Full Moon in Blue Water (1988)

R | 95 mins | Comedy-drama | 23 November 1988

Director:

Peter Masterson

Writer:

Bill Bozzone

Cinematographer:

Fred Murphy

Editor:

Jill Savitt

Production Designer:

Neil Spisak

Production Company:

Trans World Entertainment
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HISTORY

Principal photography began 31 Aug 1987, according to a 1 Sep 1987 DV production chart. Production notes in AMPAS library files indicate that filming started in Houston, TX, before moving to a location on the Texas Gulf Coast for a six-week shoot. An article in the Oct 1988 issue of AmCin indicated that filming took place primarily in a “real bar” that had been transformed to accommodate a roving camera style. Director of photography Fred Murphy explained that scenes were designed to move from “one end of the bar to the other, in and out of rooms, watching people from other rooms and creeping up on the actors.” To create a smooth surface for the camera dolly, the entire 4,000-square-foot floor was replaced with new plywood panels. Murphy noted that shooting over such a big area, while moving seamlessly between wide shots and close-ups, was further complicated by the bright coastal light. “On the gulf … it was just raging, raging light, [and we had to create] the illusion of the proper time of day.” Mirrors and gel layers on the windows were used to control the light during filming, with color tones corrected during the film printing process. Murphy also shot the home movies featuring “Floyd’s” wife, using 16mm film and projecting the reels using a 16mm projector. However, in the film, Floyd watches the movies from a compact-sized 8mm projector. In a somewhat mixed 23 Nov 1988 review, the LAT called Murphy a “heartland poet of light,” praising his technical contribution to an otherwise predictable film.
       A 2 Apr 1987 HR news item indicated that the $8 million picture ...

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Principal photography began 31 Aug 1987, according to a 1 Sep 1987 DV production chart. Production notes in AMPAS library files indicate that filming started in Houston, TX, before moving to a location on the Texas Gulf Coast for a six-week shoot. An article in the Oct 1988 issue of AmCin indicated that filming took place primarily in a “real bar” that had been transformed to accommodate a roving camera style. Director of photography Fred Murphy explained that scenes were designed to move from “one end of the bar to the other, in and out of rooms, watching people from other rooms and creeping up on the actors.” To create a smooth surface for the camera dolly, the entire 4,000-square-foot floor was replaced with new plywood panels. Murphy noted that shooting over such a big area, while moving seamlessly between wide shots and close-ups, was further complicated by the bright coastal light. “On the gulf … it was just raging, raging light, [and we had to create] the illusion of the proper time of day.” Mirrors and gel layers on the windows were used to control the light during filming, with color tones corrected during the film printing process. Murphy also shot the home movies featuring “Floyd’s” wife, using 16mm film and projecting the reels using a 16mm projector. However, in the film, Floyd watches the movies from a compact-sized 8mm projector. In a somewhat mixed 23 Nov 1988 review, the LAT called Murphy a “heartland poet of light,” praising his technical contribution to an otherwise predictable film.
       A 2 Apr 1987 HR news item indicated that the $8 million picture marked Trans World Entertainment’s highest budgeted film to date. Although a 16 Sep 1987 DV news brief anticipated a spring 1988 release, the film did not open until fall 1988. After a 20 Sep 1988 screening at the Boston Film Festival, Full Moon in Blue Water was slated to open 23 Nov 1988, but only in Los Angeles, CA, New York City, Houston, TX, Chicago, IL, and Toronto, Canada, according to the 16 Nov 1988 HR. Reviews were generally negative, with most critics faulting the “stage-bound” quality of off-Broadway playwright Bill Bozzone’s script. HR’s 22 Nov 1988 review noted that Bozzone originally wanted to craft the story into a play, but “couldn’t make it work.”
       End credits include the following acknowledgements: “Special thanks to: Frans Afman, Credit Lyonnais Bank Nederland; the cities and people of Kemah, Texas; Laporte, Texas; Seabrook, Texas; [and] Clear Lake, Texas; Steve Moore, Lisa Graziano, and The Houston Film Commission; George Sheffield; The Sheraton King’s Inn, Clear Lake, Texas; Dorothy Fuller and Steve Sundberg; Continental Airlines and Cathy Lynch; Diamond P. Sports and The Nashville Network; Special appearance by The Glow Girls; Sherwood Cryer and Gilley’s Club.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Oct 1988
pp. 34-37
Daily Variety
1 Sep 1987
---
Daily Variety
16 Sep 1987
---
Hollywood Reporter
2 Apr 1987
---
Hollywood Reporter
9 Jun 1987
---
Hollywood Reporter
16 Nov 1988
---
Hollywood Reporter
22 Nov 1988
p. 5, 40
Los Angeles Magazine
Nov 1988
---
Los Angeles Times
23 Nov 1988
Calendar, p. 12
New York Times
23 Nov 1988
Section C, p. 15
Variety
28 Sep 1988
p. 17
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Trans World Entertainment presents
A Turman-Foster Company Production
A Peter Masterson Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
PRODUCERS
Assoc prod
Exec prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
1st asst cam
2d asst cam
Gaffer
Best boy elec
Elec
Best boy grip
Still photog
Still photog
ART DIRECTORS
Prod des
Asst art dir
Asst art dir
Art dept asst
FILM EDITORS
Asst ed
Apprentice ed
Apprentice ed
Apprentice ed
Negative conforming
Dailies advisor
SET DECORATORS
Set dec
Set dresser
Prop master
Asst prop
Prop dept asst
Const supv
Scenic artist
Asst scenic artist
Const
Const
Const
Const
Const
Const
COSTUMES
Cost des
Ward supv
Ward asst
Ward asst
MUSIC
Mus ed
Mus coord
Scoring mixer
Loc mus advisor
SOUND
Sd mixer
Boom op
Cable person
Supv sd ed
Sd ed
Harriet Fidlow Winn
ADR ed
Asst ADR ed
ADR rec eng
Sound One
Foley supv
Asst sd ed
Asst sd ed
Apprentice sd ed
Re-rec mixer
Re-rec studio
VISUAL EFFECTS
Titles & opticals
Title des
MAKEUP
Makeup artist
Hairstylist
Hairstylist
PRODUCTION MISC
Exec in charge of prod
Exec in charge of prod
Casting
Casting
Exec prod mgr
Scr supv
Prod coord/Loc mgr
Loc mgr
Asst prod coord
Prod coord/L.A.
Asst to Mr. Masterson
Asst to prod/L.A.
Post prod supv
TWE prod supv
Post prod coord
Post prod coord
Prod asst
Prod asst
Prod asst
Prod secy
Prod secy
Prod secy
Prod accountant
Extras casting
Loc scout
Transportation coord
Transportation capt
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
First aid/Craft service
Catering by
Catering by
Catering by
Cook's asst
Unit pub
AFI intern
Intern
STAND INS
Stunt coord
Jimmy stunt double
COLOR PERSONNEL
SOURCES
SONGS
"Don't Get Around Much Anymore," music Duke Ellington, lyrics Bob Russell, performed by Willie Nelson, produced by Booker T. Jones, courtesy of C.B.S. Records, Harrison Music Corp. (ASCAP)/SBK Robbins Catalogue Inc. (ASCAP); "I Know I Belong To You," music & lyrics by John Dumke, performed by The Bayou City Beats, vocals Billy Donahue, drums Terry Westbrook, bass Billy Donahue, guitar John Keese, steel guitar Larry Lehmann, band leader & fiddle instructor Robert Herridge, produced by John Dumke for Cryer/Dumke Productions; "Not A Tooth In Her Head (But Man Could She Beat A Drum)," music & lyrics by John Dumke, performed by The Bayou City Beats, vocals Billy Donahue, drums Terry Westbrook, bass Billy Donahue, guitar John Keese, steel guitar Larry Lehmann, band leader & fiddle instructor Robert Herridge, produced by John Dumke for Cryer/Dumke Productions; "Survivor Of Love," music & lyrics by Phil Marshall, performed by The Mersh Bros. Band, produced by Phil Marshall; "Soft Way Of Talking," music & lyrics by Phil Marshall, performed by The Mersh Bros. Band, produced by Phil Marshall.
SONGWRITERS/COMPOSERS
+
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
23 November 1988
Premiere Information:
Boston Film Festival screening: 20 Sep 1988; Los Angeles and New York openings: 23 Nov 1988
Production Date:
31 Aug--mid Oct 1987
Physical Properties:
Sound
Color
Eastman daylight negative 5297
Lenses
Primo lenses and Panaflex® camera by Panavision®
Duration(in mins):
95
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
29075
SYNOPSIS

In the back room of the dilapidated Blue Water Grill in Blue Water, Texas, proprietor Floyd spends the morning watching old home movies of his wife, Dorothy. He recalls her vivacious personality, and how customers flocked to their Gulf Coast bar just to be entertained by her. Floyd’s friend, Charlie O’Donnell, stops by, notes Floyd’s despondent mood, and laments Dorothy’s mysterious disappearance a year ago. He suggests selling the Blue Water, but Floyd rejects the idea. Dorothy’s father-in-law, whom everyone calls “the General,” maneuvers his wheelchair up the hall, eavesdropping on the conversation. Having suffered a stroke, he blurts out a nonsensical question. Floyd sighs and wonders what is delaying the old man’s caretaker. Just then, Jimmy runs into the Blue Water, flush with excitement after flirting with Annie Gorman, the town’s most desirable single woman. Floyd presses a sack lunch into the young man’s hand and instructs him to take the General to the beach. Later, the unscrupulous Charlie O’Donnell meets with county commissioner Jack Hill. The two scheme to acquire Floyd’s bar, well aware that with the construction of a new bridge nearby, property values will soon increase dramatically. Meanwhile, on the beach, Jimmy amuses the General with his childlike antics. They observe the mental institution in the distance, and Jimmy declares he will never return there. Back at the Blue Water, Floyd receives a call from Jack Hill, who demands $5,200 in unpaid taxes. Floyd protests the Monday deadline, given that it is already Friday afternoon. That night, Floyd’s no-nonsense house manager, Louise, looks over the business accounts and insists she could restore the bar to its former glory. Floyd remains depressed. Louise offers to give ...

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In the back room of the dilapidated Blue Water Grill in Blue Water, Texas, proprietor Floyd spends the morning watching old home movies of his wife, Dorothy. He recalls her vivacious personality, and how customers flocked to their Gulf Coast bar just to be entertained by her. Floyd’s friend, Charlie O’Donnell, stops by, notes Floyd’s despondent mood, and laments Dorothy’s mysterious disappearance a year ago. He suggests selling the Blue Water, but Floyd rejects the idea. Dorothy’s father-in-law, whom everyone calls “the General,” maneuvers his wheelchair up the hall, eavesdropping on the conversation. Having suffered a stroke, he blurts out a nonsensical question. Floyd sighs and wonders what is delaying the old man’s caretaker. Just then, Jimmy runs into the Blue Water, flush with excitement after flirting with Annie Gorman, the town’s most desirable single woman. Floyd presses a sack lunch into the young man’s hand and instructs him to take the General to the beach. Later, the unscrupulous Charlie O’Donnell meets with county commissioner Jack Hill. The two scheme to acquire Floyd’s bar, well aware that with the construction of a new bridge nearby, property values will soon increase dramatically. Meanwhile, on the beach, Jimmy amuses the General with his childlike antics. They observe the mental institution in the distance, and Jimmy declares he will never return there. Back at the Blue Water, Floyd receives a call from Jack Hill, who demands $5,200 in unpaid taxes. Floyd protests the Monday deadline, given that it is already Friday afternoon. That night, Floyd’s no-nonsense house manager, Louise, looks over the business accounts and insists she could restore the bar to its former glory. Floyd remains depressed. Louise offers to give him her entire savings of $6,300 and form a partnership with him. Floyd misinterprets her gesture as a flirtation, and reminds her that his heart belongs to Dorothy. However, he kisses her passionately. In the morning, the General remarks on the commotion caused by Floyd and Louise’s lovemaking, but Floyd denies the tryst. Jimmy arrives and asks for modest payment for all the hours he spent caring for the General. When he reveals his dream to buy a car and impress Annie Gorman, Floyd proposes that Jimmy help him with a more lucrative “task.” As Floyd describes setting fire to the bar so that they can collect $75,000 in insurance money, Jimmy’s interest turns to anger. Certain that he would be found out and institutionalized again, he grabs the General’s wheelchair, wheels the old man out of the Blue Water, and demands that Floyd pay him $200 ransom. Floyd cannot help but laugh at the outburst, and tells Jimmy to have the General home by dinner. He goes back inside, telephones Charlie O’Donnell, and indicates he is willing to sell the bar. A few hours later, the local sheriff, “Baytch,” calls Floyd to the morgue and asks him to identify the remains of a woman found in a local lake. Floyd reluctantly admits the body is Dorothy’s. Louise hears the news and rushes to the Blue Water to comfort Floyd, but he mocks her kindness. They argue, and she storms out. At the beach, Jimmy’s horseplay causes the General to fall from his wheelchair to the rocks beneath the pier. Distraught, Jimmy leaves the unconscious man on the shore and goes to find Floyd. Over at the Blue Water bowling alley, Louise learns that the bridge construction project has been officially approved. She realizes that the Blue Water Grill will be perfectly positioned along a busy route of travel, and rushes to stop Floyd from selling the establishment. She arrives at the bar to find a deranged Jimmy holding Floyd at gunpoint. The young man confesses the General’s accident, but insists it was not his fault. Hoping to flee town, he demands Louise’s truck. Sheriff Baytch appears and Jimmy pulls Louise into the back room. Although he is relieved to overhear that the General, aside from a few bruises, is alright, Jimmy worries that the sheriff will arrest him for negligence. He keeps Louise hidden until Baytch leaves, and attempts to flee. Floyd tells Jimmy not to be foolish, and puts him to work cleaning the bar. However, Jimmy steals Louise’s truck and drives away. Floyd laughs and tells Louise not to worry. He knows exactly where Jimmy plans to go. Floyd and Louise talk about recent events and agree to be business partners. Charlie O’Donnell arrives, intent on buying the bar, and Floyd makes a show of dismissing the crook from the premises, much to Louise’s delight. Later, Floyd goes down to the pier and tosses his movies of Dorothy into the sea. That night, Jimmy returns to the bar and falls to his knees in front of the General. The old man smiles and pats Jimmy’s head. Sometime later, at the renovated Blue Water Grill, Louise and Floyd dance amidst a crowd of happy couples.

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

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