Frankie and Johnny (1991)
R | 117 mins | Comedy-drama, Romance | 11 October 1991
Director:
Garry MarshallWriter:
Terrence McNallyProducer:
Garry MarshallCinematographer:
Dante SpinottiEditors:
Battle Davis, Jacqueline CambasProduction Designer:
Albert BrennerProduction Company:
Paramount Pictures Corp.On 1 Feb 1988, New York Magazine reported that Paramount Pictures was on the verge of optioning Terrence McNally’s stageplay, Frankie and Johnny in the Clair de Lune, for director Mike Nichols. Three months later, a 2 May 1988 DV article confirmed that the studio had acquired rights to the theatrical work, indicating that McNally would pen the screen adaptation. According to a 27 Oct 1988 HR news brief, Dianne Wiest and Richard Dreyfuss were likely to star in the film, under Nichols’ direction. A year and a half later, a 21 Mar 1990 DV news item indicated that director Garry Marshall would helm the picture. Marshall stated in a 6 Oct 1991 NYT article that his “first impulse” was to cast his sister, Penny Marshall, and Jack Nicholson in the lead roles. He also considered Nick Nolte and Robert De Niro for the part of “Johnny,” according to a 15 Oct 1991 HR article. However, DV news briefs of 1 Nov 1990 and 23 Jan 1991 indicated that Michelle Pfeiffer and Al Pacino would star in the picture. Pacino recalled, in a 6 Oct 1991 NYT interview, waiving his right to approve Pfeiffer as the female lead, because he had previously worked with her on Scarface (1983, see entry). Although various contemporary sources listed Laurie Metcalf among the cast, the actress does not appear in the film.
Various contemporary sources referred to the theatre community’s disapproval at the casting of the glamorous Michelle Pfeiffer as the frumpy, self-conscious “Frankie.” In the original stage production, which opened at the ...
On 1 Feb 1988, New York Magazine reported that Paramount Pictures was on the verge of optioning Terrence McNally’s stageplay, Frankie and Johnny in the Clair de Lune, for director Mike Nichols. Three months later, a 2 May 1988 DV article confirmed that the studio had acquired rights to the theatrical work, indicating that McNally would pen the screen adaptation. According to a 27 Oct 1988 HR news brief, Dianne Wiest and Richard Dreyfuss were likely to star in the film, under Nichols’ direction. A year and a half later, a 21 Mar 1990 DV news item indicated that director Garry Marshall would helm the picture. Marshall stated in a 6 Oct 1991 NYT article that his “first impulse” was to cast his sister, Penny Marshall, and Jack Nicholson in the lead roles. He also considered Nick Nolte and Robert De Niro for the part of “Johnny,” according to a 15 Oct 1991 HR article. However, DV news briefs of 1 Nov 1990 and 23 Jan 1991 indicated that Michelle Pfeiffer and Al Pacino would star in the picture. Pacino recalled, in a 6 Oct 1991 NYT interview, waiving his right to approve Pfeiffer as the female lead, because he had previously worked with her on Scarface (1983, see entry). Although various contemporary sources listed Laurie Metcalf among the cast, the actress does not appear in the film.
Various contemporary sources referred to the theatre community’s disapproval at the casting of the glamorous Michelle Pfeiffer as the frumpy, self-conscious “Frankie.” In the original stage production, which opened at the Manhattan Theatre Club (off Off-Broadway) in Oct 1987, actress Kathy Bates played the role, and many critics felt that her plain appearance was more appropriate for the character. However, in a 6 Oct 1991 NYT article, Terrence McNally stated that the play “was never about a woman who was physically unappealing,” and added that, “beautiful” women are as susceptible to being “emotionally cut off and frustrated … as Frankie.”
Principal photography began 29 Jan 1991. According to production notes in AMPAS library files, filmmakers spent the first three months filming in and around Los Angeles, CA. “Nick’s Apollo Cafe,” where much of the film takes place, was constructed on a Hollywood soundstage. The set comprised exteriors as well as interiors, featuring the busy street in front of the café, a flower mart on the sidewalk next door, the kitchen, and a 200-seat dining room inside. A 22 Mar 1991HR news brief noted the use of an authentic 1950s bowling alley in Montrose, CA (fourteen miles north of Los Angeles) for one key sequence in the film. A few weeks later, before heading to New York City, filmmakers stopped at Folsom State Prison, near Sacramento, CA, to shoot exteriors.
On 23 May 1991, the NYT reported that Frankie and Johnny was the first Hollywood motion picture to return to New York City following a seven-month production hiatus caused by stalled negotiations between Hollywood producers and a New York film-crafts union. Frankie and Johnny’s filmmakers originally planned to shoot in New York in mid-April, but because of the continuing boycott, they were forced to wait until mid-May, when the union accepted the producers’ terms. Cast and crew spent five days filming exteriors in midtown Manhattan.
Some critics were skeptical of the transformation of an intimate, one-set, two-character stageplay into a $29 million production with a cast of nearly 100. In a 23 Sep 1991 New York article, McNally addressed the process of adapting his work for the screen, stating that he locked the play in a drawer and started from scratch, “opening up” the material to accommodate “a city of loners, survivors and romantics.” The 11 Oct 1991 NYT review described the film as a “complete revision” of the theatrical work.
On 7 Oct 1991, DV announced that a benefit premiere of Frankie and Johnny would be held the following day at the AMPAS Samuel Goldwyn Theater to support the Center Theatre Group of the Los Angeles County Music Center. The film opened nationwide three days later.
End credits include the following statement: “‘Frankie and Johnny in the Clair de Lune,’ originally presented by the Manhattan Theatre Club, produced off-Broadway by Steven Baruch, Thomas Viertel, Richard Frankel, Jujamcyn Theatres and Margo Lyon.” End credits also include the following acknowledgements: “‘The Challengers’ courtesy of Buena Vista Television, Inc.”; “'The Tonight Show starring Johnny Carson' footage supplied courtesy of Carson Tonight”; and, “The producers gratefully acknowledge the following for their assistance and cooperation: The New York City Mayor’s Office of Film, Television, and Broadcasting; The members of the New York City Police Department Motion Picture and Television Unit; The New York City Transit Authority Special Projects Division; New York City Port Authority; California Highway Patrol Sacramento Division; Folsom Prison; Laurie Metcalf and Barbara Sue Wells.” End credits indicate that the picture was: “Partially filmed at Raleigh Studios, Hollywood, California.”
In Altoona, Pennsylvania, a New Yorker named Frankie attends her godson’s baptism. Afterwards, at a family gathering, she shows concern for her alcoholic mother. Meanwhile, ex-convict Johnny is released from the nearby Rockview Correctional Institution, and announces his intention to start a new life in New York City. Late that evening, a tearful Frankie takes a bus back to the city. On her way to work in the morning, she notes the prices of videocassette recorders on display in a shop window. When she arrives at Nick’s Apollo Cafe, she learns that her coworker, Helen, is leaving early because she feels dizzy. Although Nick, the owner, is distressed, Frankie and another waitress named Nedda tend to the cafe’s customers. Johnny walks in and asks for work as a short order cook. Nick reads Johnny’s prison references and agrees to give him a chance the following day. That night, Frankie returns to her sixth floor walk-up apartment, surprised to see a stranger hanging shelves in the front room. He introduces himself as Bobby, a friend of her neighbor, Tim. Just then, Tim bursts in and welcomes Frankie home with a kiss. Later, he sends Bobby out to walk the dog, and eagerly asks the tired waitress what she thinks of his new boyfriend. She admits he is nice. Elsewhere in New York, Johnny eats dinner alone. Later, he solicits a prostitute to spend the night with him. However, he insists she keep her clothes on and simply lie in the bed next to him. The next day, the other cooks at the Apollo admire Johnny’s skill chopping vegetables, while Frankie’s coworker, Cora, remarks on his good looks. Unimpressed, Frankie insists ...
In Altoona, Pennsylvania, a New Yorker named Frankie attends her godson’s baptism. Afterwards, at a family gathering, she shows concern for her alcoholic mother. Meanwhile, ex-convict Johnny is released from the nearby Rockview Correctional Institution, and announces his intention to start a new life in New York City. Late that evening, a tearful Frankie takes a bus back to the city. On her way to work in the morning, she notes the prices of videocassette recorders on display in a shop window. When she arrives at Nick’s Apollo Cafe, she learns that her coworker, Helen, is leaving early because she feels dizzy. Although Nick, the owner, is distressed, Frankie and another waitress named Nedda tend to the cafe’s customers. Johnny walks in and asks for work as a short order cook. Nick reads Johnny’s prison references and agrees to give him a chance the following day. That night, Frankie returns to her sixth floor walk-up apartment, surprised to see a stranger hanging shelves in the front room. He introduces himself as Bobby, a friend of her neighbor, Tim. Just then, Tim bursts in and welcomes Frankie home with a kiss. Later, he sends Bobby out to walk the dog, and eagerly asks the tired waitress what she thinks of his new boyfriend. She admits he is nice. Elsewhere in New York, Johnny eats dinner alone. Later, he solicits a prostitute to spend the night with him. However, he insists she keep her clothes on and simply lie in the bed next to him. The next day, the other cooks at the Apollo admire Johnny’s skill chopping vegetables, while Frankie’s coworker, Cora, remarks on his good looks. Unimpressed, Frankie insists he remake a plate of food. Johnny complies, and the two spend the rest of the day giving each other sidelong glances. At the end of her shift, Frankie studies the operating manual for a videocassette recorder, until Nick announces to the staff that Helen has been hospitalized. Cora and Frankie go to visit the elderly woman, fearful that they might also end up old and alone. The next day at the Apollo, when a customer suffers an epileptic seizure, Johnny and Frankie rush to assist the man. Johnny asks Frankie on a date, but she brushes him off without giving a reason. Later, Frankie spends the night spying on her neighbors from her apartment window. Within the week, Helen passes away. Frankie attends the funeral with Cora and Nedda, and is surprised to see Johnny there, paying his respects. Later, at the café, she asks about this sympathetic gesture, and Johnny again attempts to coerce her into going on a date. Scorned by Frankie, he flirts with Cora, and that night, they have sex. Afterward, they agree that the tryst was meaningless, and the next day at work, Cora tells Frankie and Nedda about the encounter. In the ensuing weeks, Frankie keeps a watchful eye on Johnny. When he invites her to attend a coworker’s going-away party with him, she reluctantly gives him her address. On the night of the party, Tim advises Frankie what to wear, while Bobby hooks up her new videocassette recorder. Johnny surprises her by arriving early, but Tim seizes the opportunity to approve his friend’s date. At the party, Johnny attempts to convince Frankie they are a good match, and invites her to dance, but she urges him to ask Nedda, instead. On the way home, Johnny buys his shy date a flower, before suggesting they go back to her apartment. Frankie protests, but he kisses her passionately, and she changes her mind. After an intimate evening together, they go to work at the Apollo, where Cora waits on a pregnant customer. Johnny asks Frankie if she likes children, but she evades answering. Later, they walk through Central Park, and Johnny suggests they spend the evening together. When Frankie informs him that it is her bowling night, Johnny drives alone to a specific suburban address, where he observes two young children playing on the lawn in front of a house. Afterward, he goes to the bowling alley, but Frankie acts standoffish when she sees him. Johnny professes his love, but Frankie becomes defensive when he mentions starting a family, angrily informing him that she cannot have children. A day or two later, Frankie switches her shift to avoid seeing Johnny, but he does the same, and they are forced to talk to each other. After Johnny admits that he spent time in prison and was once married, Frankie confides that, three years ago, the love of her life cheated on her with her best friend. She asks Johnny if he has children, and he confesses he does, but he is nervous about re-introducing himself to them. After work, Johnny walks Frankie to her apartment. There, they lie in the moonlight listening to piano music and sharing secrets. However, the intimate conversation makes Frankie uncomfortable, and she asks Johnny to leave. He insists his feelings are sincere, prompting Frankie to reveal that a previous boyfriend physically abused her, and she is afraid to fall in love again. However, as dawn breaks, Frankie decides to trust Johnny “no matter what.” The lovers brush their teeth and climb back into bed together.
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