The Morning After (1986)

R | 103 mins | Mystery | 25 December 1986

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HISTORY

       On 27 Aug 1984, Var announced that Jane Fonda and her business partner at IPC Films, producer Bruce Gilbert, were developing James Hicks’s screenplay for The Morning After. The 6 May 1985 DV explained that the script had been previously optioned by Tri-Star Pictures, following a recommendation from Sydney Pollack, but when Tri-Star’s option expired, Fonda and Gilbert teamed with writer Jay Presson Allen to acquire the project for Warner Bros. A 10 Apr 1986 HR news item, published during production, listed Hicks, Allen, and David Rayfiel as screenwriters, but neither Allen nor Rayfiel are credited onscreen. The 25 Dec 1986 NYT review noted that “James Hicks” was a pseudonym for James Cresson, who was better known at the time for his work as a producer.
       In late 1985, the project changed hands from Warner Bros. to Lorimar Motion Pictures, and Sidney Lumet was hired to direct, as announced in the 13 Nov 1985 DV. Several months later, a 31 Jan 1986 Var brief noted that Fonda, Lumet, and Gilbert were meeting with television producer Merv Adelson “to finalize the deal” and principal photography was scheduled to begin in Apr 1986. Adelson is not credited onscreen, and his participation in the production remains undetermined. The 18 Feb 1986 DV announced that Jeff Bridges had been cast in the role of “Turner Kendall,” and the following day, a 19 Feb 1986 DV column noted that The Morning After would mark Lumet’s first feature film to be shot in Los Angeles, CA. ...

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       On 27 Aug 1984, Var announced that Jane Fonda and her business partner at IPC Films, producer Bruce Gilbert, were developing James Hicks’s screenplay for The Morning After. The 6 May 1985 DV explained that the script had been previously optioned by Tri-Star Pictures, following a recommendation from Sydney Pollack, but when Tri-Star’s option expired, Fonda and Gilbert teamed with writer Jay Presson Allen to acquire the project for Warner Bros. A 10 Apr 1986 HR news item, published during production, listed Hicks, Allen, and David Rayfiel as screenwriters, but neither Allen nor Rayfiel are credited onscreen. The 25 Dec 1986 NYT review noted that “James Hicks” was a pseudonym for James Cresson, who was better known at the time for his work as a producer.
       In late 1985, the project changed hands from Warner Bros. to Lorimar Motion Pictures, and Sidney Lumet was hired to direct, as announced in the 13 Nov 1985 DV. Several months later, a 31 Jan 1986 Var brief noted that Fonda, Lumet, and Gilbert were meeting with television producer Merv Adelson “to finalize the deal” and principal photography was scheduled to begin in Apr 1986. Adelson is not credited onscreen, and his participation in the production remains undetermined. The 18 Feb 1986 DV announced that Jeff Bridges had been cast in the role of “Turner Kendall,” and the following day, a 19 Feb 1986 DV column noted that The Morning After would mark Lumet’s first feature film to be shot in Los Angeles, CA. HR production charts published 22 Apr 1986 confirmed that principal photography began 7 Apr 1986 in Los Angeles. The 10 Apr 1986 HR added that distribution rights had been acquired by Twentieth Century Fox for a Christmas 1986 opening.
       According to production notes in AMPAS library files, Los Angeles locations included downtown, the Tyler Lord salon in Beverly Hills, the Pacific Design Center, the Westside Pavilion shopping mall, the Chevron oil fields, Mulholland Drive and Coldwater Canyon. Three sets were constructed at Hollywood Center Studios for the beauty parlor, “Alex Sternbergen’s” apartment, and Turner’s Quonset hut. On 24 Jun 1986, DV announced that the $15 million production had been completed two weeks early, after filming for seven weeks of the scheduled nine-week shoot. Four weeks were spent on location photography, and the remaining three were spent at Hollywood Center Studios. DV also noted that Gilbert and Fonda, who had once been production partners at ICP, now had their own companies, Gilbert’s American Filmworks, which produced The Morning After, and the actress’ Fonda Films. Despite their former partnership, and their collaboration in optioning The Morning After, Fonda had no role in the picture as a producer, and worked for salary and a percentage of the box-office gross.
       The picture was nominated for an Academy Award in the category Actress in a Leading Role, for Jane Fonda.

      End credits include the following acknowledgements: “The producers wish to thank: Diane and Keith Lord of Tyler Lord Beauty Establishment; Humana Hospital, West Hills; KABC-TV; Pacific Southwest Airlines; The California Film Office; and special thanks to Vidal Sassoon Academy.” Also included are the statements: “Filmed in part at the Hollywood Center Studios, Hollywood, California,” “MMA, Inc.,” and, “Our thanks to David.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
6 May 1985
---
Daily Variety
13 Nov 1985
---
Daily Variety
18 Feb 1986
---
Daily Variety
19 Feb 1986
---
Daily Variety
24 Jun 1986
---
Hollywood Reporter
10 Apr 1986
---
Hollywood Reporter
22 Apr 1986
---
Hollywood Reporter
19 Dec 1986
p. 3, 77
Los Angeles Times
25 Dec 1986
p. 1, 6
New York Times
25 Dec 1986
p. 22
Screen International
28 Mar 1987
---
Variety
27 Aug 1984
---
Variety
31 Jan 1986
---
Variety
24 Dec 1986
p. 12
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
Lorimar Motion Pictures presents
An American Filmworks production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
2d 2d asst dir
PRODUCERS
Assoc prod
Assoc prod
Exec prod
WRITER
James Hicks
Wrt
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
2d asst cam
Cam loader
Still photog
Michael DeChellis
Best boy
Key grip
Best boy
Rigging grip
Steve Greaves
Dolly grip
ART DIRECTORS
Prod des
Art dir
FILM EDITORS
Film ed
Apprentice ed
SET DECORATORS
Set dec
Leadman
Set dresser
Set dresser
Prop master
Asst prop master
Const coord
Standby painter
COSTUMES
Cost des
Asst cost des
Ward supv
Ward supv
MUSIC
Solo saxophone performed by
Mus eng
Mus supv
Mus supv
SOUND
Prod sd mixer
Sd boom
Supv sd ed
Sd ed
Lou Cerborino
Sd ed
Sd ed
Re-rec mixer
VISUAL EFFECTS
Spec eff coord
MAKEUP
Kathryn Blondell
Hairstylist
Gary Liddiard
Makeup artist
Makeup artist
PRODUCTION MISC
Casting
Scr supv
Prod office coord
Animal action by
Asst to Bruce Gilbert
Transportation coord
Transportation capt
Transportation capt
Doug Evan Stoll
Loc mgr
Loc mgr
Prod auditor
Unit pub
Extras casting
Post-prod supv
Loft photog by
STAND INS
Stunt coord
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
COLOR PERSONNEL
Col by
SOURCES
SONGS
"Addicted To Love," composed & performed by Robert Palmer, courtesy of Island Records; "Can't Stop Giving It," composed & performed by The Earons, courtesy of Island Records; "Chief Inspector," composed & performed by Wally Badarou, courtesy of Island Visual Arts Records; "Save Some (For Me)," composed & performed by John Martyn, courtesy of Island Records.
SONGWRITERS/COMPOSERS
+ −
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
25 December 1986
Premiere Information:
Los Angeles and New York openings: 25 Dec 1986
Production Date:
7 Apr--late Jun 1986 in Los Angeles, CA
Physical Properties:
Sound
Color
Lenses/Prints
Lenses and Panaflex® camera by Panavision®; Prints by DeLuxe®
Duration(in mins):
103
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
28284
SYNOPSIS

In downtown Los Angeles, California, an alcoholic actress with the stage name “Viveca Van Loren” awakens from a blackout in a pool of blood, lying next to a dead man. Shocked and oblivious to her whereabouts, Viveca notices that the bedroom television is broadcasting an interview with her deceased bedfellow; he is Bobby Korshack, a controversial fitness photographer who was prosecuted on obscenity charges. Finding a knife in Korshack’s chest, Viveca stumbles through the studio for a glass of wine, washes blood from her hands, then telephones her hairdresser and confidante, Joaquin “Jacky” Manero. When she tells him about the dead man, Jacky advises her to call the police. However, she cannot be sure of her innocence, so she leaves the studio and hails a cab. Surprised to learn it is Thanksgiving, Viveca cashes a check at a local bar, packs luggage, and heads to the airport. When she learns that all flights are booked, she rushes outside and provokes a minor curbside automobile accident. Fleeing the scene, Viveca jumps into a nearby jalopy owned by Turner Kendall, who drives Viveca away from the airport, spouting racial epithets and explaining that he was dropping off his young daughter; the girl is taking a return flight to her mother’s home. After chastising Turner for his bigotry, Viveca parts with him downtown, and sneaks back into Korshack’s studio. There, she scours the premises with cleaning supplies and apologizes to Korshack’s corpse. Stuffing the murder weapon in a pillowcase, Viveca prepares to leave, but observes that Korshack’s cat is trapped behind the closet door. Fearing that someone is hiding there, Viveca ...

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In downtown Los Angeles, California, an alcoholic actress with the stage name “Viveca Van Loren” awakens from a blackout in a pool of blood, lying next to a dead man. Shocked and oblivious to her whereabouts, Viveca notices that the bedroom television is broadcasting an interview with her deceased bedfellow; he is Bobby Korshack, a controversial fitness photographer who was prosecuted on obscenity charges. Finding a knife in Korshack’s chest, Viveca stumbles through the studio for a glass of wine, washes blood from her hands, then telephones her hairdresser and confidante, Joaquin “Jacky” Manero. When she tells him about the dead man, Jacky advises her to call the police. However, she cannot be sure of her innocence, so she leaves the studio and hails a cab. Surprised to learn it is Thanksgiving, Viveca cashes a check at a local bar, packs luggage, and heads to the airport. When she learns that all flights are booked, she rushes outside and provokes a minor curbside automobile accident. Fleeing the scene, Viveca jumps into a nearby jalopy owned by Turner Kendall, who drives Viveca away from the airport, spouting racial epithets and explaining that he was dropping off his young daughter; the girl is taking a return flight to her mother’s home. After chastising Turner for his bigotry, Viveca parts with him downtown, and sneaks back into Korshack’s studio. There, she scours the premises with cleaning supplies and apologizes to Korshack’s corpse. Stuffing the murder weapon in a pillowcase, Viveca prepares to leave, but observes that Korshack’s cat is trapped behind the closet door. Fearing that someone is hiding there, Viveca opens the studio’s front door and is startled to discover Turner, waiting in the hallway. He claims Viveca dropped her wallet, as well as a matchbook with the studio’s address, and drives her home, admitting that he is a former police officer, discharged on disability. At her apartment, Viveca orders Turner to disappear by the time she counts to three, but he remains on her doorstep and she invites him inside. Noticing that she has no food, Turner goes to a store and returns to make a candle-lit, turkey sandwich Thanksgiving dinner. As Viveca becomes increasingly intoxicated and tells Turner that she was once a promising actress, Jacky phones, and Viveca falls asleep with the receiver in her hand. Turner tidies the bathroom, closes the shower door, and leaves. The next morning, Viveca discovers Bobby Korshack’s corpse in her shower and runs away as police officers converge at the apartment. Turner, who happens to be driving by, grabs Viveca and calms her with beer. She tells him about her blackout and Korshack’s murder, but she refuses to call the police because her former husband had her imprisoned for domestic violence. Viveca adds that she is currently married to her hairdresser, Jacky, though they live apart. She insists that she has been framed for Korshack’s murder. Despite a mounting animosity between them, Turner delivers the actress to the apartment of her drag queen friend, Frankie, who lends her clothes and makeup. Heading back outside, Viveca is surprised to find Turner waiting in his jalopy. He declares that she must be innocent, because he did not see Korshack’s body in her shower the night before. At a café, Turner learns that Viveca and Jacky separated not long after their wedding, but Jacky, an ambitious entrepreneur, continues to support Viveca financially. Turner convinces the actress to telephone his former police colleague, Sgt. Herb Greenbaum. She anonymously reports that the murder occurred at Korshack’s studio downtown, not her apartment, where the body was found. Turner then takes Viveca to his makeshift, Quonset hut home, and she is delighted by his extensive book collection. Admitting that her real name is Alexandra “Alex” Sternbergen, Viveca refuses Turner’s offer of vodka, and they make love. However, Viveca awakens in the night and gets drunk. In the morning, Turner gives Viveca a newspaper that announces she is a murder suspect. Intoxicated and belligerent, Viveca becomes incensed when Turner suggests she is the perfect target for a swindler. Although Turner orders Viveca to stay at his home, she sneaks away to meet her lawyer, Hurley, who says that Jacky contacted him to start divorce proceedings. Startled by the news, Viveca heads to Jacky’s salon and asks him to change her appearance. Jacky is seeking the divorce because he is courting another client, heiress Isabel Harding, who will finance his career. Meanwhile, Turner returns to Korshack’s building, interviews a neighbor, and finds the photographer’s abandoned cat. Outside, Turner runs into Sgt. Greenbaum and feigns ignorance about the case, but the detective orders his men to track down Turner’s home address. Back at the salon, Viveca is delighted by her transformation into a brunette, and her return to her true identity as Alex Sternbergen. When she tells Jacky about Turner, the hairdresser suggests that Turner is Korshack’s killer and convinces Viveca to stay at the salon while he attends a dinner party at the home of Isabel’s wealthy parents. That evening, Turner goes to the salon, unaware that Sgt. Greenbaum is following him. When Viveca discovers Turner in a wig closet, he declares that Korshack’s killer framed the actress by having another woman, disguised as Viveca, run through the hall to confuse the photographer’s neighbors. When Turner points out Alex’s new hair color, the actress realizes that Jacky deceived her. Meanwhile, Jacky and Isabel return to the salon. The hairdresser hits Turner over the head with a vase, knocking him to the ground, then restrains Viveca. Revealing that Isabel is Korshack’s true killer, Jacky attempts to drown Viveca in the bathtub, but Turner regains consciousness and shoots him in the arm. Just then, Sgt. Greenbaum and his policemen arrive, and Isabel pins the murder on Jacky. However, Jacky explains that Isabel murdered the photographer because he was blackmailing her with illicit photographs. Sgt. Greenbaum is sympathetic to Isabel’s plea when he learns that her father is a judge, and Jacky realizes he has been had. Sometime later, Viveca, now calling herself Alex, visits Turner at the hospital and reports that Jacky and Isabel are both suspects in the murder. Turner believes Isabel is guilty, but expects that Jacky will be held accountable. Announcing that she has been sober two days, Alex admits that she wants to pursue a relationship with Turner, and he confesses to being a former alcoholic. Despite their attraction, Turner asks Alex to disappear by the time he counts to three, and she walks out the door. Remembering how Turner remained at her doorstep the night they met, Alex returns to his bedside and tearfully declares that he makes her happy.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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