That Cold Day in the Park (1969)

R | 112 or 115 mins | Drama | 8 June 1969

Director:

Robert Altman

Writer:

Gillian Freeman

Cinematographer:

Laszlo Kovacs

Production Designer:

Leon Ericksen

Production Company:

Factor--Altman--Mirell Films
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HISTORY

On 6 Mar 1967, DV announced that filmmaker Robert Altman had optioned film rights to the 1965 Richard Miles novel, That Cold Day in the Park. The project represented Altman’s first endeavor under the Factor—Altman—Mirell Films banner, which he co-founded with producers Donald Factor and Leon Mirell. Although Barbara Turner was originally attached to write the screenplay, a 3 May 1967 DV brief noted she had been replaced by Gillian Freeman. According to the 2 Oct 1968 issue, Turner’s initial draft moved the story’s setting of Paris, France, to London, England. Freeman’s revisions subsequently relocated the action to Vancouver, Canada, where the picture would be filmed.
       Principal photography began 16 Oct 1968, as noted by a Var brief published that day. The project marked the first U.S. production to be headquartered at Panorama Studios, which, due to ongoing legal disputes, had housed only two films since its construction in 1962. An article in the 22 Dec 1968 LAT stated that the producers planned to split the $1.2 million budget with distributor Commonwealth United Entertainment, using a fifty-person crew mostly comprised of Canadians. Locations included Wing’s Café, the city’s “skid row,” and a restroom at the Belmont Hotel. Filming was expected to be completed within eight weeks.
       According to the 21 Feb 1969 DV, That Cold Day in the Park was heavily promoted at the Show-A-Rama cinema distribution fair in Kansas City, MO. The 2 May 1969 DV also noted that the film was submitted as Canada’s official entry in that year’s Cannes Film Festival.
       Following a preview screening for press ...

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On 6 Mar 1967, DV announced that filmmaker Robert Altman had optioned film rights to the 1965 Richard Miles novel, That Cold Day in the Park. The project represented Altman’s first endeavor under the Factor—Altman—Mirell Films banner, which he co-founded with producers Donald Factor and Leon Mirell. Although Barbara Turner was originally attached to write the screenplay, a 3 May 1967 DV brief noted she had been replaced by Gillian Freeman. According to the 2 Oct 1968 issue, Turner’s initial draft moved the story’s setting of Paris, France, to London, England. Freeman’s revisions subsequently relocated the action to Vancouver, Canada, where the picture would be filmed.
       Principal photography began 16 Oct 1968, as noted by a Var brief published that day. The project marked the first U.S. production to be headquartered at Panorama Studios, which, due to ongoing legal disputes, had housed only two films since its construction in 1962. An article in the 22 Dec 1968 LAT stated that the producers planned to split the $1.2 million budget with distributor Commonwealth United Entertainment, using a fifty-person crew mostly comprised of Canadians. Locations included Wing’s Café, the city’s “skid row,” and a restroom at the Belmont Hotel. Filming was expected to be completed within eight weeks.
       According to the 21 Feb 1969 DV, That Cold Day in the Park was heavily promoted at the Show-A-Rama cinema distribution fair in Kansas City, MO. The 2 May 1969 DV also noted that the film was submitted as Canada’s official entry in that year’s Cannes Film Festival.
       Following a preview screening for press and exhibitors, the 4 Jun 1969 Var reported that several minutes were cut from the film to avoid an X rating. Edited footage included a doctor’s room examination, a bathtub scene featuring Sandy Dennis and Michael Burns, and a sex scene between Luana Anders and John Garfield, Jr.
       With an R rating approved by the Motion Picture Association of America (MPAA), the film opened 8 Jun 1969 at New York City’s Orleans and Plaza Theaters. The 26 Jun 1969 LAT review noted that the Los Angeles, CA, engagement began the previous day at the United Artists Theater in Westwood. According to the 11 Jun 1969 Var, Dell Publishing planned a special edition reissue of Miles’s novel to coincide with the film’s release.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
6 Mar 1967
p. 3
Daily Variety
3 May 1967
p. 2
Daily Variety
2 Oct 1968
p. 12
Daily Variety
21 Feb 1969
p. 9
Daily Variety
2 May 1969
p. 3
Los Angeles Times
22 Dec 1968
Section B, pp. 26-27, 36
Los Angeles Times
26 Jun 1969
Section D, p. 1
New York Times
9 Jun 1969
p. 59
Variety
16 Oct 1968
---
Variety
4 Jun 1969
p. 7
Variety
11 Jun 1969
p. 28
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
PRODUCERS
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
MUSIC
SOUND
PRODUCTION MISC
Prod mgr
SOURCES
LITERARY
Based on the novel That Cold Day in the Park by Richard Miles (New York, 1965).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
8 June 1969
Premiere Information:
New York opening: 8 Jun 1969; Los Angeles opening: 25 Jun 1969
Production Date:
began 16 Oct 1968
Physical Properties:
Sound
Color
Eastman Color
Duration(in mins):
112 or 115
MPAA Rating:
R
Countries:
Canada, United States
Language:
English
SYNOPSIS

Frances Austen, a wealthy spinster in her early 30's, spots a bedraggled young man huddled in the rain on a park bench across from her elegant Vancouver apartment. Strangely attracted to him, she waits until her dinner guests leave, dismisses the maid, and goes to the park to invite the young man in. Accepting wordlessly, he follows Frances into her home and allows her to pamper him as he listens to her incessant chatter. Assuming that the boy is a mute, Frances offers him the guest room for the night and serves him breakfast in the morning. Late that night, the boy sneaks away, visits his family, and then goes to see his sister Nina, who lives on a houseboat with Nick, an American draft dodger. While the three are smoking marijuana, the boy talks about his good fortune but denies Nick's contention that Frances is paying for his sexual services. Frances welcomes him when he returns and unknowingly accepts drugged cookies from him. The next day, Nina arrives while Frances is out, uses the bath, and taunts her brother with incestuous invitations. Frances, meanwhile, has become obsessed with the boy, and that night she enters his darkened room and imploringly offers herself to him only to discover that he has gone out again. Furious, she waits until the boy returns the next morning and makes him a prisoner in her apartment. The boy finally speaks to Frances, screaming that he does not want or need her. Now determined not to lose him, Frances persuades Sylvie, a prostitute, to come to the house. After locking the boy and girl in a room, Frances bursts in while they are having ...

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Frances Austen, a wealthy spinster in her early 30's, spots a bedraggled young man huddled in the rain on a park bench across from her elegant Vancouver apartment. Strangely attracted to him, she waits until her dinner guests leave, dismisses the maid, and goes to the park to invite the young man in. Accepting wordlessly, he follows Frances into her home and allows her to pamper him as he listens to her incessant chatter. Assuming that the boy is a mute, Frances offers him the guest room for the night and serves him breakfast in the morning. Late that night, the boy sneaks away, visits his family, and then goes to see his sister Nina, who lives on a houseboat with Nick, an American draft dodger. While the three are smoking marijuana, the boy talks about his good fortune but denies Nick's contention that Frances is paying for his sexual services. Frances welcomes him when he returns and unknowingly accepts drugged cookies from him. The next day, Nina arrives while Frances is out, uses the bath, and taunts her brother with incestuous invitations. Frances, meanwhile, has become obsessed with the boy, and that night she enters his darkened room and imploringly offers herself to him only to discover that he has gone out again. Furious, she waits until the boy returns the next morning and makes him a prisoner in her apartment. The boy finally speaks to Frances, screaming that he does not want or need her. Now determined not to lose him, Frances persuades Sylvie, a prostitute, to come to the house. After locking the boy and girl in a room, Frances bursts in while they are having sex and plunges a knife into the prostitute. Terrified, the boy tries to hide, but the demented Frances finds him and passionately clutches her prisoner.

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

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.