera to linger on an empty scene like a stairway for 15 to 30 seconds after someone has walked up them? What does that add to the emotional impact of the film? And how illustrative is it to watch the boy stare at nothing for several moments without giving us any indication what he is thinking or feeling? Shouldn’t we care? And is it good cinema to have the characters mumble so that we lean forward to hear what they are saying, only to blast us out of our seats with one of the many loud interludes of music? By all means, be artistic and atmospheric and nostalgic. But if you go far enough as to have a narrator occasionally slip in descriptions of what we are seeing, why not take it a step further and tell a bit of a story while you are at it? It would have been so easy to please the starry-eyed dreamers and couch reviewers as well as the more gauche like myself.