The summary for this unviewed film is based on reviews in the 10 Sep 1980 Var, the 5 Jun 1981 LAT, the 8 May 1981 NYT, and an article in the Jan 1979 American Film. The credits are per a screen credits report in AMPAS library files and may not accurately reflect onscreen credits.
       According to articles in the 19 Jul 1978 LAT and the Jan 1979 American Film, screenwriter Charles Eastman wrote the screenplay, then titled The Hamster of Happiness, in 1969 with the intention of making his directorial debut with the film. The 19 Dec 1969 Var announced that Warner Bros. made a deal with Eastman to direct, which included a second script by Eastman, The All-American Boy (1973, see entry). However, the Warner Bros. deal put The All-American Boy in first position, and Eastman made his directorial debut on that modestly budgeted film starring Jon Voight. Eastman went over budget, and the studio, unhappy with the rough cut, removed Eastman from the project. Warner Bros. recut the film, and eventually released it in New York in Oct 1973, where it “quickly died.” Eastman’s deal with Warner Bros. had him directing The Hamster of Happiness as his second film, and the studio wanted to cast Jon Voight and Goldie Hawn . The 26 Jan 1970 HR reported Eastman had revised the screenplay, and principal photography would begin in late Feb 1970. The 12 Feb 1970 HR reported Joe Naar would produce the film for Warner Bros. However, due to the problems with The All-American Boy, the studio’s enthusiasm for The Hamster of Happiness “cooled.” Eastman decided to break with the studio and offered to buy back script. He later claimed that the studio made $14,000 on the deal.
       Eastman repeatedly attempted to set up the project with himself as director. The 17 Feb 1973 DV announced that Howard J. Zukor Productions would make the film in association with My Shoe Productions. Eastman would write and direct, Howard J. Zukor and Reggie Fisher were to produce, and actress Susan Tyrrell was cast to star. The film would be independently financed, and principal photography in Texas was scheduled to begin summer 1973. When that deal fell apart, Eastman continued his attempts to set up the project, but repeatedly “ran into resistance” with his insistence on directing. By early 1978, Eastman was in debt, “exhausted by the struggle,” and ready to move on to other projects, when he was approached by actor Robert Blake and his producing partner, James William Guercio. He accepted their offer, and the script was optioned through Guerico’s Caribou Productions. They brought the film to director Hal Ashby, who had first been interested in The Hamster of Happiness in 1971, but had backed off when he learned Eastman wanted to direct. Ashby had recently signed an agreement to direct several films for Lorimar Productions, and was scheduled to begin production on Being There (1979, see entry) in fall 1978. Ashby decided to speed up the production process of his films, and suggested shooting The Hamster of Happiness and Being There back to back, with a six week hiatus between the two films. And then he would simultaneously edit both films in 1979. An item in the 24 Jan 1979 LAT reported that Ashby “wanted to experiment” by putting one film aside to obtain distance and objectivity while he filmed the second project.
       The project was budgeted at $4.5 million and principal photography began 18 Jul 1978 in El Paso, TX. Reportedly, the tight shooting schedule resulted in a strained production.
       The 5 Sep 1979 Var announced that United Artists, which was handling distribution, changed the title to Second Hand Hearts.
       An article in the 25 Jul 1980 DV reported that United Artists was contracted to distribute Lorimar’s productions through the end of 1981, but the companies terminated the agreement early. United Artists had planned to release the “long delayed” Second Hand Hearts in fall 1980, but its release was now in limbo as Lorimar considered distribution options, including setting up its own distribution unit.
       The 10 Sep 1980 Var reviewed the film at the 1980 Montreal World Film Fest, noting it was a last-minute addition and one of a group of American films having trouble getting distribution deals and release dates. The review noted the audience was “unenthusiastic” and many attendees walked-out during the showing. The film was released on 8 May 1982 to negative reviews. An article in the Dec 1981 Rolling Stone, titled “Big Bucks, Big Losers – Twenty-four films that bombed in 1981,” reported the production budget was $7 million and domestic film rentals were less than $10,000.