| Photos (see all 37 | slideshow) |
Directed by | |||
| Jon Avnet | |||
Writing credits(WGA) | ||
| Paul Brickman | (written by) and | |
| Jon Avnet | (written by) | |
Produced by | |||
| Jon Avnet | .... | producer | |
| Raffaella De Laurentiis | .... | producer | |
| Bill Haber | .... | executive producer | |
| Hester Hargett | .... | co-producer | |
| Jordan Kerner | .... | producer | |
| Lisa Lindstrom | .... | co-executive producer | |
| Marsha Oglesby | .... | co-producer | |
Original Music by | |||
| Maurice Jarre | |||
Cinematography by | |||
| Denis Lenoir | |||
Film Editing by | |||
| Sabrina Plisco | (as Sabrina Plisco-Morris) | ||
Casting by | |||
| Fritz Fleischhacker | |||
| Debi Manwiller | |||
| Richard Pagano | (as Rick Pagano) | ||
| Eva Stefankovicová | |||
| Lenka Stefankovicova | |||
| Sheila Trezise | |||
Production Design by | |||
| Benjamín Fernández | |||
Costume Design by | |||
| George L. Little | |||
Makeup Department | |||
| Giannetto De Rossi | .... | makeup department head | |
| Vincenzo Mastrantonio | .... | makeup artist | |
| Alessio Pompei | .... | hair stylist: John Avnet | |
Production Management | |||
| Hester Hargett | .... | unit production manager | |
| Milan Stanisic | .... | production supervisor | |
Art Department | |||
| Bara Barova | .... | assistant to propmaster | |
| Ron Downing | .... | supervising property master | |
| Alejandro Fernández | .... | set designer | |
| Massimo Petrolini | .... | construction manager | |
| Peter Balogh | .... | set designer (uncredited) | |
| Hrvoje Cernjak | .... | assistant set designer (uncredited) | |
Sound Department | |||
| Troy Allen | .... | sound editor | |
| Bill Bell | .... | sound editor | |
| Beau Biggart | .... | adr mixer | |
| Sean Byrne | .... | assistant sound editor | |
| Tim Chilton | .... | foley artist | |
| Bob Costanza | .... | sound effects editor | |
| Mike Dickeson | .... | sound editor | |
| Mary H. Ellis | .... | sound mixer | |
| Kevin Fisher | .... | sound editor | |
| Tommy Goodwin | .... | foley mixer | |
| Bob Goold | .... | adr editor | |
| G. Michael Graham | .... | supervising sound editor (as Michael Graham) | |
| Devon Heffley Curry | .... | adr supervisor | |
| Anton Holden | .... | sound editor | |
| Gary Macheel | .... | sound editor | |
| Adriane Marfiak | .... | sound editor | |
| Timothy Pearson | .... | foley artist | |
| Jill Schachne | .... | foley artist (as Jill Sanders) | |
| Brad Sherman | .... | sound re-recording mixer | |
| David A. Smith | .... | boom operator | |
| Mark Steele | .... | sound editor | |
| Tim Terusa | .... | sound editor | |
| Lou Thomas | .... | sound editor | |
| Randal S. Thomas | .... | sound editor (as Randy Thomas) | |
| Scott A. Tinsley | .... | sound editor (as Scott Tinsley) | |
Special Effects by | |||
| Trevor Wood | .... | special effects supervisor | |
Visual Effects by | |||
| Tom Capizzi | .... | digital artist | |
| Michael Clemens | .... | digital compositor | |
| Michael Clemens | .... | visual effects coordinator | |
| Daniel Aristoteles Collins | .... | systems/operations: Rhythm & Hues | |
| Chris Consani | .... | digital matte painter: Rhythm & Hues | |
| Shellaine Corwel | .... | digital compositor | |
| Carole Cowley | .... | visual effects producer | |
| Gus Duron | .... | visual effects editor: Rhythm & Hues | |
| Fortunato Frattasio | .... | digital compositor | |
| Walter Garcia | .... | visual effects | |
| Balázs Harmati | .... | motion control operator | |
| Douglas Harsch | .... | visual effects | |
| Jack Holland | .... | art department assistant: Rhythm & Hues | |
| Phil Holland | .... | scanning & recording operator | |
| Uel Hormann | .... | 2D visual effects supervisor | |
| Bryan Park | .... | visual effects editor: Digiscope | |
| Janet Quen | .... | digital effects compositor | |
| Ron Simonson | .... | visual effects supervisor | |
| Serkan Zelzele | .... | digital artist | |
| Hrvoje Cernjak | .... | assistant set decorator (uncredited) | |
| Brandon Craig | .... | render supervisor (uncredited) | |
| Todd Daugherty | .... | render support: Rhythm & Hues (uncredited) | |
| Christopher Dusendschon | .... | digital imaging: THDX (uncredited) | |
| Mitch Gates | .... | digital artist (uncredited) | |
| Kevin Tengan | .... | systems administrator (uncredited) | |
Stunts | |||
| Martin Csiaki | .... | stunts | |
| Monika Fiserova | .... | stunts | |
| Vladimir 'Furdo' Furdik | .... | stunts | |
| Steve Griffin | .... | stunt coordinator | |
| Peter Hric | .... | stunts | |
| Adam Kirley | .... | utility stunts | |
| Gustáv Kyselica | .... | local stunt coordinator | |
| Lubomir Misak | .... | utility stunts | |
| Dusan Prvy | .... | stunts | |
| Michael Sandala | .... | stunts | |
Casting Department | |||
| Tamás Kertész | .... | extras casting: Hungary | |
| Kelly O'Brien | .... | casting assistant | |
| Lenka Stefankovicova | .... | casting assistant | |
| Lenka Stefankovicova | .... | extras casting | |
Costume and Wardrobe Department | |||
| Carlane Passman | .... | assistant costume designer | |
| Peter Ziak | .... | wardrobe assistant | |
| Viera Zvonarova | .... | costumer | |
Editorial Department | |||
| Jacob Avnet | .... | post-production assistant | |
| Michael Hatzer | .... | color timer | |
| Uriah S. Lovelycolors | .... | assistant editor | |
| Dana B. Wilson | .... | first assistant editor: avid | |
Music Department | |||
| Michael K. Bauer | .... | associate music editor | |
| Peter Breiner | .... | conductor: source music | |
| Johnny Caruso | .... | music editor | |
| Dina Eaton | .... | music editor | |
Transportation Department | |||
| Mladen Cernjak | .... | transportation coordinator | |
| Adolf Nurschinger | .... | period vehicle coordinator (uncredited) | |
Other crew | |||
| Michael Berenbaum | .... | senior historian (as Dr. Michael Berenbaum) | |
| Bob Corff | .... | voice teacher | |
| Marek Edelman | .... | historical consultant | |
| Goranka Greif-Soro | .... | script supervisor | |
| Israel Gutman | .... | historical consultant (as Professor Israel Gutman) | |
| Zeljko Hren | .... | caterer | |
| Peter Hric | .... | horse master | |
| Tomas Kelemen | .... | assistant: Jon Avnet, Slovakia | |
| Balázs Kovács | .... | extras coordinator: Hungaria | |
| Michael Lichtenegger | .... | assistant production coordinator | |
| Marek Mackovic | .... | set production assistant | |
| Hilde Odelga | .... | production coordinator | |
| Simha Rotem | .... | historical consultant (as Simha 'Kazik' Rotem) | |
| Doug Smith | .... | electronic press kit | |
| Simcha Stein | .... | historical consultant | |
| John Whatton | .... | electronic press kit | |
Thanks | |||
| Deborah Aquila | .... | thanks | |
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| The Pianist | Schindler's List | Cross of Iron | Escape from Sobibor | A Bridge Too Far |
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WWII, and the Holocaust in particular, is a very interesting subject. There has probably never been more interest from the public towards everything that concerns this war, which started already more than 65 years ago. Every week new books, documentaries,... are published with new theories, with evaluations of some important (often Nazi) personalities, with information about the concentration camps,... Because most of the survivors have already died or will die soon, the stories of the last eye-witnesses will get lost if not registered on tape or camera. But all these stories are also a good base for movies and mini-series like this "Uprising".
"Uprising" tells the story of the Nazi oppression of the Jews in the Ghetto of Warshaw and their rebellion against it, which started in 1943. It all begins in 1939 with the growing list of prohibitions and regulations leading to the virtual imprisonment of about half-a-million Polish Jews in an old district of Warsaw. Their daily struggle against hunger and disease is made even worse when the Nazis demand for "deportations to the east". Many begin to suspect that the deportation of these groups of laborers are actually camouflaged mass murders and at the end of 1942 they start to realize that they are all doomed. They decide that, if they have to die, they better die in honor by taking up the arms against their oppressors. They start building hidden shelters and bunkers in the basements and cellars of the buildings, often with tunnels leading to other buildings and start collecting arms and ammunition for the battle which will begin on 19 April 1943...
Even though I must say that overall I liked the series, I can't say that it was always very convincing. There were a couple too many problems with it that really bothered me. One for instance is the way all the people are depicted. The heroic Jews don't have to expect any help from the arrogant and anti-semitic Polish Catholics who know exactly what is going on, but don't care. The Poles only want to help when offered enormous amounts of money and even then are very reluctant. In reality the Poles also suffered a lot under the German oppression and without their help there would probably never have been a Jewish Uprising. And no, I'm not a Pole myself, so I'm not saying this to justify my people's actions, it's just the way it was.
Another thing that I really didn't like was the use of the languages. The Germans speak English most of the time, except for when they are giving some short orders, than you'll hear them talk German. The producers and director have to make a choice, either they all speak German or English, but not a mix of the two. And about the language I also have another remark. Can someone please tell me why those purely American actors, who all know how to speak normal English, speak with that funny, but also incredibly annoying accent? Do they really believe I will not recognize Leelee Sobieski, David Schwimmer,... when they talk in a slightly different way? I'm not asking that they speak Polish, I'm sure they can't, but don't make a fool out of yourself by trying to convince people that you are talking another language, just by adding such an accent, it can never work...
Still, even though the series isn't always historically accurate, uses a range of annoying accents and is too stereotypical when it comes to the roles of the different people, not everything about it was that bad. The acting for instance is good. In my opinion this was the best role I've ever seen Leelee Sobieski play and all the other actors did a nice job too. I certainly liked Jon Voight as Major General Jurgen Stroop, but it is Cary Elwes, who played Fritz Hippler (the director of "Der Ewige Jude" or "The Eternal Jew"), who certainly deserves to be mentioned as well.
All in all this isn't a bad series. If you try to see it as a drama based on actual events, rather than to see it as a 'documentary reconstruction', than you certainly should be able to enjoy it. There are some nice action scenes, some good acting and other interesting features. You just will have to try to see past some major flaws... I give this series a score between 7/10 and 7.5/10.