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Information about Martin Luther and Girolamo Aleandro
Information about the film
articles about the film, location and performers
Synopsis

Armed with little more than his beliefs and quick wit, Martin Luther, a young 16th century monk driven by outrage, confronts the Medieval Church. While he is not always cognizant of the far-reaching repercussions of his actions, he ultimately helps usher in the Reformation, fostering a new era of personal and religious freedoms.

While a young law student, Luther abruptly changes course and joins the Augustinian order of monks when he believes his life is spared during a violent lightning storm. His ambitious father is infuriated, and thus Luther turns to a spiritual mentor, Father Johann von Staupitz (BRUNO GANZ). Luther proves an eager, apt disciple and Staupitz selects Luther to join the monastery's contingent of monks leaving for Rome on church business. He enters the city with the wide-eyed ideals of a young man--only to have them shattered. Depravity is everywhere.

Here, Luther learns about "indulgences." With these Vatican sponsored certificates, people may buy salvation for a fee and free themselves or deceased relatives from eternal damnation. The young friar brands this the highest form of cynicism and profiteering and asks, "Is not salvation accessible to all?"

Luther is sent to study at the new university in Wittenberg and later becomes a professor of theology. Among his staunch supporters is Prince Frederick the Wise (PETER USTINOV), who admires Luther's courage of conviction--even though the monk's vociferous opinions are beginning to cause ripples.

In Rome, the new pope, Leo X, has mandated that funds be raised to rebuild St. Peter's Basilica. The huge financial undertaking is to be financed by the sales of indulgences. The premiere "marketer" of indulgences, Brother John Tetzel (ALFRED MOLINA), preaches to a large German crowd about the hell fire awaiting their wretched souls should they forego this new "special indulgence."

Luther is incensed at such naked manipulation, inspiring him to write his 95 Theses, an essay he nails to the local church's door. His writing is reproduced via the new Guttenberg printing press and, within weeks, his criticism of the Church is being read throughout Europe.

The Pope reacts angrily. Luther is to recant his heretical writings or face excommunication, trial by Inquisition and, likely, death. As David before Goliath, he refuses to recant. While his works are inciting popular support among the masses, the Church moves to silence him, permanently. He takes refuge with Prince Frederick, and thus becomes an outlaw for the remainder of his life.

The stage is set for an unprecedented confrontation as Luther is increasingly seen as a popular icon. A schism rips at the heart of the Church as the new "Protestant" movement surges among the populace. Soon, hundreds of thousands pay the price of their rebellion with their lives. Ultimately, Luther's followers break with Rome, and its hold over the social, political and religious lives of all Europe is vulnerable for the first time in its 
history.

From this point, Western Civilization develops new attitudes about religion and social order that eventually change the world forever.

RS Entertainment presents "LUTHER," starring Joseph Fiennes, Alfred Molina, Jonathan Firth, Claire Cox, Sir Peter Ustinov, Bruno Ganz, Uwe Ochsenknecht, Mathieu Carrière and Benjamin Sadler in an NFP Teleart Production. Eric Till is the director; Camille Thomasson and Bart Gavigan are the screenwriters; Dennis Clauss, Kurt Rittig, Gabriela Pfändner and J. Dan Nichols are executive producers; Brigitte Rochow, Christian P. Stehr and Alexander Thies are producers. Robert Fraisse is the director of photography; Clive Barrett is the film editor; Rolf 
Zehetbauer is the production designer; Ulla Gothe is the costume designer; Hasso von Hugo is the make-up supervisor; and Richard Harvey the composer.

                                              About the Production

Martin Luther was a principled, courageous man whose convictions led him to single-handedly challenge the most powerful institution of his time, and as a result the course of history was changed forever.

David vs. Goliath stories remain universal in their appeal. An individual holding on to deeply held beliefs against overwhelming odds has long been a staple of popular motion pictures. Defiant "heroes" have been the subject of such admired films as "Braveheart," "SchindlerÂís List," "Gandhi," "A Man For All Seasons," as well as many others. "Luther" is in this tradition of cinematic storytelling.

The goal for the producers of "Luther" was to depict Luther as a man of blood and sinew -- and certainly human fallibility -- wrestling his conscience over what he saw as egregious wrongs practiced by the Church.

"What was most relevant to me about Luther is its theme that man will fight suppression and control," said Joseph Fiennes, who portrays the fiery 16th century monk. "The film has many theological themes, but on a human level it's about suppression. It's about the control that the Church had on the masses during that time through language and interpretation. Sooner or later, man seeks to gain knowledge and, with that knowledge, he 
will gain power, liberation and the freedom of consciousness."

"Luther is an eminently human movie," said Sir Peter Ustinov, who stars as Prince Frederick the Wise, one of Luther's most important allies. "It speaks about the independence of the human being to think and to think deeply. One part of the human makeup that should be protected against assault is what you believe in the privacy of your soul. So many people in history have been tortured and eventually killed because of what they 
thought -- compared with the relatively few who were killed for what they did."

Luther, who lived from 1483 to 1546, witnessed that explosive awakening of modern thought known as the Renaissance. "LutherÂís life unfolds against one of the greatest revolutionary periods in human history," said director Eric Till. "It was the epoch in which Copernicus risked his life by laying out his cosmic theory, according to which the earth was not the center of the universe; when Gutenberg invented moveable type; and Galileo 
was condemned by the Inquisition for his physical discoveries. Pope Leo X and Emperor Charles V determined the political climate of Europe. One often has the impression that Luther stood at the center of it all," said Till.

"We didn't want the film to be an illustrated history book," added producer Brigitte Rochow. "Luther's life was neither dry nor dusty, but a turbulent, highly emotional and dramatic 'career' which was characterized by a disturbing tug-of-war between a strong faith and temptation, hardness and vulnerability, decisiveness and feud."

"Luther" touches on many of the key elements of Martin LutherÂís well-documented life. It begins in 1505 when, during a horrendous storm, a terrified Luther pledges to abandon his law studies and devote his life to God if only he is spared death from the lightning bolts scorching the ground. He enters an Augustinian monastery and becomes a friar. The film follows Luther's pilgrimage to Rome, his transfer to preach and study in 
Wittenberg and the writing of his 95 Theses. His resistance to Cardinal Cajetan's order to recant and his appearance before Emperor Charles V makes Luther an outlaw for the remainder of his life. He is excommunicated by the Pope and exiled by Charles V. During his exile at Wartburg Castle, Luther translated the New Testament into German in just eleven weeks. LutherÂís was both the first German translation as well as the first translation the common man of the day could read and understand. After that he returned to Wittenberg as peasant mobs are burning churches and killing clergymen. He then unexpectedly marries a former nun and focuses his considerable efforts on keeping his reformation from befalling political compromise.

From the beginning the producers knew that their project depended upon the actor who would embody Luther. The desire was to cast someone who could personify the complexity and attractiveness of the reformer, without sweeping his human weaknesses under the carpet.

"We wanted an actor who could be as ordinary as he was charismatic, as shy as defiant, as playful and as intense. And last but not least someone with whom young people today can relate," said Till. Joseph Fiennes, who had proved that his presence in such historical films as "Elizabeth" and "Shakespeare in Love" appealed to contemporary audiences, was ideal.

Ironically, prior to accepting the film, Fiennes had reluctantly turned down the role of Luther in the London National Theatre's production of John Osborne's play because of a schedule conflict. Having developed a passion for the character, he happily accepted the opportunity to portray him in the film.

"I see Luther at first as a true innocent in the best sense of the word," Fiennes said. "He did not enter the Church in order to change it, let alone to divide it. He was far too occupied with his own existential doubts. And he was faced with a great moral dilemma when he had to see that his convictions were held out as justification for the cruelties committed during the peasants' revolt.

"The challenge of these historical projects is to make it speak to a contemporary audience. I tried to play Martin with having doubt as much as knowing what's right, which is a very human condition. Ultimately, what I love, is the relationship Luther has with the three father figures in his life. There is his biological father, a very interesting and cruel relationship, there's God the father and then a fascinating relationship with Father Johann 
von Staubitz, his spiritual father. It is a great theme that runs through the film," said Fiennes.

With their star secured, the producers were able to complete the cast with an international ensemble.

Alfred Molina stars as the indulgence peddler Johann Tetzel. Molina's interpretation of fire and brimstone preaching Tetzel may have been an offshoot from his portrayal of Comte de Reynaud, the unforgiving, religiously obsessed mayor he portrayed in "Chocolat."

"On the face of it, Tetzel seems to be perhaps the villain of the film," said Molina. "As Luther's nemesis, he raised money for the rebuilding of St. Peter's in Rome by selling indulgences. This may have been wrong, but he was absolutely committed to what he thought was right. Thatís what makes him interesting."

Sir Peter Ustinov's portrayal of Prince Frederick the Wise is yet another role in his illustrious career. No stranger to costume dramas, Ustinov has played Herod in Franco Zeffirelli's "Jesus of Nazareth" and, at a very young age, played the indulgent Emperor Nero in the MGM epic, "Quo Vadis."

"The character of Frederick was very interesting," said Ustinov. "I don't believe he had any real faith. He collected holy relics -- the thumbs of saints, and such -- from when he was young. But that was only a hobby. It's only when Martin Luther began to preach with fire and passion that Frederick became courageous because he was infected by Luther's courage."

The cast also includes Bruno Ganz as Father Johann von Staubitz; Jonathan Firth as Girolamo Aleander, the papal legate and immediate antagonist of Luther; Claire Cox as Luther's wife Katharina von Bora; Mathieu Carrière as Cardinal Cajetan; Uwe Ochsenknecht as Pope Leo X; Benjamin Sadler as court secretary George Spalatin; Jochen Horst as Professor Carlstadt and Torben Liebrecht as Emperor Charles V.

"Luther" was filmed on locations throughout Germany, Italy and the Czech Republic. The cast and crew was a small invading army of 200 requiring 60 vehicles for transportation.

Production ran into delays on the first day of shooting, which coincided with the Italian Tourism Board's "Open Doors Day," in which historical sites were opened to the public. A domino effect rippled through the production schedule to avoid gawking crowds of 21st century tourists surrounding the company's 16th century sets.

The constant move from one exterior to the other at the beginning of the shoot was a bit of "If it's Tuesday, it must be Wartburg." The tour of German castles and medieval towns included such picturesque locales as Thuringia and Franken, Rauenstein, Hohenstein, the Veste Coburg and the castle at Wartburg where Luther translated the New Testament into German. Over 100 different sets would be built by the time shooting 
ended.

Despite the fact that Germany boasts many of the still-standing sites Luther visited, most have been rebuilt, renovated or partially destroyed. "Wartburg Castle has been completely ruined by renovation," said production designer Rolf Zehetbauer. "It's impossible to film the Wartburg scenes there accurately."

The producers took a flexible approach to the locations. They filmed at sites such as Wartburg, but the scenes did not turn up in the film as Wartburg. Instead, Wartburg became the Great Hall of the Residence in Worms where Luther was asked to recant his writings before Charles V.

The cast, however, appreciated the medieval atmosphere, regardless of historical accuracy. "To feel the setting of history, even if it's 500 years later, helps one immeasurably in connecting to one's own role," said Molina.

For the make-up and costume departments, the scenes depicting crowds were quite frenetic. 300 extras would arrive by bus to become transformed into "medieval folk." The transformation would begin at four in the morning. Costume Designer Ulla Gothe and her colleagues created basic costume cowls, vests, and long gowns that were then augmented with accessories to confer wealth and rank.

Sir Peter Ustinov also had praise for the costume department as well as musings on medieval dress. "Costume must be congratulated for creating a world that is absolutely fantastic to look at. At the same time, because of their accuracy, I understood why many people died by the age of 40. They were dressed in curtains. The costumes would pull you in all the wrong places. You find yourself neck-less and not knowing how to move. 
One wonders how fashion developed that way after the Romans, with their loose garments. Then suddenly clothing was appointed with ornate things, weighed down with gold and silver and God knows what else. Certain parts of the body were exposed -- itÂís very understandable why they didnÂít live long."

RS Entertainment presents "LUTHER," starring Joseph Fiennes, Alfred Molina, Jonathan Firth, Claire Cox, Sir Peter Ustinov, Bruno Ganz, Uwe Ochsenknecht, Mathieu Carrière and Benjamin Sadler in an NFP Teleart Production. Eric Till is the director; Camille Thomasson and Bart Gavigan are the screenwriters; Dennis Clauss, Kurt Rittig, Gabriela Pfändner and J. Dan Nichols are executive producers; Brigitte Rochow, Christian P. Stehr and Alexander Thies are producers. Robert Fraisse is the director of photography; Clive Barrett is the film editor; Rolf 
Zehetbauer is the production designer; Ulla Gothe is the costume designer; Hasso von Hugo is the make-up supervisor; and Richard Harvey the composer.

                                                About The Actors

JOSEPH FIENNES (Martin Luther) portrayed Elizabethan lovers in two 1998 films that brought him critical acclaim and considerable attention from the film-going public: "Shakespeare in Love," in which, as a young and lusty William Shakespeare, he wooed Gwyneth Paltrow, and "Elizabeth," portraying lover Robert Dudley to Cate Blanchett's Queen Elizabeth I. Fiennes was born in Salisbury, England. His father was a professional photographer and his mother, a novelist, who published under the pen name of Jennifer Lash. He is one of six children including his twin brother Jacob and his oldest brother and fellow actor, Ralph. Growing up 
in a creative atmosphere encouraged Fiennes to explore his various talents. After a stint in art school, he decided to train as an actor. Fiennes joined London's Young Vic Theatre Company and then trained at the Guildhall School of Music and Drama, performing in numerous stage productions at both. He went on to join The Royal Shakespeare Company for two seasons. At this time, Fiennes began working in television productions and his big break came in 1995 playing Willy in the British television series, "The Vacillations of Poppy Carew." He made his film debut a year later in Bernardo Bertolucci's "Stealing Beauty." Among his other theatrical film credits are "Enemy at the Gate," an epic film about the Battle of Stalingrad starring with Jude Law and Ed Harris, "Forever Mine," written and directed by Paul Schrader and starring with Ray Liotta, and the thriller "Killing Me Softly" 
starring with Heather Graham.

SIR PETER USTINOV (Prince Frederick the Wise) is an Academy Award-winning® actor, author, playwright, producer, raconteur and citizen of the world. Ustinov speaks six languages and his works include twenty plays, eight books and many film scripts in addition to his formidable credit list of 80-plus films. Ustinov was knighted in 1990 by Queen Elizabeth II. His cinematic career began in his native England, where he was born in London on April 16, 1921. He wrote, directed, produced and appeared in several films, including "One of Our Aircraft is 
Missing," before he was called upon to serve in the military during WWII. After the war, Ustinov made his U.S. film debut and scorched the screen, almost literally, in the role of the petulant despot, Emperor Nero, in MGM epic "Quo Vadis?," for which he received his first of three Oscar® nominations as Best Supporting Actor. Ustinov received two Oscars® for Best Supporting Actor; his first for "Spartacus" and his second for "Topkapi." He also received an Oscar® nomination for his screenplay "Hot Millions." His other films credits include "Beau Brummell," "The Egyptian," "We're No Angels," "Lola Montes," "Billy Budd," which he also wrote, produced and directed, "BlackbeardÂís Ghost," "Viva Max!," "Logan's Run," "Jesus of Nazareth" and "Lorenzo's Oil," among many others. He portrayed Agatha Christie's famed literary detective Hercule Poirot in "Death on the Nile" and reprised the role for the films "Evil Under the Sun" and "Appointment With Death," as well as the television productions of "Thirteen at Dinner," "Dead Man's Folly" and "Murder in Three Acts." As a television producer his credits include "75 Years of the Academy Awards: An Unofficial History," "Inside the Vatican," "Peter Ustinov's Russia: A Personal Journey," "Stanley Kubrick: A Life in Pictures" and "On the Trail of Mark Twain," as well as numerous productions for German-language television. Additionally, Ustinov became Goodwill Ambassador for UNICEF in 1969 and is President of the World Federalist Union.

ALFRED MOLINA (Johann Tetzel) is a versatile actor celebrated for his film, television and stage performances. Born in London, Molina made his film debut in 1981 in Steven SpielbergÂís "Raiders of the Lost Ark." He then appeared in "Letter to Brezhnev," "Ladyhawke" and "Eleni," but he received critical attention with his performance as Joe Orton's sadly neglected lover, Kenneth Halliwell, in "Prick Up Your Ears." Molinaís additional feature film credits include "Not Without My Daughter," "Enchanted April," "Boogie Nights," "Magnolia," "Chocolat" and 
"Frida." He has starred in two television series, "Ladies Man" and more recently, "Bram and Alice." Molina has played Agatha Christie's detective, Hercule Poirot, something he shares with Sir Peter Ustinov, in a television production of "Murder on the Orient Express." Molina received a Tony Award nomination for his Broadway debut in "Art," starring with Alan Alda and Victor Garber. His performance also netted him a Drama Desk Award. Molina was also nominated for a Drama Desk Award for Most Outstanding Debut Performance in the off-Broadway production of "Molly Sweeney" at New York's Roundabout Theater. His other stage credits include London productions of Tennessee Williamís "The Night of the Iguana" and David Mamet's "Speed the Plow," for which he was nominated for an Olivier Award for Best Comedy Performance. He also received an Olivier Award nomination for "Oklahoma" at the Palace Theater.

BRUNO GANZ (Father Johann von Staupitz) is perhaps best known to English-speaking audiences as the Angel who longs to be human again in Wim Wender's "Wings of Desire," or as the voracious vampire in Werner Herzog's "Nosferatu - The Vampire." Ganz began acting on stage, making a solid career for himself before venturing before the cameras. Among his film credits are Eric Rohmerís "The Marquise of O," "The American Friend," "The Boys From Brazil," "Circle of Deceit," "Strapless," "The Last Days of Chez Nous" and "Faraway, So Close!"

JONATHAN FIRTH (Girolamo Aleandro) was born in Essex, England and is the younger brother of actor Colin Firth. He studied at the Central School of Speech and Drama for three years. He has worked primarily in television for the BBC, where he became a heartthrob as Richard Grey in the 1992 feudal drama "Covington Cross." This was followed with the mini-series "Middlemarch," "Wuthering Heights," "Far From the Madding Crowd" and "An Ideal Husband," His other television credits include the NBC mini series "Leprechauns" and the historical 
drama "Victoria & Albert." Firth has recently completed production on "The Last Days of Pompeii," to air on the BBC in fall 2003.

CLAIRE COX (Katerina von Borg) previously appeared in the 1998 theatrical films "The Leading Man," starring Jon Bon Jovi and Lambert Wilson, and "Shooting Fish," starring Kate Beckinsdale, Stuart Townsend and Dan Futterman. Her television roles for the BBC include Dee Parr on "Holby," Faith Wren on "Wren," Sidney on "Inspector Lynley Mysteries," Ianthe Cavendish in "The Choir" and Elsie in "BBC Memory Bank" and "The Last Salute." On stage, her performance of Portia in the Royal Shakespeare Company's "Julius Caesar " brought her a nomination for the Ian Charleson Award. Other stage productions for the RSC include "Love in a Wood," "American Soap" and "The Servant of Two Masters."

BENJAMIN SADLER (Georg Spalatin) was born in Toronto, Canada, where he lived until his father moved the family to his native Germany. He later studied acting at both London's Royal Academy of Dramatic Arts and New YorkÂís Stella Adler Workshop. Among his credits are the films "Hustle" and "Spuk aus der Gruft." His television credits include the recently completed BBC production "Augustus," starring Peter O'Toole, about the first Caesar of Rome. Sadler's other English-speaking television credits include "Tattoo," "Apokalypsis," "Mary of Magdalene," 
"Antonia," "Last Wish," "Heaven Beneath the Desert," "First Love" and "Girlfriends," as well as many German-language television credits.

JOCHEN HORST (Professor Karlstadt) was born in Osnabrück, Germany on September 7, 1961. He has worked primarily in German-language television projects. His English language credits include the feature films "Swing Kids" and "The Cement Garden," as well as the television productions of "Voyage of Terror: The Achille Lauro Affair," and "Francis."

TORBEN LIEBRECHT (Emperor Charles V) was featured in his first international television production, "Monsignor Renaud," as the love struck young German soldier, Alois, stationed in occupied France. Born near Hamburg, Germany, Liebrecht has worked behind the cameras as an assistant director between his on-camera roles. His other English-speaking credit is the television movie "Deathwatch."

About the Production Team

ERIC TILL (Director) began his feature film career with "Hot Millions," starring Peter Ustinov. His motion pictures have been cited by such distinguished organizations as the Cannes Film Festival for his direction of 1972?s "A Fan?s Notes;" by the Moscow International Film Festival in 1975 for "All Things Bright and Beautiful;" and by the Genie Awards, the "Canadian Oscar," for 1979?s "Wild Horse Hank," and 1982?s "If You Could See What I Hear." His other directing credits include "Bethune," "Improper Channels," "An American Christmas Carol," "Oh, What a 
Night," "A Case of Libel," "The Girl Next Door," "Pit Pony" and "Bonhoeffer: Agent of Grace." Till began his diverse career working in the BBC Television Music Department. He then moved to Canada, where he worked for the National Ballet of Canada as company manager and, later, for the Canadian Broadcasting Corporation directing classical music productions before returning to the United Kingdom where he began his work in feature films.

CAMILLE THOMASSON (Writer) previously wrote the original Spanish language screenplay, "Ave Maria," produced in Mexico and honored at the 2000 Latin American Film Festival. Her other credits include "The Disappearance of Christina," "A Family Again" and "Daniel and the Towers." In addition, she was a guest lecturer at the Sundance Institute?s 2003 Screenwriter's Lab. 

BART GAVIGAN (Writer) has previously written and produced specials for the BBC. As a writer, he has served as advisor at The Sundance Institute. He created the screenwriting course "The Naked Screenplay" and is consultant to the Northern Film School at Leeds. 

BRIGITTE ROCHOW (Producer) is in charge of drama production at Neue Filmproduktion TV. Her credits as a producer include "Ein Mord auf dem Konto," "Dr. Sommerfeld - Neues vom Bülowbogen," Gestern ist nie Vorbei" and "Opferlamm - Zwischen Liege und Hass." 

ROLF ZEHETBAUER (Production Designer) is an Academy Award-winner® for the art direction/set design of 1972's "Cabaret." Among his credits are such challenging and stylistically diverse films as "Das Boot" and "Querelle" and "Cabaret." Additional feature film credits include "The Odessa File," "The Neverending Story," "The Neverending Story III," "Twlight?s Last Gleaming," "The Brass Target," "Lili Marlene," "Lola," "Who is Killing the Great Chef?s of Europe?," "Night Crossing," "Enemy Mine" and most recently, "Manila." 

ROBERT FRAISSE (Director of Photography) was nominated for an Academy Award® for his cinematography on the 1992 film, "The Lover." Fraisse has a 25-year-long career, working primarily in French cinema as well as television and advertising. He has worked with such directors as the late John Frankenheimer, Adrian Lyne, Jean-Jacques Annaud and Ridley Scott. Among his feature film credits are "Enemy at the Gates," "Vatel," "Season?s Beatings/LaBûche," "Ronin," "Seven Years in Tibet," "Keys to Tulsa," "Fantôme avec Chauffeur," "Wings of Courage," "Citizen X," "La Passarelle," "Spiralle," "La Gitane" and "Lady Chatterly's Lover." 

RICHARD HARVEY (Composer) has composed the scores for over 50 feature film and television projects. Among these are his scores for Francois Ford Coppola's "Suriyothai," "Two Men Went to War," "In Search of an Impotent Man," "Animal Farm," "Arabian Nights," "Deadly Advice" and "Half Moon Street." Harvey graduated from the Royal College of Music in 1972 as a woodwind instrumentalist and played recorder and early woodwinds with his own group, Gryphon. Through his work with composer Maurice Jarre, whose own works include "Lawrence of 
Arabia" and "Dr. Zhivago," Harvey turned his attentions to film scoring. However, he did provide all the woodwind solos for the animated feature "The Lion King." His non-film compositions include his oratio "Plague and the Moonflower" and "Concerto Antico," which he composed for Sir John Williams and the London Symphony Orchestra. Harvey also received a BAFTA award for his score for "GBH," which he composed with 
Elvis Costello. 

CLIVE BARRETT (Editor) previously edited "Extreme Ops," a break-neck action adventure film, before he began work on "Luther." His other credits as film editor include "The Boxer" and "Wavelength." As an associate editor, Barrett began his editing career with such notable films as "Pink Floyd: The Wall," "Another Country," "Birdy," "Absolute Beginners," "Angel Heart," "In the Name of Our Father" and "Brassed Off." He also worked as a sound editor on the films "A Private Function" and "Lie Down With Eagles."

RS Entertainment presents "LUTHER," starring Joseph Fiennes, Alfred Molina, Jonathan Firth, Claire Cox, Sir Peter Ustinov, Bruno Ganz, Uwe Ochsenknecht, Mathieu Carrière and Benjamin Sadler in an NFP Teleart Production. Eric Till is the director; Camille Thomasson and Bart Gavigan are the screenwriters; Dennis Clauss, Kurt Rittig, Gabriela Pfändner and J. Dan Nichols are executive producers; Brigitte Rochow, Christian P. Stehr and Alexander Thies are producers. Robert Fraisse is the director of photography; Clive Barrett is the film editor; Rolf 
Zehetbauer is the production designer; Ulla Gothe is the costume designer; Hasso von Hugo is the make-up supervisor; and Richard Harvey the composer.

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