Shining Through (1992)

R | 132 mins | Drama, Romance | 31 January 1992

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HISTORY

On 10 Feb 1988, DV announced that recently appointed Columbia Pictures president Dawn Steel spent a six-figure sum to obtain film rights to Susan Isaacs’ novel, Shining Through, and the 24 Feb 1988 DV linked its development to Dolly Parton’s Columbia-based Sandollar Productions. In the 15 Apr 1991 issue of People magazine, Isaacs stated that her agent initially suggested she attach herself to the property as screenwriter, but Isaacs preferred not to collaborate on the project and ultimately declined.
       Although Debra Winger was first choice for the role of “Linda Voss,” the 6 Jun 1990 Var stated that Melanie Griffith had been cast opposite Michael Douglas. The property had since moved to Twentieth Century Fox, and filming was scheduled to begin in Europe on 4 Sep 1990. According to a 3 Feb 1992 HR item, Douglas was hesitant to join the cast, prompting writer-director David Seltzer to visit the actor at his Santa Barbara, CA, home to convince him that the script would be revised to appease the actor’s request for a stronger romance. Douglas worked a total of six weeks, and the 20 Jan 1992 Var estimated his salary at $6 million.
       Assuming that East Germany would be unavailable at the time of production, filmmakers scouted locations in Yugoslavia, Hungary, Poland, and Czechoslovakia. However, it was during this time that the Berlin Wall was demolished, and production notes in AMPAS library files stated that Shining Through became the first major motion picture to “freely utilize” East Berlin locales. Principal photography began 1 Oct 1991, two days before Germany’s official reunification.
       Production ...

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On 10 Feb 1988, DV announced that recently appointed Columbia Pictures president Dawn Steel spent a six-figure sum to obtain film rights to Susan Isaacs’ novel, Shining Through, and the 24 Feb 1988 DV linked its development to Dolly Parton’s Columbia-based Sandollar Productions. In the 15 Apr 1991 issue of People magazine, Isaacs stated that her agent initially suggested she attach herself to the property as screenwriter, but Isaacs preferred not to collaborate on the project and ultimately declined.
       Although Debra Winger was first choice for the role of “Linda Voss,” the 6 Jun 1990 Var stated that Melanie Griffith had been cast opposite Michael Douglas. The property had since moved to Twentieth Century Fox, and filming was scheduled to begin in Europe on 4 Sep 1990. According to a 3 Feb 1992 HR item, Douglas was hesitant to join the cast, prompting writer-director David Seltzer to visit the actor at his Santa Barbara, CA, home to convince him that the script would be revised to appease the actor’s request for a stronger romance. Douglas worked a total of six weeks, and the 20 Jan 1992 Var estimated his salary at $6 million.
       Assuming that East Germany would be unavailable at the time of production, filmmakers scouted locations in Yugoslavia, Hungary, Poland, and Czechoslovakia. However, it was during this time that the Berlin Wall was demolished, and production notes in AMPAS library files stated that Shining Through became the first major motion picture to “freely utilize” East Berlin locales. Principal photography began 1 Oct 1991, two days before Germany’s official reunification.
       Production received special permission to display the Nazi swastika, which was prohibited by German law, but took care to keep all banners hidden and costumed actors confined to the set between shooting. The film’s 6,000 costumes were reportedly borrowed from eleven outlets in seven countries. Berlin locations included the German State Opera and the former Friedrichstrasse Arcade, which stood in for a bombed apartment building. Potsdam served as the location of the Hitler Youth rally and the explosion experienced by Linda and the two “Dietrich” children, which involved the demolition of three full-size buildings constructed out of foam and balsa wood. Filming also took place at the Deutsche Film-Aktiengesellschaft (DEFA) Studios, and the Leipziger Hauptbahnhof train station in Leipzig. Production then relocated to Klagenfurt, Austria, to film scenes set at the German-Swiss border railroad station, before moving to Pinewood Studios outside London, England. Other British locations included Northolt Airport, the Aldwych Theatre, St. Pancras railway station, the Electric Cinema movie house, the Naval Academy in Greenwich, and an empty Art Deco-style Hoover factory in the suburb of Perivale. According to a 3 Nov 1990 Screen International item, filming also took place in Salzburg. Production was scheduled to conclude 18 Jan 1991.
       The 16 Sep 1991 Var reported that despite strong test screenings in California’s San Fernando Valley, Fox decided to push back the film’s release date from 8 Nov 1991 to 31 Jan 1992. A 9 Feb 1992 LAT item noted the similarities between Shining Through and Fox’s 9 Nov 1991 musical, For the Boys (see entry), which completed production around the same time and also featured an elderly woman, played by Bette Midler, recounting her experiences during World War II. David Seltzer reportedly did not know about the identical framing devices until he approached John Caglione, Jr. to do the aging makeup for Griffith and Douglas. Caglione applied the same latex and foam rubber techniques used in For the Boys, while looking at photographs of Griffith’s mother, Tippi Hedren, for reference. Although LAT suggested that the similarities prompted the delayed release of Shining Through, Fox chairman Joe Roth insisted the change was made to avoid heavy competition during the 1991 holiday season.
       The film received a largely negative critical response. In her 31 Jan 1992 NYT review, Janet Maslin claimed the film suffered from removing much of the protagonist’s backstory from Isaac’s novel, including a previous marriage to “Ed Leland’s” law partner and scenes of Voss’s OSS training.
       End credits state: "Film clips and photographs provided by Archive Films, Bettmann Archives, CBS Radio Archives, Culver Archives, Inc., Fox Movietonews, Producers Library Service"; “Clip from The Mortal Storm provided by Turner Entertainment Co.”; “Special thanks to: John E. Horton, Raymond G. Smith, Scott Thaler”; “The procucers wish to thank the people of Klagenfurt Corinthia, Austria for all their help”; and, “Made by Twentieth Century Fox Productions Ltd. at Pinewood Studios, London, England, and filmed on location in Germany and Austria.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
10 Feb 1988
---
Daily Variety
24 Feb 1988
---
Hollywood Reporter
30 Jan 1992
p. 10, 27
Hollywood Reporter
3 Feb 1992
---
Los Angeles Times
31 Jan 1992
Calendar, p. 1
Los Angeles Times
9 Feb 1992
Calendar
People
15 Apr 1991
---
New York Times
31 Jan 1992
Section C, p. 8
Screen International
3 Nov 1990
p. 26
Variety
6 Jun 1990
---
Variety
3 Dec 1990
---
Variety
16 Sep 1991
---
Variety
20 Jan 1992
---
Variety
2 Feb 1992
p. 79
CAST
NAME
CREDITED AS
CREDIT
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
Twentieth Century Fox Presents
In Association with Peter V. Miller Investment Corp.
A David Seltzer Film
Produced in Association with Sandollar Productions
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
3d asst dir
2d unit dir
Asst dir, 2d unit
2d asst dir, German unit
2d asst dir, German unit
2d asst dir, German unit
2d asst dir, Austrian unit
2d asst dir, Austrian unit
3d asst dir, German unit
3d asst dir, German unit
PRODUCERS
Prod
Co-prod
Exec prod
Exec prod
WRITER
Wrt for the screen by
PHOTOGRAPHY
Dir of photog
Cam op
Focus puller
Clapper loader
Key grip
Gaffer
Best boy
Standby rigger
Genny op
Stillman
2d unit cam, German unit
Grip equip/Crane hire by
Lighting equip supplied by
Generator op
Fred Brown
Elec
Elec
Focus puller, German unit
Generator op, German unit
Elec/Grip, German unit
Elec, German unit
Elec, German unit
Elec trainee, German unit
Prod driver, German unit
ART DIRECTORS
Prod des
Art dir
Art dir
Art dept runner
Art dir, German unit
Art dir, Austrian unit
Asst to art dir, Austrian unit
FILM EDITORS
Assoc ed
1st asst ed
2d asst ed
2d asst ed
2d asst ed
Apprentice ed
Apprentice ed
Apprentice ed
Apprentice ed
Apprentice ed
Apprentice ed
Ed room intern
Negative matching
SET DECORATORS
Set dec
Buyer
Draughtsman
Draughtsman
Supv drapery
Prop master
Chargehand propman/Storeman
Chargehand standby propman
Standby propman
Dressing props
Dressing props
Dressing props
Dressing props
Dressing props
Standby carpenter
Standby painter
Standby stagehand
Const mgr
Const buyer
HOD carpenter
Supv carpenter
Supv carpenter
HOD plasterer
HOD rigger
HOD stagehand
HOD painter
Set dresser, German unit
Prop buyer, German unit
Prop master, German unit
Set dresser, Austrian unit
Const chief, Austrian unit
Prop master/Buyer, Austrian unit
Prop asst/Buyer, Austrian unit
Draughtsman
Draughtsman
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Scenic painter
Scenic painter
Painter's labourer
Stagehand
Stagehand
Stagehand
Fibrous plasterer
Plasterer
Plasterer
Plasterer
Plasterer's asst
Chargehand machinist
Wood machinist
Prop asst, German unit
Prop driver/Help
Prop driver/Help, German unit
Sign writer, German unit
Traffic signs, German unit
COSTUMES
Cost des
Cost supv
Ward master
Ward mistress
Ward mistress
Dresser to Ms. Griffith
Military ward master
Ward mistress, German unit
Ward mistress, German unit
Ward mistress, German unit
Ward mistress, German unit
Ward mistress, German unit
Cost supplied by - Berlin
Cost supplied by - Berlin
Cost supplied by - Berlin
Cost supplied by - UK
Cost supplied by - UK
Cost supplied by - UK
Cost des asst
Asst cost des, German unit
MUSIC
Supv mus ed
Mus rec & mixed by
Scoring crew
Scoring crew
Scoring crew
Asst mus ed
Addl mus ed
Musicians' contractor
SOUND
Sd mixer
Boom op
Sd maintenance
Post prod supv
Sd des by
Dial ed
Dial ed
Dial ed
Foley supv
Foley ed
Foley ed
Foley ed
Asst sd ed
Asst sd ed
Asst sd ed
Apprentice sd ed
Supv ADR ed
ADR ed
ADR ed
ADR asst ed
ADR apprentice ed
Sd eff and foley des
Foley artist
Rerec mixer
Post prod facilities
Rerec
VISUAL EFFECTS
Spec eff supv
Spec eff foreman
Spec eff asst, German unit
Eff man, Austrian unit
Main title des and opt eff by
Opt eff supv
MAKEUP
Char aging makeup for Ms. Griffith and Mr. Douglas
Char aging makeup for Ms. Griffith and Mr. Douglas
Chief makeup
Makeup for Ms. Griffith
Makeup asst
Chief hairdresser
Hairdresser for Ms. Griffith
Asst hairdresser
Makeup/Hair, German unit
Makeup/Hair, German unit
Makeup/Hair, German unit
PRODUCTION MISC
Casting
Casting
Casting
Prod supv
Steadicam op
Scr supv
Prod coord
Loc mgr
Loc mgr
Loc mgr
Prod assoc
Prod secy
Asst to Mr. Wooll
Asst to Mr. Wooll
Asst to Mr. Seltzer - Europe
Asst to Mr. Rosenman and Ms. Baum
Sandollar development exec
Prod accountant
Prod accountant
Asst prod accountant
Asst prod accountant
Asst prod accountant
Asst accountant
Asst accountant
Prod runner
Dial coach
Unit driver
Unit driver
Unit driver
Supv of film research
Post prod auditor
Preview supv
German casting, German unit
Prod supv, German unit
Unit loc mgr, German unit
Loc mgr, German unit
Loc mgr, German unit
Asst loc mgr, German unit
Asst loc mgr, German unit
Asst loc mgr, German unit
Asst loc mgr, German unit
Prod coord, German unit
Prod secy, German unit
Crowd casting, German unit
Crowd casting, German unit
Prod asst, German unit
German language adv, German unit
German language adv, German unit
Accountant, German unit
Asst accountant, German unit
Transportation coord, German unit
Prod supv, Austrian unit
Unit loc mgr, Austrian unit
Asst loc mgr, Austrian unit
Prod coord, Austrian unit
Prod asst, Austrian unit
Prod runner/Driver, Austrian unit
Prod accountant, Austrian unit
Cashier, Austrian unit
Crowd casting agency, Austrian unit
Transport capt, Austrian unit
Caterer - European
Caterer - UK
Freight agent - UK
Freight agent - Germany
Freight agent - Austria
Transport supplies by
Prop van driver
Ward truck driver
Makeup/Hair bus driver
Makeup/Hair bus driver
2d loc man, German unit
Loc asst, German unit
Prod runner, German unit
Prod runner, German unit
Crowd asst, German unit
Action vehicles coord, German unit
Explosives specialist, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Prod driver, German unit
Traffic control, German unit
Traffic control, German unit
STAND INS
Stunt coord
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
COLOR PERSONNEL
Col timer
SOURCES
LITERARY
Based on the novel Shining Through by Susan Isaacs (New York, 1988).
LITERARY SOURCE AUTHOR
SONGS
"Goodbye Dear, I'll Be Back In A Year," written by Mack Kay, performed by Dick Robertson, courtesy of MCA Records; "Goodnight Sweetheart," written by Ray Noble, Jimmy Campbell, Reg Connelly and Rudy Vallee; "In The Mood," written by Joe Garland; "I'll Be Seeing You," written by Sammy Fain and Irving Kahal; "Moonlight Serenade," written by Glenn Miller; "(I've Got A Gal In) Kalamazoo," written by Harry Warren and Mack Gordon. Music from soundtrack licensed through Milan America, Inc.
PERFORMED BY
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
31 January 1992
Premiere Information:
Los Angeles and New York openings: 31 Jan 1992
Production Date:
1 Oct 1990--18 Jan 1991
Copyright Info
Claimant
Date
Copyright Number
Twentieth Century Fox Film Corporation
30 January 1992
PA551792
Physical Properties:
Sound
Spectral Recording® Dolby Stereo SR in selected theatres
Color
gauge
70mm 6 Track in selected theatres
Lenses
Filmed in Panavision®
Prints
Originated on Eastman Colour Film from Kodak; Prints by Deluxe®
Duration(in mins):
132
MPAA Rating:
R
Country:
United States
Languages:
German, English
PCA No:
31366
SYNOPSIS

As part of a special documentary television program, elderly Linda Voss hesitantly agrees to be interviewed and recounts her experience as an amateur spy during World War II. The child of an Irish mother and German-Jewish father, Linda kept her heritage a secret while growing up in Queens, New York, after learning of her cousins’ struggles to survive in Nazi-occupied Germany. In 1940, Linda applies for a secretarial position in the office of international lawyer Ed Leland, who hires her because she is fluent in German. Before long, Linda learns her stoic and mysterious boss keeps close contact with U.S. President Franklin D. Roosevelt and FBI (Federal Bureau of Investigation) Director J. Edgar Hoover, and frequently disappears for weeks at a time. Realizing the letters she translates are written in code, she becomes increasingly suspicious that he is a spy. By October of 1941, Linda and Ed have grown attracted to each other and begin a secret affair. Following the bombing of Pearl Harbor, the U.S. enters the war and Ed is forced to expose his true identity as a U.S. Army colonel working for the OSS (Office of Strategic Services) in Washington, D.C. When Ed is called away to Europe, Linda gets a job in the War Department and deciphers a message revealing that Ed has long since disappeared behind enemy lines. Six months into the war, she is shocked to see Ed arrive at a USO (United Services Organization) party with an attractive female officer. Although he suggested they end their relationship before his departure, Linda has come to realize how much she loves him, and he grudgingly rehires her. When an undercover U.S. agent is murdered ...

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As part of a special documentary television program, elderly Linda Voss hesitantly agrees to be interviewed and recounts her experience as an amateur spy during World War II. The child of an Irish mother and German-Jewish father, Linda kept her heritage a secret while growing up in Queens, New York, after learning of her cousins’ struggles to survive in Nazi-occupied Germany. In 1940, Linda applies for a secretarial position in the office of international lawyer Ed Leland, who hires her because she is fluent in German. Before long, Linda learns her stoic and mysterious boss keeps close contact with U.S. President Franklin D. Roosevelt and FBI (Federal Bureau of Investigation) Director J. Edgar Hoover, and frequently disappears for weeks at a time. Realizing the letters she translates are written in code, she becomes increasingly suspicious that he is a spy. By October of 1941, Linda and Ed have grown attracted to each other and begin a secret affair. Following the bombing of Pearl Harbor, the U.S. enters the war and Ed is forced to expose his true identity as a U.S. Army colonel working for the OSS (Office of Strategic Services) in Washington, D.C. When Ed is called away to Europe, Linda gets a job in the War Department and deciphers a message revealing that Ed has long since disappeared behind enemy lines. Six months into the war, she is shocked to see Ed arrive at a USO (United Services Organization) party with an attractive female officer. Although he suggested they end their relationship before his departure, Linda has come to realize how much she loves him, and he grudgingly rehires her. When an undercover U.S. agent is murdered in Berlin, Linda eagerly volunteers to replace him. Citing her love of espionage films and familiarity with the mission’s codenames, she offers to pose as cook in the home of Nazi officer Horst Drescher to collect evidence of Germany’s “flying bomb.” Ed vehemently opposes the idea, claiming Linda is too outspoken to withhold secrets, but eventually yields to her insistence. He agrees to send her to Berlin with top U.S.-German operative Konrad Friedrichs, codenamed “Sunflower,” on condition she promises to return to Switzerland in exactly two weeks’ time. Worried about her lack of experience and lower-class German accent, Sunflower recruits his niece, Allied agent Margrete Von Eberstein, to refine her skills. The women become fast friends, and Margrete introduces Linda to her Nazi mother, Olga Leiner, as a former schoolmate. On the night of an important dinner party, Linda is brought in as a last-minute replacement for Drescher’s cook, bypassing usual security checks. The meal is a disaster, however, and Drescher fires Linda for embarrassing him in front of his honored guest, Franze-Otto Dietrich. After the party, Dietrich offers Linda a job as a nanny and she accepts, after noticing confidential documents stuffed in the officer’s briefcase. Over the next five weeks, Linda cuts off all communication with Ed and reaches out to her contact in Berlin, a fishmonger, who informs her that her father’s Jewish relatives are hiding on the outskirts of the city. Meanwhile, Ed traces her location and rushes to Berlin with an immediate escape plan. Determined to save her family first, she negotiates permission to stay an additional twenty-four hours. In the morning, Linda brings Dietrich’s two children to her cousins’ address, but is heartbroken to discover they have recently been captured. When Linda and the children are caught in the destruction of an air raid, Dietrich’s son reveals the existence of his family’s secret bomb cellar. Instead of meeting Ed at the train station, Linda stays at the Dietrich house and uses a microfilm camera to photograph the documents hidden downstairs. Accompanying Dietrich to the opera the following night, she is recognized by Olga Leiner, who believes her to be one of Margrete’s school friends. Her cover now blown, Linda seeks refuge with Sunflower, but the old man orders her to go to Margrete’s house instead. Once there, she discovers Margrete is a Nazi double agent who betrayed the location of her cousins. Margrete shoots Linda, but Linda wrests the gun from her grasp and kills her. She evades the Gestapo by hiding inside the laundry chute, and eventually passes out from the pain of her injuries. In the morning, Ed and Sunflower search the house and follow a trail of blood into the basement. Disguised as a Nazi officer, Ed carries her body to the train station, where they board a train bound for Switzerland. As they leave the city, Ed declares his love for Linda and expresses regret for having “let her go.” At the Swiss border, he pretends to be mute to hide the fact he does not speak German. When the Nazi officers notice Linda’s papers are out of date, Ed kills several guards and attempts to escape with Linda on foot. Although shot twice in the leg and back, he stumbles over the borderline and collapses safely onto Swiss soil. In the hospital, doctors find a roll of microfilm stuffed inside Linda’s glove, which contains the photographs of Dietrich’s documents. As Linda concludes her story, she introduces the interviewer to her two sons and invites Ed to sit with her on camera.

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

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