| Photos (see all 20 | slideshow) | Videos |
| Paula Boudreau | |||
| Alexandra Cheron | ... | Anna | |
| Sean 'P. Diddy' Combs | ... | Walter Lee Younger | |
| Elle Downs | ... | Cocktail Waitress | |
| Ron C. Jones | ... | Willy | |
| Sanaa Lathan | ... | Beneatha Younger | |
| Justin Martin | ... | Travis | |
| Audra McDonald | ... | Ruth Younger | |
| Bill Nunn | ... | Bobo | |
| David Oyelowo | ... | Asagai | |
| Phylicia Rashad | ... | Lena Younger | |
| John Stamos | ... | Carl Lindner | |
| Paul Stephen | ... | North Shore Businessman | |
| Emily Swiss | ... | Priscilla | |
| Sean Patrick Thomas | ... | George | |
| Morgan Freeman | ... | Narrator (uncredited) |
Directed by | |||
| Kenny Leon | |||
Writing credits(WGA) | ||
| Paris Qualles | (teleplay) | |
| Lorraine Hansberry | (play) | |
Original Music by | |||
| Mervyn Warren | |||
Cinematography by | |||
| Ivan Strasburg | |||
Film Editing by | |||
| Melissa Kent | |||
Casting by | |||
| James Calleri | |||
Production Design by | |||
| Karen Bromley | |||
Art Direction by | |||
| Rory Cheyne | |||
Set Decoration by | |||
| Clive Thomasson | |||
Costume Design by | |||
| Gersha Phillips | |||
Makeup Department | |||
| Veronica Ciandre | .... | key hair stylist | |
| Patricia Keighran | .... | makeup department head | |
| Fina Khan | .... | hair stylist | |
| Burton J. LeBlanc | .... | makeup artist (as Burton Leblanc) | |
Production Management | |||
| John M. Eckert | .... | unit production manager | |
| Pasia Schonberg | .... | assistant production manager | |
Second Unit Director or Assistant Director | |||
| Michael Johnson | .... | assistant director | |
| Raj Singh | .... | third assistant director | |
Art Department | |||
| Jamie Burke | .... | construction coordinator | |
| Ric Fernandez | .... | head carpenter | |
| Rex Fields | .... | leadman | |
| Paul Greenberg | .... | graphic designer | |
| Jonathan Kovacs | .... | assistant property master | |
| Matthew Lammerich | .... | key scenic artist | |
| Erin Leslie | .... | assistant scenic artist | |
| Russell Moore | .... | set designer | |
| Vic Rigler | .... | property master | |
| Jaclyn Shoub | .... | set decoration buyer | |
Sound Department | |||
| Susan Cahill | .... | adr supervisor | |
| Alan Decker | .... | sound re-recording mixer | |
| Douglas Ganton | .... | sound mixer | |
| Frederick Howard | .... | supervising sound editor | |
| Amy Kane | .... | foley artist | |
| Jason McFarling | .... | boom operator | |
| Jim Thompson | .... | boom operator | |
Special Effects by | |||
| Dave Hill | .... | key special effects | |
| Martin Malivoire | .... | special effects consultant | |
Camera and Electrical Department | |||
| Pierre Berube | .... | electrician | |
| Dave Bouskill | .... | key rigging gaffer | |
| Jayson Clute | .... | first assistant camera | |
| Ciaran Copelin | .... | first assistant camera: "b" camera | |
| Gilles Corbeil | .... | camera operator: "a" camera | |
| Gilles Corbeil | .... | steadicam operator | |
| Christopher Dean | .... | key grip | |
| Anthony Ellis | .... | camera operator: "b" camera | |
| Jim Holmes | .... | best boy grip | |
| Marcel Janisse | .... | assistant camera | |
| Mike Ohorodnyk | .... | grip | |
| Ron Schroeder | .... | grip | |
| Peter Stranks | .... | still photographer | |
| Franco Tata | .... | gaffer | |
Casting Department | |||
| Jane Rogers | .... | extras casting | |
Costume and Wardrobe Department | |||
| Roslyn Hanchard | .... | assistant costume designer | |
| Karen Lee | .... | costume truck supervisor | |
| Trelawnie Mead | .... | costume dyer/breakdown | |
Editorial Department | |||
| Craig Drikis Barnikis | .... | assistant telecine colorist | |
| Trudy Yee | .... | assistant editor | |
Music Department | |||
| Joanie Diener | .... | music editor | |
Transportation Department | |||
| Brian Harney | .... | picture car coordinator | |
| Roland 'Buddy' McGrath | .... | transportation captain | |
| Bruce McLean | .... | transportation coordinator | |
| Steve Russell | .... | transportation co-captain | |
| Marco Sousa | .... | picture car captain | |
Other crew | |||
| Laurel Bresnahan | .... | set teacher | |
| Scott Brophy | .... | assistant production coordinator | |
| Connie Contardi | .... | assistant to executive producer | |
| Wayne Godfrey | .... | on-set supervisor | |
| Cynthia Graves | .... | production coordinator | |
| Mark Logan | .... | location manager | |
| Mark Nicholson | .... | production associate | |
| Esther Scannell | .... | construction accountant | |
| Warner Strauss | .... | assistant location manager | |
| Michalla Petersen | .... | voice-over artist (uncredited) | |
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It is said that an author must have a measured amount of distance (in terms of time) from her subject matter before she can write about it. This is to give her time to digest and let the the incident settle in her mind and emotion so that she may do justice to her work. Lorraine Hansberry's work was written in the 1950's at the height of urban white discrimination and censorship against blacks. This adaption is done some 50 years later at a time when the arts are freer to touch on sensitive issues and at a vantage point when we can see how the white American mindset and value system have played themselves out over the course of 50 years.
Lena Younger is the wise matriarch of a black household residing in an apartment in the urban black section of Chicago in the 1950's. The family is blessed to be humbled and to have a loving and trusting relationships within the household. The well-being of the household is shattered by the expectation and subsequent arrival of a small fortune, a $10,000 life insurance payment to Lena. The expectation of the money is seen as seed money by Lena's son, Walter Lee. Walter Lee has a dead-end job, a chauffeur working for a snobbish white boss. The expectation of the money spawns Walter Lee's imagination as seed money to achieve economic freedom through a business of his own. Berneatha, Lena's daughter, is an artsy, spontaneous type person who looks forward towards using the money to finance her education to become a doctor, a technical discipline. Ruth, Walter Lee's wife, is expecting and sees any additional money as just another way to get by. Lena would like to use the money to provide for the practical future needs of the household and doesn't personally need any funds for herself. The story points out how each of the mentioned character's self-interest agenda, as shaped by the American value system of the time and still applies today, is pursued at the expense of destabilizing the family as result of the $10,000. The money becomes the distraction that takes attention and gratitude away from the most important of family fortunes: the gift of humbleness and the appreciation of the simplicity that harmonized, and lent contentment to the household for all those years before the subject of money ever came up.
The social commentary is that America, to a black person and other minorities, is a land of barriers. The system presents barriers to blacks and other minorities who genuinely just want to fulfill their life's purpose, contribute their talents to society and only ask to make a decent living at that. Money or capital is a way to break through these barriers to enter a profession (doctor), business (liquor store) or to retire. The ironic twist is that the very barriers established by the white people to oppress minorities provides for the very education that nurtures character, humbleness and eventually wisdom. You can see that in the genuine, and heartfelt performance by the actors in this movie who dramatize the sensitive social issues covered by Hansberry's work some 50 years later. With a distance in time of 50 years, it can be said that this sincere, from the heart interpretation of Hansberry's work truly does justice to her intended message.