Far and Away was released twenty-five years ago this summer, and for the occasion The Bits features a compilation of statistics, trivia and box-office data that places the movie’s performance in context; a collection of passages from vintage film reviews; a reference/historical listing of the film’s Panavision Super 70 presentations; and, finally, an interview segment with Ron Howard biographer Beverly Gray.
FAR AND AWAY NUMBER$
- 0 = Number of Academy Award nominations
- 0 = Number of sequels, remakes and spin-offs
- 0 = Number of weeks nation’s top-grossing movie
- 1 = Number of Golden Raspberry (“Razzie”) nominations
- 3 = Rank among top-earning movies during opening weekend
- 6 = Number of months between theatrical release and home-video release
- 21 = Rank among top-earning movies of 1992
- 163 = Number of 70mm prints
- 1,583 = Number of opening-week engagements
- $39.98 = Suggested retail price of initial home video release (LaserDisc)
- $79.98 = Suggested retail price of initial home video release (VHS and Beta)
- $8,180 = Opening-weekend per-screen average
- $10.2 million = Opening-weekend box-office gross (3-day)
- $12.9 million = Opening-weekend box-office gross (4-day holiday)
- $22.5 million = Opening-weekend box-office gross (adjusted for inflation)
- $28.9 million = Box-office rental (domestic)
- $50.2 million = Box-office rental (domestic, adjusted for inflation)
- $58.9 million = Box-office gross (domestic)
- $60.0 million = Production cost
- $78.9 million = Box-office gross (international)
- $102.3 million = Box-office gross (domestic, adjusted for inflation)
- $104.3 million = Production cost (adjusted for inflation)
- $137.1 million = Box-office gross (international, adjusted for inflation)
- $137.8 million = Box-office gross (worldwide)
- $239.4 million = Box-office gross (worldwide, adjusted for inflation)
A SAMPLING OF MOVIE REVIEWER QUOTES
“Handsomely mounted and amiably performed but leisurely and without much dramatic urgency…. Cruise’s name and Howard’s commercial rep point to a healthy but probably not boffo [box office] life.” — Todd McCarthy, Variety
“Far and Away is a monumental effort but the flimsy story and heavy-handed direction don’t mesh. Don’t be afraid to like it, but try not to feel guilty if you don’t.” — Philip Wuntch, The Dallas Morning News
“In Far and Away and last year’s turgid Backdraft, Howard has stopped trying to understand the human condition and relied on big stars, special effects and expensive sets to interest us in an arduously predictable and clichéd story. This is hack work.” — Steven Rosen, The Denver Post
“Tom Cruise, as the impoverished Irish farmer Joseph Donnelly, is so good it’s almost possible to forgive him for such dreck as Cocktail and Days of Thunder.” — Michael Mills, The Palm Beach Post
“Too often Howard lays on the picturesque poverty and “this land is mine by destiny” rhetoric with the thundering bombast of John Williams’s score. But even at its hokiest, Far and Away is never less than heartfelt. Three of Howard’s Irish ancestors took part in the Oklahoma land race. In a summer of impersonal product, this at least is a movie with dreams of more than box office.” — Peter Travers, Rolling Stone
“This is an empty movie, a beautiful, big empty movie, a fantasy, a fable, as cute as a bedbug, laff track-ready — when it could have made history.” — Catherine Dunphy, Toronto Star
“With pounding excitement and scope, Far and Away is a winner!” — Jeannie Williams, USA Today
“Far and Away is such a doddering, bloated bit of corn, and its characters and situations so obviously hackneyed, that we can’t give in to the story and allow ourselves to be swept away.” — Hal Hinson, The Washington Post
“[T]he 70mm print performs as advertised, giving Far and Away a visual intensity in unusual richness of detail. In fact, when it comes to scenes where dialogue is not a factor, like Joseph’s bare-knuckle brawls and his and Shannon’s arrival at the teeming port of Boston, Far and Away very much keeps its end of the bargain.” — Kenneth Turan, Los Angeles Times
“Far and Away is a corker of an adventure! Always entertaining and exhilarating, it’s a magic celebration of life.” — Mick LaSalle, San Francisco Chronicle
“[Despite] the boast that the film is the first to be shot with the new Panavision Super 70 equipment, cinematographer Mikael Salomon’s panoramic shots of the western Ireland Sea and western American sunsets are not enough to save it. That’s because the storyline is tedious and ridiculous, the drama sentimental and ludicrous, the humor cornball and clumsy.” — Clifford Terry, Chicago Tribune
“In previous films like Parenthood and Backdraft, Mr. Howard has created commercial hit by following a similar formula: give the audience something as comfortable and unsurprising as its own living room. This time the concept of TV-for-a-very-big-screen comes out silly.” — Caryn James, The New York Times
“Howard has long wanted to make his contribution to the many movies about the immigrant experience, but he has not found anything new to say. He has, however, found a resplendent way of saying it. The finale in Oklahoma is done on a scale the bottom-liners in Hollywood don’t often permit. It provides a fitting end to an epic journey, but it’s a pity the film moves at the pace of a covered wagon before it reaches the climactic rush.” — Desmond Ryan, The Philadelphia Inquirer
“Far and Away has the looks and length of the epic immigrant film director Ron Howard imagined. And star couple Tom Cruise and Nicole Kidman do solid acting jobs. But a too-predictable story in a wobbly structure pulls the movie back to the realm of the ordinary, leaving it finally enjoyable but unspectacular.” — L. Kent Wolgamott, Lincoln Journal Star
“It’s depressing that such a lavish and expensive production, starring an important actor like Tom Cruise, could be devoted to such a shallow story…. If the late David Lean had not died before he could shoot it, his own planned 70mm epic, Nostromo, might have been arriving in theaters about now. It would have been a reminder of the literate, thoughtful tradition of such Lean films as Doctor Zhivago and Lawrence of Arabia. Remembering them and looking at this credulous boy’s story, I am depressed. Are audiences thought not capable of seeing great pictures and listening to great dialogue at the same time? Are they so impatient they have to be thrown boxing scenes instead of character scenes? Is there any purpose to this movie other than visual spectacle?” — Roger Ebert, Chicago Sun-Times
“John Ford’s The Quiet Man meets How the West Was Won in this rousing, enjoyably cornball epic…. This is the kind of movie in which snow starts to fall at the moment when the hero and heroine are turned out into the streets to join the homeless. It’s also the kind of movie in which the hero makes fateful decisions by listening to his father’s ghost in a dream. It is shameless. It has no depth. It is also the kind of epic moviegoing experience that no one else is offering right now.” — John Hartl, The Seattle Times
“Far and Away was likely intended to be a grand and epic romance adventure about the Irish immigration. But Howard and his gang not only missed the boat, they’re light years away from the dock. What they got is Ken and Barbie Come to America, with accessories.” — Judy Gerstel, Detroit Free Press
“Far and Away is a star picture. Cruise and Kidman are impressive apart and wonderful together. They have an equally smooth touch with the movie’s humor, romance and historic credibility.” — Bob Fenster, The (Phoenix) Arizona Republic
“Most of us who grew up with TV care at least a little about Ron Howard, who played Opie on The Andy Griffith Show and later was Richie on Happy Days. And as a film director, Howard has demonstrated a natural gift for unpretentious comedy in Splash, Parenthood and much of Cocoon. But lately — in movies such as Backdraft, Willow and this new one — he seems to be striving toward something deeper. One would like to see people advance, of course, but Howard is reaching his level of incompetence much faster than he seems to realize. A few more films like Far and Away, and the Peter Principle may come to be known as the Opie Effect.” — Jay Boyar, Orlando Sentinel
THE 70MM ENGAGEMENTS
Event and prestige movies on occasion are given a deluxe release in addition to a standard release. This section of the article includes a reference/historical listing of the first-run 70mm Six-Track Dolby Stereo premium-format presentations of Far and Away in the United States and Canada. These were arguably the best theaters in which to have experienced Far and Away and the only way to have faithfully seen the movie’s large-format cinematography or heard the movie’s discrete multichannel audio mix.
Of the 200+ new movies released during 1992, Far and Away was among ten to have 70mm prints prepared for selected engagements and the only one to have been originated in 70mm (65mm). Only about ten percent of Far and Away’s initial print run was in the deluxe 70mm format, which were significantly more expensive and more time- and labor-intensive to manufacture compared with conventional 35mm prints but offered superior image and audio quality.
With a reported 163 large-format prints for North America (and more for international release), this was Universal’s biggest 70mm release in the company’s history and was among the industry’s ten largest 70mm releases.
The 70mm prints of Far and Away were intended to be projected in a 2.20:1 aspect ratio and were derived from 65mm photography, the first English-language production to do so since (portions of) Brainstorm a decade earlier.
The noise-reduction and signal-processing format for the prints was Dolby “A,” and the soundtrack was Dolby processor setting Format 42 (i.e. three discrete screen channels + one discrete surround channel + “baby boom” low-frequency enhancement).
For the release of Far and Away, Universal employed the services of Lucasfilm’s TAP (Theater Alignment Program) to evaluate and approve the theaters selected to book a 70mm print. As well, the movie was booked into as many HPS-4000 and THX-certified venues as possible.
The trailers the distributor circulated with prints of Far and Away included Housesitter and Death Becomes Her.
The listing includes those 70mm engagements that commenced May 22nd, 1992. Not listed are the sneak previews that ran May 9th and/or 16th, pre-release screenings (i.e. premieres, invitational previews, media screenings, etc.) or any of the move-over, second run and international engagements, nor does the listing include any of the movie’s standard 35mm engagements that played most theaters.
So, which North American theaters screened the Panavision Super 70 version of Far and Away?
- Birmingham — Cobb’s Galleria 10
- Calgary — Cineplex Odeon’s North Hill
- Edmonton — Cineplex Odeon’s Eaton Centre 9
- Edmonton — Cineplex Odeon’s West Mall 8
- Phoenix — Harkins’ Cine Capri
- Tucson — Syufy’s Century Gateway 12 [THX]
- Tucson — Syufy’s Century Park 12 [THX]
- Little Rock — UA’s Cinema City 7 [THX]
- Burnaby — Cineplex Odeon’s Station Square 5
- Vancouver — Cineplex Odeon’s Granville 7 [THX]
- Vancouver — Cineplex Odeon’s Oakridge Centre Triplex [THX]
- Anaheim — SoCal’s Cinemapolis 10
- Berkeley — Pacific’s California Triplex
- Burbank — AMC’s Burbank 14
- Corte Madera — Pacific’s Cinema
- Huntington Beach — Edwards’ Charter Centre 5
- La Mesa — Pacific’s Grossmont Mall Triplex
- Lakewood — Pacific’s Lakewood Center 4
- Los Angeles (Century City) — Cineplex Odeon’s Century Plaza 4 [THX]
- Los Angeles (Hollywood) — Pacific’s Cinerama Dome
- Los Angeles (North Hollywood) — Syufy’s Century 7 [THX]
- Los Angeles (Westwood Village) — Mann’s Bruin [THX]
- Mission Viejo — Edwards’ Crown Valley 5
- Mountain View — Syufy’s Century 10
- Newport Beach — Edwards’ Newport Triplex
- Newark — Syufy’s Cinedome West 7
- Oakland — Renaissance Rialto’s Grand Lake 4
- Orange — Syufy’s Cinedome 11
- Pasadena — Pacific’s Hastings 5
- Pleasant Hill — Syufy’s Century 5
- Redwood City — Syufy’s Century Park 12
- Sacramento — Syufy’s Century 6 (#1)
- Sacramento — Syufy’s Century 6 (#2)
- Sacramento — Syufy’s Cinedome 8
- San Francisco — AMC’s Kabuki 8 [THX]
- San Jose — Syufy’s Century 22 Triplex (#1)
- San Jose — Syufy’s Century 22 Triplex (#2)
- San Rafael — Pacific’s Regency 6
- San Ramon — Festival’s Crow Canyon 6
- Santa Barbara — Metropolitan’s Arlington
- Santa Barbara — Metropolitan’s Granada (May 16th sneak preview only)
- Universal City — Cineplex Odeon’s Universal City 18 [THX]
- Denver — Mann’s Century 21 [THX]
- Englewood — UA’s Greenwood Plaza 12
- Berlin — National Amusements’ Showcase 12
- East Hartford — National Amusements’ Showcase 12
- Orange — National Amusements’ Showcase 8
DISTRICT OF COLUMBIA
- Washington — Cineplex Odeon’s Uptown
- Altamonte Springs — General Cinema’s Altamonte 8
- Fort Lauderdale — AMC’s Coral Ridge 10 [THX]
- Kendall — Wometco’s Kendall 9
- Miami — General Cinema’s Miracle Center 10
- Orlando — AMC’s Fashion Village 8
- Plantation — General Cinema’s Fountains 8 [THX]
- St. Petersburg — AMC’s Crossroads 8
- Tampa — Cineplex Odeon’s Hillsboro 8
- Tampa — Cobb’s Northdale Court 6
- Atlanta — General Cinema’s Sandy Springs at Parkside 8 [THX]
- Atlanta — Hoyts’ Tara 4
- Duluth — UA’s The Movies at Gwinnett 12
- Kennesaw — Storey’s Town 12
- Tucker — AMC’s Northlake Festival 8
- Honolulu — Consolidated’s Cinerama [HPS-4000]
- Boise — Cineplex Odeon’s 8th St. Market Place Twin
- Calumet City — Cineplex Odeon’s River Oaks 12
- Chicago — Cineplex Odeon’s 900 N. Michigan Twin (#1)
- Chicago — Cineplex Odeon’s 900 N. Michigan Twin (#2)
- Fairview Heights — Wehrenberg’s St. Clair 10
- Niles — Cineplex Odeon’s Golf Mill Triplex
- Norridge — Loews’ Norridge 10
- Northbrook — Cineplex Odeon’s Edens Twin
- Oak Brook — Cineplex Odeon’s Oakbrook 7
- Schaumburg — Cineplex Odeon’s One Schaumburg Place 9 (May 9th sneak preview only)
- Schaumburg — Cineplex Odeon’s Woodfield 9
- Des Moines — Carmike’s River Hills
- Overland Park — AMC’s Oak Park Mall 6
- Wichita — Dickinson’s Northrock 6
- Louisville — National Amusements’ Showcase 13
- Metairie — General Cinema’s Lakeside 5
- Winnipeg — Cineplex Odeon’s Garrick 4
- Baltimore — Durkee’s Senator
- Boston — Loews’ Charles Triplex
- Brookline — National Amusements’ Showcase Circle 7
- West Springfield — National Amusements’ Showcase 14
- Worcester — National Amusements’ Showcase 4
- Bloomfield Hills — National Amusements’ Showcase 12
- Cascade — National Amusements’ Showcase 9
- Sterling Heights — National Amusements’ Showcase 15
- Ypsilanti — National Amusements’ Showcase 14
- Edina — Cineplex Odeon’s Edina 4 [THX]
- Roseville — General Cinema’s Har-Mar 11 [THX]
- Chesterfield — Wehrenberg’s Clarkson 6 [THX]
- Kansas City — AMC’s Metro North Plaza 6
- Kansas City — AMC’s Ward Parkway 12
- Richmond Heights — AMC’s Esquire 7
- Shrewsbury — Wehrenberg’s Kenrick 8 [THX]
- Springfield — Dickinson’s Dickinson 8
- Las Vegas — Syufy’s Cinedome 6
- Las Vegas — Syufy’s Parkway Triplex
- Paramus — Cineplex Odeon’s Route Four 10
- Ridgefield Park — Loews’ Ridgefield Park 10
- Secaucus — Loews’ Meadow Plaza 8
- Wayne — Loews’ Wayne 8
- Albuquerque — General Cinema’s Park Square Triplex
- Cheektowaga — General Cinema’s Thruway Mall 8 [THX]
- Commack — National Amusements’ Commack 15
- Guilderland — Hoyts’ Crossgates Mall 12
- Hawthorne — National Amusements’ All Westchester Saw Mill 10 [THX]
- Middletown — UA’s The Movies at Middletown 7
- New York (Manhattan) — Cineplex Odeon’s Chelsea 9 [THX]
- New York (Manhattan) — Cineplex Odeon’s Coronet
- New York (Manhattan) — Cineplex Odeon’s Ziegfeld
- New York (Queens) — Cineplex Odeon’s Fresh Meadows 7
- Pittsford — Loews’ Pittsford Triplex
- Rockville Centre — Cineplex Odeon’s Fantasy 5
- Syracuse — Hoyts’ Carousel Center 12
- Cincinnati — Loews’ Kenwood Twin
- Cleveland Heights — NTC’s Severance 8 [THX]
- Columbus — Loews’ Continent 9
- North Olmsted — NTC’s Great Northern 7 [THX]
- Toledo — National Amusements’ Showcase 5
- Oklahoma City — General Cinema’s Penn Square Mall 8 [THX]
- Oklahoma City — General Cinema’s Quail Springs Mall 6
- Hamilton — Cineplex Odeon’s Centre Mall 8
- London — Cineplex Odeon’s Galleria 6
- North York — Cineplex Odeon’s Fairview 6 [THX]
- Ottawa — Cineplex Odeon’s Somerset
- Toronto — Cineplex Odeon’s York Twin
- Portland — Act III’s Eastgate Triplex
- Portland — Act III’s Lloyd 10 [THX]
- Tigard — Act III’s Tigard 11 [THX]
- Philadelphia — UA’s Riverview Plaza 11
- Pittsburgh — National Amusements’ Showcase East 10
- Pittsburgh — National Amusements’ Showcase West 12
- Montreal — Cineplex Odeon’s Place Alexis-Nihon Triplex
- Pointe-Claire — Cineplex Odeon’s Pointe-Claire 6 [THX]
- Warwick — National Amusements’ Showcase 12
- Memphis — Malco’s Winchester Court 8 [THX]
- Austin — General Cinema’s Highland 10 [THX]
- Austin — Presidio’s Arbor 7 [THX]
- Dallas — General Cinema’s Northpark West Twin [THX]
- Fort Worth — AMC’s Hulen 10
- Houston — Cineplex Odeon’s River Oaks Plaza 12
- Mesquite — General Cinema’s Town East 5 [THX]
- Plano — Loews’ Chisholm 5
- San Antonio — Santikos’ Embassy 14 [THX]
- San Antonio — Santikos’ Galaxy 14 [THX]
- San Antonio — Santikos’ Northwest 14 [THX]
- Riverdale — Cineplex Odeon’s Cinedome Twin
- Salt Lake City — Cineplex Odeon’s Trolley Corners Triplex
- South Salt Lake — Syufy’s Century 9
- Arlington — Loews’ Pentagon City 6
- Merrifield — National Amusements’ Arlington Blvd/Lee Highway 14 [THX]
- Norfolk — R/C’s Main Gate 10
- Reston — National Amusements’ Reston Town Center 11
- Richmond — NTI’s Ridge 7
- Bellevue — Cineplex Odeon’s John Danz
- Lynnwood — Cineplex Odeon’s Grand Cinemas Alderwood 8
- Renton — General Cinema’s Renton Village 8 [THX]
- Seattle — Cineplex Odeon’s Cinerama
- Vancouver — Act III’s Vancouver Plaza 10 [THX]
- Madison — Marcus’ Eastgate 10
- Milwaukee — Marcus’ Northtown 8
- West Allis — Marcus’ Southtown 6
Beverly Gray is the author of Ron Howard: From Mayberry to the Moon…and Beyond (Thomas Nelson, 2003).
After years of working for filmmaker Roger Corman, she wrote Roger Corman: An Unauthorized Biography of the Godfather of Indie Filmmaking (Renaissance, 2000), which was re-published in 2013 under the alternate title Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches, and Driller Killers — An Updated Authorized Life.
Her writings have appeared in numerous periodicals and newspapers including The Hollywood Reporter, Los Angeles Times and MovieMaker.
Her next book is Seduced by Mrs. Robinson: How The Graduate Became the Touchstone of a Generation and is due to be published this autumn by Algonquin Books.
Michael Coate (The Digital Bits): In what way should Far and Away be remembered on its 25th anniversary?
Beverly Gray: Far and Away should be remembered as a brave attempt to revive the idea of a romantic epic, combining historical accuracy with an intimate personal story.
Coate: What did you think of Far and Away when you (first) saw it?
Gray: I have never seen Far and Away on the big screen. I watched it while researching Ron Howard’s career, and was deeply disappointed by its far-fetched personal story. I did, however, appreciate the film’s two big action set-pieces, the boxing match and the climactic Oklahoma land run.
Coate: Where do you think Far and Away ranks among epics?
Gray: The land run sequence is a magnificent piece of epic filmmaking. I think the film is much less successful in its personal story. James Cameron’s Titanic, which tries for a similar blend of historical epic and intimate romance, works this vein more successfully, though Titanic is far from my favorite film.
Coate: In what way was it beneficial for Howard & Co. to have made Far and Away in 70mm?
Gray: The huge scale allowed by 70mm cinematography certainly benefitted the land-rush footage, reflecting the wide open spaces of the American west.
Coate: In what way was Ron Howard ideally suited to direct this film?
Gray: Ron Howard has always had great personal fondness for Far and Away because it reflects both his Irish roots and his family history: his two great-grandfathers both rode in the 1893 Oklahoma Land Race. Though when he shot Far and Away he had no experience directing a movie on such a grand scale, his ingrained sense of organization and discipline were essential to the success of the filming process.
Coate: Where do you think Far and Away ranks among director Ron Howard’s body of work?
Gray: Frankly I don’t rank Far and Away very high on Ron Howard’s long list of achievements. He has proved himself to be a gifted director of light comedy (Splash, Ed-TV) and intimate personal stories (Cocoon, A Beautiful Mind, Frost/Nixon), but the interpersonal elements of Far and Away have always struck me as highly unconvincing. Howard would go on to blend historical and intimately human subject matter far more successfully in the great Apollo 13.
Coate: Where do you think Far and Away ranks among stars Tom Cruise’s and Nicole Kidman’s careers?
Gray: Tom Cruise has always had wonderful physicality and personal charm, but in Far and Away he’s simply unconvincing as a poor Irish lad. Nicole Kidman, a skilled actress, fares better. But the movie can’t shake the sense that here are two Hollywood hot-shots playing at being Irish immigrants who must battle class distinctions to advance their storybook romance.
Coate: The failure of Far and Away has been blamed for so few 70mm films since its release. Do you believe there’s any validity to this charge?
Gray: I don’t think Far and Away failed at the box office because it was in 70mm: the sweep of the land-run scenes validates that choice. However, it did make the film much more expensive, which raised expectations sky-high. And the weak personal story could in no way sustain filmgoers’ interest.
Coate: What is the legacy of Far and Away?
Gray: I suspect it taught Ron Howard that even in a star-driven vehicle, the story must be strong, and that action and character elements must be well integrated in order to achieve a successful outcome.
Coate: Thank you, Beverly, for sharing your thoughts on Far and Away on the occasion of the 25th anniversary of its release.
Selected images copyright/courtesy Imagine Films Entertainment, Universal Pictures, Universal Studios Home Video.
The primary references for this project were regional newspaper coverage and trade reports published in Billboard, Boxoffice, The Hollywood Reporter and Variety. All figures and data included in this article pertain to the United States and Canada except where stated otherwise.
Laura Baas, Jim Barg, Seth Bartoo, Don Beelik, Deb Bier, Shelia Bumgarner, Jason Burks, Raymond Caple, Scott Clark, Andrew Crews, Saundra Cropps, Kathryn Devine, Kimberly Diebolt, Heather R. Edwards, Christine Filippelli, Debbie Gallagher, Anna Gooding-Call, Beverly Gray, Nicholas Grieco, Katie Grzech, Sheldon Hall, Wendy Hall, Thomas Hauerslev, Bobby Henderson, Matthew Vasquez Jaquith, Matt Kendall, Sarah Kenyon, David Kilmon, Anna Kimball, J. Klamm, Bill Kretzel, Ronald A. Lee, Mark Lensenmayer, Sarah Lubelski, Stan Malone, Linda McFarland, Gabriel August Neeb, Hannah Q. Parris, Charlotte Pendleton, Sophia Petrakis, Joe Redifer, Stephen Rice, Nina Sappington, Bob Sawatzki, Melissa Scroggins, Desirée Sharland, James F. Shearhouse, John Siegel, Tim Spindle, Cliff Stephenson, John Stewart, J. Michael Stubbs, J. Thomas, Robert Tucker, Enrique Valdivia, Troy Valos, Brian Walters, and to all of the librarians who helped with the research for this project.
- J.G. Devlin (“Villager #1”), 1907-1991
- Cyril Cusack (“Danty Duff”), 1910-1993
- Hoke Howell (“Crew Boss”), 1929-1997
- William Preston (“Blacksmith”), 1921-1998
- Harry Webster (“Derelict”), 1915-1999
- Jimmy Keogh (“Priest”), 19??-2003
- Joan O’Hara (“Lady #3”), 1930-2007
- Mark Mulholland (“Peasant #1”), 1937-2007
- Robert Prosky (“Daniel Christie”), 1930-2008
- Frank Coughlan (“Doctor”), 19??-2010
- Eileen Colgan (“Lady #1”), 1934-2014