In a future society in the era of indefinite eugenics, humans are set on a life course depending on their DNA. Young Vincent Freeman is born with a condition that would prevent him from space travel, yet is determined to infiltrate the GATTACA space program.

Credits: TheMovieDb.

Film Cast:

  • Vincent Freeman: Ethan Hawke
  • Irene Cassini: Uma Thurman
  • Jerome Eugene Morrow: Jude Law
  • Detective Hugo: Alan Arkin
  • Adult Anton Freeman: Loren Dean
  • Director Josef: Gore Vidal
  • “German”: Tony Shalhoub
  • Caesar: Ernest Borgnine
  • Geneticist: Blair Underwood
  • Dr. Lamar: Xander Berkeley
  • Marie Freeman: Jayne Brook
  • Young Anton Freeman: William Lee Scott
  • Head Nurse: Una Damon
  • Antonio Freeman: Elias Koteas
  • Delivery Nurse: Maya Rudolph
  • Preschool Teacher: Elizabeth Dennehy
  • Vincent Freeman – Boy: Mason Gamble
  • Anton Freeman – Boy: Vincent Nielson
  • Vincent Freeman – Teen: Chad Christ
  • Personnel Officer: Clarence Graham
  • Gattaca Hoover: Carlton Benbry
  • Sequencing Customer: Grace Sullivan
  • Sequencing Technician: Ken Marino
  • Cavendish: Cynthia Martells
  • Gattaca Trainer: Gabrielle Reece
  • Twelve-Fingered Pianist: Ryan Dorin
  • Cop on the Beat: Dean Norris
  • Gattaca Detective: Russell Milton
  • Beaten Detective: George Marshall Ruge
  • Blood Test Detective: Steve Bessen
  • Mission Commander: Lindsey Ginter
  • Gattacan Citizen: Greg Sestero

Film Crew:

  • Producer: Danny DeVito
  • Costume Design: Colleen Atwood
  • Casting: Francine Maisler
  • Director of Photography: Slawomir Idziak
  • Associate Producer: Georgia Kacandes
  • Producer: Michael Shamberg
  • Producer: Stacey Sher
  • Producer’s Assistant: Pamela Abdy
  • Co-Producer: Gail Lyon
  • Writer: Andrew Niccol
  • Hairstylist: Toni-Ann Walker
  • Special Effects Coordinator: Gary D’Amico
  • Art Direction: Sarah Knowles
  • Additional Music: David Robbins
  • Original Music Composer: Michael Nyman
  • Editor: Lisa Zeno Churgin
  • Music Editor: Bunny Andrews
  • Production Design: Jan Roelfs
  • Set Designer: Stephen Alesch
  • Second Assistant Director: Daniel Silverberg
  • Makeup Artist: Lizbeth Williamson
  • Actor’s Assistant: Emma Tillinger Koskoff
  • Set Decoration: Nancy Nye
  • Sound Re-Recording Mixer: Paul Massey
  • Camera Operator: Jonathan Brown
  • Production Supervisor: Bradley Cramp
  • Hair Department Head: Alicia M. Tripi
  • Post Production Supervisor: Lisa Yesko
  • Stunt Coordinator: Norman Howell
  • Dialogue Editor: Noah Blough
  • Makeup Supervisor: Ve Neill
  • Foley Mixer: Nerses Gezalyan
  • Foley Artist: Jeffrey Wilhoit
  • Visual Effects Supervisor: Chris Watts
  • Foley Artist: Gary A. Hecker
  • Associate Producer: Joshua Levinson
  • First Assistant Director: John R. Woodward
  • Rigging Gaffer: David Morton
  • Dialogue Editor: James Matheny
  • Costume Supervisor: Robert Q. Mathews
  • Production Assistant: Stephanie Higgins Frey
  • Supervising Sound Editor: Richard King
  • Stunt Coordinator: Michael Cassidy
  • Set Designer: Randall D. Wilkins
  • Makeup Artist: Jill Rockow
  • Sound Re-Recording Mixer: Doug Hemphill
  • Script Supervisor: Wilma Garscadden-Gahret
  • Choreographer: Maurice Schwartzman
  • Producer’s Assistant: Lizzie Friedman
  • Sound Effects Editor: Steven Ticknor
  • Compositor: Dan Levitan
  • Property Master: Emily Ferry
  • Visual Effects Supervisor: Jerry Pooler
  • Location Manager: Robert Earl Craft
  • Visual Effects: Janek Sirrs
  • Assistant Property Master: Otniel Gonzalez
  • Visual Effects Supervisor: Daniele Colajacomo
  • Leadman: R. Scott Doran
  • Unit Publicist: Spooky Stevens
  • Chief Lighting Technician: Robert Jason
  • Video Assist Operator: Michael J. Hogan
  • Stunts: Mike Smith
  • Visual Effects Coordinator: Steve Dellerson
  • Key Hair Stylist: Bette Iverson
  • Construction Coordinator: Jim Ondrejko
  • ADR Supervisor: Cliff Latimer
  • Still Photographer: Darren Michaels
  • Prosthetic Makeup Artist: Brian Penikas
  • First Assistant Camera: John T. Connor
  • Key Costumer: Jennifer Lax
  • Music Consultant: Dondi Bastone
  • Extras Casting: Beau Bonneau
  • Production Supervisor: Tim Swan
  • Cableman: Dick Hansen
  • Second Film Editor: Helen Hand
  • Digital Compositor: Ken Dackermann
  • Assistant Sound Editor: Cynthia Haagens
  • Color Timer: Bob Putynkowski
  • Title Designer: Michael Riley
  • First Assistant Accountant: Edward Allen
  • Foley Editor: Scott A. Tinsley
  • Assistant Location Manager: Ilt Jones
  • Boom Operator: Lawrence L. Commans
  • Negative Cutter: Mo Henry
  • Production Accountant: Elizabeth Tompkins
  • Assistant Sound Editor: Catherine Calleson
  • Production Coordinator: Shari LaFranchi Blakney
  • Dolly Grip: Jeff Smith
  • Second Assistant Camera: Matthew Nelson
  • First Assistant Camera: Evan A. Nesbitt
  • Foley Editor: Jeffrey R. Payne
  • Music Coordinator: Cynthia Biamon
  • Second Assistant Director: Otie Brown
  • Swing: Don Elliott
  • Assistant Property Master: Joy Taylor
  • Stunt Double: Tyson Dexter
  • Casting Assistant: Brennan Dufresne
  • Casting Associate: Kathryn Eisenstein
  • Producer’s Assistant: Joe Angel Rodriguez
  • Best Boy Grip: Thomas Wazney
  • Craft Service: John Wayne Randolph
  • First Assistant Editor: John Spence
  • Grip: Michael A. Mendez
  • Key Grip: Michael M. Krevitt
  • Production Assistant: Kathleen Roll
  • Production Assistant: Mario West
  • Production Assistant: Patrick Noonan
  • Production Assistant: Roger James Ferrin
  • Production Assistant: Melody Beam
  • Transportation Captain: James C. Taylor
  • Transportation Co-Captain: David Jernigan
  • Production Sound Mixer: Stephan von Hase

Movie Reviews:

  • Wuchak: ***The eugenics-obsessed future in 40s/50s noir***

    Several decades in the future liberal eugenics is normal and discrimination is practiced to distinguish “valids” from “in-valids,” the latter conceived by natural means and therefore more susceptible to genetic defects. Vincent (Ethan Hawke) is an in-valid who assumes the identity of a disabled valid (Jude Law) in order to fulfill his dream of space travel. Uma Thurman and Gore Vidal are also on hand.

    “Gattaca” (1997) is a sci-fi drama “tech noir,” which combines futuristic science-fiction with 40s/50s noir.
    It’s not just the suits & hats, the cars look like 50s/60s coupes, but whine because they’re electric. It’s similar in this respect to “Dark City” (1998), but more dramatic. Imagine if “Dick Tracy” (1990) was a somber space-age sci-fi and you’d have a pretty good idea.

    The film flopped at the box office while critics generally praised it. It plays better if you have an interest in eugenics and the philosophies thereof. For me, it’s decent, but too low-key. I prefer “Dark City” if I’m going to watch a film of this sort.

    The movie runs 1 hour, 46 minutes, and was shot in Southern Cal: Marin County Civic Center in San Rafael; Otis College of Art and Design; CLA Building on the campus of California State Polytechnic University, Pomona; the spillway of the Sepulveda Dam; outside The Forum in Inglewood; and Kramer Junction Solar Electric Generating Station.

    GRADE: B-

  • minymina: Simply put, Gattaca is one of the greatest movies ever made. Some might think that’s going too far but it truly is a masterpiece. Everything from the casting, set design, cinematography, writing and the Universe in which the story takes place. It is not only a great source of entertainment but an inspiring work of art.

    By far the most poetic movie I have had the pleasure of watching. Every line is elegiac and truly beautiful. It’s the type of movie that keeps you thinking days after the credits have rolled. Not because it is fast-paced, intense or has a crazy twist ending but for its tranquil philosophical ideas. I highly recommend it to anyone looking for a jaw-dropping movie night. It should be on every cinephile’s list of must-watch.

One thought on “Gattaca

  1. Gattaca still keeps me thinking on how close to home it may feel for many people in obvious ways. Thank you for your review.

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