Hardcore (1979)

R | 107 mins | Drama | 1979

Director:

Paul Schrader

Writer:

Paul Schrader

Producer:

Buzz Feitshans

Cinematographer:

Michael Chapman

Editor:

Tom Rolf

Production Designer:

Paul Sylbert

Production Company:

A-Team
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HISTORY

The summary for this entry was completed with participation from the AFI Academic Network. Summary was written by participant Dane Heiss, a student at Oregon State University, with Jon Lewis as academic advisor.

As noted in a 27 Feb 1976 LAT article, writer-director Paul Schrader began pre-production on the picture with executive producer John Milius in the summer of 1976 for Warner Bros. After a shift in the studio’s management, Warner Bros. executives recruited actor Warren Beatty to produce and star in the film. Schrader, who was originally hired to direct the picture, was paid over $500,000 by Warner Bros. to cancel his contract. LAT stated that the studio wanted Schrader to prioritize the development of a biographical film about Hank Williams which, according to George Kouvaros’s biography of the director, Paul Schrader (2008), was never produced. LAT noted that a new director had not been hired, but Beatty, who was also contracted to work on the script with Schrader, was under consideration.
       An 11 Aug 1976 LAT article announced that Beatty left the project. Subsequently, Warner Bros.’s deal with Schrader, which stipulated that he could not direct the film, was reversed because it was contingent on Beatty’s participation in the picture. Schrader told LAT that Warner Bros. had one week to sign another “seven-figure actor” to the starring role, and after that time he was free to sell the script to another studio. Although Schrader claimed Beatty backed out of the project because Arthur Penn and Mike Nichols were unavailable to direct, Beatty stated that it was urgent for ...

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The summary for this entry was completed with participation from the AFI Academic Network. Summary was written by participant Dane Heiss, a student at Oregon State University, with Jon Lewis as academic advisor.

As noted in a 27 Feb 1976 LAT article, writer-director Paul Schrader began pre-production on the picture with executive producer John Milius in the summer of 1976 for Warner Bros. After a shift in the studio’s management, Warner Bros. executives recruited actor Warren Beatty to produce and star in the film. Schrader, who was originally hired to direct the picture, was paid over $500,000 by Warner Bros. to cancel his contract. LAT stated that the studio wanted Schrader to prioritize the development of a biographical film about Hank Williams which, according to George Kouvaros’s biography of the director, Paul Schrader (2008), was never produced. LAT noted that a new director had not been hired, but Beatty, who was also contracted to work on the script with Schrader, was under consideration.
       An 11 Aug 1976 LAT article announced that Beatty left the project. Subsequently, Warner Bros.’s deal with Schrader, which stipulated that he could not direct the film, was reversed because it was contingent on Beatty’s participation in the picture. Schrader told LAT that Warner Bros. had one week to sign another “seven-figure actor” to the starring role, and after that time he was free to sell the script to another studio. Although Schrader claimed Beatty backed out of the project because Arthur Penn and Mike Nichols were unavailable to direct, Beatty stated that it was urgent for him to focus on a biographical film about Howard Hughes that he had been working on for several years. Beatty was still developing the Hughes project in Jun 2012, according to a 17 Jun 2012 HR article retrieved online.
       While various contemporary publications about the film’s pre-production referred to the title as Hard Core, a 7 Sep 1977 LAT news item noted the single word used for its release, Hardcore.
       A 6 Apr 1977 Var news item announced that Schrader entered into a multi-picture contract with Columbia Pictures, and Hard Core was set to be the first picture produced. Principal photography was scheduled to begin in the last months of 1977. On 27 Mar 1978, Box reported that filming began 6 Feb 1978 in San Diego, CA, with George C. Scott in the lead role and Schrader directing.
       According to various contemporary sources, including LAT articles on 12 Mar 1978 and 25 Mar 1979, Schrader based the script on personal experience, growing up a Calvinist in Grand Rapids, MI, and studying theology at the town’s Calvin College. In the 12 Mar 1978 LAT article, Schrader stated that his local church, a Christmas family reunion, and a factory where he once worked were depicted in the film. Schrader also cast his parents to play uncredited roles. However, Schrader claimed that shooting in Grand Rapids was unpleasant because the town was not supportive of his success as a filmmaker and did not appreciate his efforts to portray the community sympathetically. In a 12 Mar 1978 LAT article, Schrader said that he received “intimidating” phone calls and notes from disapproving townspeople while filming in Grand Rapids. Schrader noted that watching movies was forbidden by the church, and when he wrote about film for the Calvin College newspaper as a student, he lost his job.        As stated in the 25 Mar 1979 LAT article, Schrader referred to the film by its original title, The Pilgrim, while shooting in Grand Rapids to avoid “prejudice.” However, town residents felt deceived and claimed that Schrader depicted them as caricatures. LAT noted that the film showed only the older elements of Grand Rapids’s “central city” and Schrader’s failure to include images of the town’s new high-rises and tract homes played upon inaccurate stereotypes of mid-western conservatism and homogeny.
       The Adult Film Association of America (AFAA) was also displeased with Schrader’s depiction of them, according to a 29 Mar 1978 DV article, and one member reportedly refused an offer to direct a “hard core sex scene” in the film because he found the script “rife with misrepresentations which would besmirch the image of the porno industry.” Although Schrader denied asking the organization for assistance, AFAA chairman David Friedman told LAT that he urged his colleagues to boycott the picture and refuse any offers to participate in its production. The AFAA took offense to the film’s depiction of “snuff” filmmaking, which portrays murder for sexual arousal, and the industry’s exploitation of women through abduction and coercion. While Schrader admitted that he found pornography fundamentally “degrading” and that he used artistic license to enhance the film’s intrigue, he argued that the AFAA unfairly denounced the picture, noting that its violence was implied and there was “not a gun or a knife in the movie.” Schrader stated that he intentionally toned down the pornographic sequences to work “within the confines… of an R-rated movie.”
       On 20 Feb 1979, DV announced that the U.S. Catholic Conference “condemned” Hardcore because of its profanity, nudity and “ridicule” of Christianity. The conference called the film “crude and simplistic” with an unrealistic resolution and stated that despite Schrader’s intent, these elements diminished the moral significance of the picture’s subject matter.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
27 Mar 1978
---
Daily Variety
29 Mar 1978
---
Daily Variety
9 Feb 1979
---
Daily Variety
20 Feb 1979
p. 1, 3
Hollywood Reporter
9 Feb 1979
p. 10, 21
Hollywood Reporter
17 Jun 2012
---
Los Angeles Times
27 Feb 1976
---
Los Angeles Times
11 Aug 1976
---
Los Angeles Times
7 Sep 1977
---
Los Angeles Times
12 Mar 1978
---
Los Angeles Times
16 Feb 1979
p. 1
Los Angeles Times
25 Mar 1979
Calendar, p. 6
New York Times
9 Feb 1979
p. 5
Variety
6 Apr 1977
---
Variety
14 Feb 1979
p. 23
Variety
21 Feb 1979
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
Richard Hashimoto
Asst dir
2d asst dir
PRODUCERS
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
2d unit photog
Cam op
1st asst op
2d asst op
Gaffer
Key grip
Dolly grip
Bestboy grip
Bestboy elec
Elec
ART DIRECTORS
Prod des
Art dir
FILM EDITORS
Asst film ed
SET DECORATORS
Set dec
Eddie Aiona
Prop master
Asst prop
Leadman
Swingman
Const coord
Const foreman
COSTUMES
Men's ward supv
Women's ward supv
MUSIC
Electronic mus
Electronic mus
SOUND
Sd eff ed
Sd eff ed
Sd mixer
Dubbing mixer
Dubbing mixer
Dubbing mixer
VISUAL EFFECTS
Titles and opticals by
MAKEUP
Makeup artist
Hairstylist
PRODUCTION MISC
Casting
Casting asst
Jeannine Oppewall
Project consultant
Scr supv
Loc by
Transportation coord
Project coord
Asst to prod
Asst to Paul Schrader
Secy to Paul Schrader
Pub
Prod services and equip provided by
Burbank, California
SOURCES
SONGS
"Easy Slider," written by Willy DeVille, performed by Mink DeVille, courtesy of Capitol Records; "Guardian Angel," performed by Mink DeVille, courtesy of Capitol Records; "Helpless," written by Neil Young, performed by Crosby, Stills, Nash & Young, courtesy of Atlantic Records; "Man's Depravity," words & music by Larry J. tenHarmsel; "Precious Memories," written by Buck Owens, performed by Susan Raye, courtesy of Buck Owens Enterprises and Capitol Records; "World I'm Livin' In," written by Jack Virgil Skinner, performed by Byron Berline & Sundance, courtesy of MCA Records.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Alternate Titles:
Hardcore Life
The Hardcore Life
Release Date:
1979
Premiere Information:
New York opening: 9 Feb 1979; Los Angeles opening: 16 Feb 1979
Production Date:
began 6 Feb 1978 in San Diego
Copyright Info
Claimant
Date
Copyright Number
Columbia Pictures Industries, Inc.
2 April 1979
PA28015
Physical Properties:
Sound
Color
Lenses/Prints
Prints by Metrocolor
Duration(in mins):
107
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

On Christmas day in Grand Rapids, Michigan, businessman Jake VanDorn’s family hosts a celebration for their community in the Dutch Reformation Church. Sometime later, Jake’s daughter, Kristen, boards a bus for Bellflower, California, to attend the Youth Calvinist Convention, and, after seeing her off, Jake supervises work at his furniture factory. That Sunday, following church services, Jake receives a phone call, alerting him to Kristen’s disappearance during a field trip to Knott’s Berry Farm, and he flies to California with his brother-in-law, Wes DeJong. There, Wes’s daughter, Marsha, explains that Kristen was last seen with an older boy that she met at the park, and Detective Burrows suggests that Jake seek help outside of the police force. Jake and Wes meet private detective Andy Mast, who promises to find Kristen for a fee of $750 a week and asks Jake to go back to Grand Rapids to look for clues. At home, Jake is troubled by Kristen’s disappearance and Wes encourages him to hold faith. Jake soon receives a call from Mast, who has arrived in Grand Rapids. When Mast takes Jake to a pornographic movie theater to show him a hardcore film which features Kristen, Slave of Love, Jake cries and screams for Mast to turn off the projector. Mast explains the transient nature of the pornographic film industry and says he does not yet know Kristen’s whereabouts. Back in Los Angeles, Mast goes to the motel room set of a hardcore film to question his former colleague, Bill Ramada, but the man claims ignorance about Kristen. ...

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On Christmas day in Grand Rapids, Michigan, businessman Jake VanDorn’s family hosts a celebration for their community in the Dutch Reformation Church. Sometime later, Jake’s daughter, Kristen, boards a bus for Bellflower, California, to attend the Youth Calvinist Convention, and, after seeing her off, Jake supervises work at his furniture factory. That Sunday, following church services, Jake receives a phone call, alerting him to Kristen’s disappearance during a field trip to Knott’s Berry Farm, and he flies to California with his brother-in-law, Wes DeJong. There, Wes’s daughter, Marsha, explains that Kristen was last seen with an older boy that she met at the park, and Detective Burrows suggests that Jake seek help outside of the police force. Jake and Wes meet private detective Andy Mast, who promises to find Kristen for a fee of $750 a week and asks Jake to go back to Grand Rapids to look for clues. At home, Jake is troubled by Kristen’s disappearance and Wes encourages him to hold faith. Jake soon receives a call from Mast, who has arrived in Grand Rapids. When Mast takes Jake to a pornographic movie theater to show him a hardcore film which features Kristen, Slave of Love, Jake cries and screams for Mast to turn off the projector. Mast explains the transient nature of the pornographic film industry and says he does not yet know Kristen’s whereabouts. Back in Los Angeles, Mast goes to the motel room set of a hardcore film to question his former colleague, Bill Ramada, but the man claims ignorance about Kristen. Four months later, Jake returns to California to search for Kristen, himself. Paying a surprise visit to Masts’s apartment, Jake discovers the detective seducing a porn star named Terry. After firing Mast and kicking him out of his own residence, Jake finds film stills from Slave of Love and begins an investigation of Los Angeles’s red light district. Outraged that no one will identify Kristen from the photographs, Jake decides to pose as a pornographic film producer, using the alias “Jake Devries,” and meets with Ramada and his partner, Kurt. Ramada turns down Jake’s offer to invest $50,000 but promises to introduce him to less established filmmakers who might be interested. Later, Jake posts a classified advertisement in a local newspaper for pornographic actors, hoping to meet Kristen’s co-star in Slave of Love . On the set of one of Ramada’s films, Jake meets a porn star named Niki. Back at his motel room, Jake is confronted by Wes, who has come from Grand Rapids with concern for his brother-in-law, but Jake asks him to leave. The next day, Jake holds casting calls for his mock film, and after a series of unsuccessful interviews, he meets Jim Sloane, a.k.a. Jism Jim, whom he identifies as the actor in the Slave of Love film stills. However, when Jake shows Jim a photograph and expresses interest in hiring Kristen, Jim argues that he will never work with her again because she injured him during sex and exhibited strange behaviors. Hitting Jim over the head with a lamp and dragging him into the shower, Jake forces the young man to report that Kristen worked with a man named Tod, who lives in San Diego. Although Jim knows nothing more about Kristen, he refers Jake to Niki, claiming that she is in contact with Tod. At a peep show parlor, Jake reunites with Niki and agrees to pay her $900 a week for her assistance. Meanwhile, Wes finds Mast at a restaurant and hires him to protect Jake. At a motel, Jake explains to Niki that Kristen is his daughter and his wife is deceased. The next day, as they wait at the airport for a flight to San Diego, Niki describes herself as a Venusian, a believer in Venus, the goddess of love, and claims that Jake’s Calvinism is negative and punitive. In San Diego, Niki tracks down a former client named Jim Rucker. She learns that Tod has been working with Ratan, a dangerous, sadomasochistic filmmaker, in Tijuana, Mexico, but is now residing in San Francisco. After Niki and Jake relocate to San Francisco, Niki sets up a meeting between Jake and Tod. As she and Jake wait at their motel, Niki accurately surmises that Jake’s wife is not really dead and suggests that Kristen became troubled when her mother left the family for a new life. Admitting that she is at the mercy of her pimp, Niki concludes that both she and Jake are victims of misfortune. Just then, Mast knocks on the motel room door and reports that the police are concerned about Jake’s safety. When Jake inquires about Ratan, Mast says the man is a threat and offers to work on the case. Later, at a meeting with Tod, Jake asks to meet Ratan. Although Tod feigns ignorance of Ratan, he agrees to let Jake view a sadomasochistic film they recently shot together in Mexico, featuring Kristen, in which Ratan murders two people. Returning to his motel room, Jake finds Mast quarreling with Niki, and when the detective leaves, Jake demands that Niki reveal Tod’s whereabouts. She refuses, concerned that Jake will abandon her once he finds his daughter, but when Jake hits her, she admits that Tod works at a bondage house in North Beach. Kissing Niki’s forehead, Jake promises not to forget her. As Jake leaves, Mast tries to stop him and calls the police. At the sadomasochistic club, Jake finds Tod and demands to know the location of Kristen and Ratan. As Tod smashes through the thin walls of the club’s dungeons, Jake gives chase and accosts him outside. Threatened by Jake’s aggression, Tod confesses that Ratan is at a nearby bar called El Matador. There, Jake confronts Ratan and Kristen, but Ratan pursues him with a knife. As Ratan runs from the bar, Mast arrives and shoots him in the back, killing him. Meanwhile, Kristen hides in the bar’s cellar and begs her father not to hurt her. Although Jake thinks Kristen was forced into pornography, she admits to willfully leaving her father and accuses Jake of disregarding her needs. When Kristen claims her new friends care more for her than Jake, her father tearfully confesses his inability to show love and promises to change. Despite Kristen’s demand that Jake leave, she decides to return to her father’s care. After Jake guides Kristen into a police car, he sees Niki in the crowd and offers to help her, but she walks away. When Jake asks Mast to look after Niki, the detective tells him to go home. Mast claims there is nothing Jake can do to rescue Niki because he does not belong in her world. Nodding in agreement, Jake joins his daughter in the police car.

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

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