| Malcolm McDowell | ... | Mick Travis | |
| David Wood | ... | Johnny | |
| Richard Warwick | ... | Wallace | |
| Christine Noonan | ... | The Girl | |
| Rupert Webster | ... | Bobby Phillips | |
| Robert Swann | ... | Rowntree | |
| Hugh Thomas | ... | Denson | |
| Michael Cadman | ... | Fortinbras | |
| Peter Sproule | ... | Barnes | |
| Peter Jeffrey | ... | Headmaster | |
| Anthony Nicholls | ... | General Denson | |
| Arthur Lowe | ... | Mr. Kemp | |
| Mona Washbourne | ... | Matron | |
| Mary MacLeod | ... | Mrs. Kemp | |
| Geoffrey Chater | ... | Chaplain (Reverend Woods) | |
| Ben Aris | ... | John Thomas | |
| Graham Crowden | ... | History Master | |
| Charles Lloyd Pack | ... | Classics Master | |
| Guy Ross | ... | Stephans | |
| Robin Askwith | ... | Keating | |
| Richard Everett | ... | Pussy Graves | |
| Philip Bagenal | ... | Peanuts | |
| Nicholas Page | ... | Cox | |
| Robert Yetzes | ... | Fisher | |
| David Griffin | ... | Willens | |
| Graham Sharman | ... | Van Eyssen | |
| Richard Tombleson | ... | Baird | |
| Robin Davies | ... | Machin | |
| Brian Pettifer | ... | Biles | |
| Michael Newport | ... | Brunning | |
| Charles Sturridge | ... | Martland | |
| Sean Bury | ... | Jute | |
| Martin Beaumont | ... | Hunter | |
| rest of cast listed alphabetically: | |||
| Ellis Dale | ... | Motorcycle Salesman (uncredited) | |
| John Garrie | ... | Music Master (uncredited) | |
| Tommy Godfrey | ... | School Porter (uncredited) | |
| Peter Jaques | ... | Schoolmaster (uncredited) | |
| Simon Ward | ... | Schoolboy (uncredited) | |
Directed by | |||
| Lindsay Anderson | |||
Writing credits | ||
| David Sherwin | (script "Crusaders") and | |
| John Howlett | (script "Crusaders") | |
| David Sherwin | (screenplay) | |
Produced by | |||
| Lindsay Anderson | .... | producer | |
| Roy Baird | .... | executive producer | |
| Michael Medwin | .... | producer | |
| Albert Finney | .... | producer (uncredited) | |
Original Music by | |||
| Marc Wilkinson | |||
Cinematography by | |||
| Miroslav Ondrícek | |||
Film Editing by | |||
| David Gladwell | |||
Casting by | |||
| Miriam Brickman | |||
Production Design by | |||
| Jocelyn Herbert | |||
Art Direction by | |||
| Brian Eatwell | |||
Costume Design by | |||
| Shura Cohen | |||
Makeup Department | |||
| Betty Blattner | .... | makeup artist | |
Production Management | |||
| Zelda Barron | .... | production supervisor | |
| Gavrik Losey | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Stephen Frears | .... | assistant director | |
| John Stoneman | .... | assistant director | |
| Tim Van Rellim | .... | assistant director | |
Art Department | |||
| Jack Carter | .... | construction manager | |
Sound Department | |||
| Alan Bell | .... | dubbing editor | |
| Tony Jackson | .... | boom operator | |
| Alan Jones | .... | assistant sound editor | |
| Doug E. Turner | .... | dubbing mixer | |
| Christian Wangler | .... | sound | |
Camera and Electrical Department | |||
| Brian Harris | .... | camera operator | |
| Roy Larner | .... | gaffer | |
| Chris Menges | .... | camera operator | |
| Michael Seresin | .... | assistant camera | |
Editorial Department | |||
| Michael Ellis | .... | assistant editor | |
| Ian Rakoff | .... | assistant editor | |
Music Department | |||
| Marc Wilkinson | .... | conductor | |
Transportation Department | |||
| Jim Hughes | .... | transportation | |
Other crew | |||
| Stuart Baird | .... | assistant to director | |
| Valerie Booth | .... | continuity | |
| Brian Brockwell | .... | production accountant | |
| Peter Jaques | .... | director of publicity | |
| Neville Thompson | .... | assistant to producers | |
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| Die Blechtrommel | La historia oficial | El diputado | Au revoir les enfants | The Holy Mountain |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb UK section |
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To get the most out of this film you have to be English, male and a teenager; in 1979 when I first saw it I was all three. In the years that followed I would catch it wherever I could, be it on television, in the college bar or in some local, flea-ridden rep cinema. Now, of course, I own the video. Every few months I dig it out and watch it, and more than any other film or book it reminds me what it was like to be young and rebellious and have my whole life ahead of me.
This was to England what The Wild One or Rebel Without A Cause was to America. Show it to your teenage sons; they'll remember it for the rest of their lives, and one day they might even thank you for it.
To dispel an old myth, while I'm here. Some scenes in the film are in black and white while most of the film is in color. The reason for this has nothing to do with art; they were short of money, and black and white was cheaper in those days.
Enjoy.