Honeysuckle Rose (1980)
PG | 119 mins | Drama | 18 July 1980
Cast:
Willie Nelson, Dyan Cannon, Amy Irving [ More ]Director:
Jerry SchatzbergWriters:
Carol Sobieski, William D. Wittliff, John BinderProducer:
Gene TaftCinematographer:
Robby MüllerEditors:
Aram Avakian, Marc M. Laub, Norman Gay, Evan LottmanProduction Designer:
Joel SchillerProduction Company:
Warner Bros., Inc.According to a 5 Sep 1979 Var news brief, a working title for the film was Sad Songs and Waltzes.
Distributor Warner Bros. ran an apology for omitting musical credits in an advertisement that appeared in the 24 Jul 1980 HR. The additional musical credits can be seen in the catalog’s Literary Song Sources section for the film.
A brief in the 14 Mar 1979 HR stated that singers Linda Ronstadt and Tanya Tucker were being considered for the female lead, and a 16 Jul 1979 HR news item added the names Rita Coolidge, Loretta Lynn and Debra Allen to the list. A 16 May 1979 Var article reported the film marked singer Willie Nelson’s lead theatrical debut. Previously, Nelson had a supporting role in The Electric Horseman (1979, see entry).
The 16 May 1979 Var article reported that principal photography would begin 1 Sep 1979 in Austin, TX, with an approximately eleven-week schedule; however, a 21 Sep 1979 Warner Bros. press release announced that the film’s start date was pushed back to 8 Oct 1979. While the Var article estimated the budget between $5-$6 million, a 22 Jul 1980 HR column stated that the film’s budget was closer to $11 million.
On 10 Oct 1979, Var announced Warner Bros. would film a Willie Nelson concert that day at the Convention Center Arena in San Antonio, TX, along with Emmylou Harris to be used as footage for the film. A 4 Sep 1980 DV news item reported actor Slim Pickens, cast ...
According to a 5 Sep 1979 Var news brief, a working title for the film was Sad Songs and Waltzes.
Distributor Warner Bros. ran an apology for omitting musical credits in an advertisement that appeared in the 24 Jul 1980 HR. The additional musical credits can be seen in the catalog’s Literary Song Sources section for the film.
A brief in the 14 Mar 1979 HR stated that singers Linda Ronstadt and Tanya Tucker were being considered for the female lead, and a 16 Jul 1979 HR news item added the names Rita Coolidge, Loretta Lynn and Debra Allen to the list. A 16 May 1979 Var article reported the film marked singer Willie Nelson’s lead theatrical debut. Previously, Nelson had a supporting role in The Electric Horseman (1979, see entry).
The 16 May 1979 Var article reported that principal photography would begin 1 Sep 1979 in Austin, TX, with an approximately eleven-week schedule; however, a 21 Sep 1979 Warner Bros. press release announced that the film’s start date was pushed back to 8 Oct 1979. While the Var article estimated the budget between $5-$6 million, a 22 Jul 1980 HR column stated that the film’s budget was closer to $11 million.
On 10 Oct 1979, Var announced Warner Bros. would film a Willie Nelson concert that day at the Convention Center Arena in San Antonio, TX, along with Emmylou Harris to be used as footage for the film. A 4 Sep 1980 DV news item reported actor Slim Pickens, cast as a band member, was given four weeks of guitar lessons and a “$2,800 guitar,” but his songs were played by Grady Martin and Mickey Raphael filled in his harmonica playing during concert sequences. However, the film reportedly instigated a record deal for Pickens.
According to Var, other locations included Nelson’s personal ranch in Dripping Springs, TX, where filming occurred during Oct and most of Nov 1979. Production notes in AMPAS library files stated that a family reunion sequence was filmed in Fisher County, TX. A 20 Dec 1979 HR news item announced that principal photography was completed in Corpus Christi, TX.
Reviews were mixed. While the 16 Jul 1980 Var review approved of the casting choices, praised the film for being “an old-fashioned love story,” and felt Nelson’s musical performances blended well with his acting, the 17 Jul 1980 LAT review called the film “a concert film with a plot” and the 18 Jul 1980 NYT made the observation that the film was most lively during its musical sequences. In contrast, the 28 Jul 1980 Time, criticized Nelson as a poor sex symbol, and the lack of tension in the story’s love triangle, while the 16-22 Jul 1980 Village Voice review felt Cannon and Irving were both miscast as Southern women.
A “Rules of the Game” column by Stuart Byron in the 17-23 Sep 1980 Village Voice designated the film “a big disappointment,” generating only $8.5 million in box office revenues.
Sad Songs and Waltzes
Country musician Buck Bonham’s life is a series of concert dates strung together by tour road trips. After twenty years together, Buck’s guitar-player buddy, Garland Ramsey, tells him that he is leaving the band. When Buck returns home to the Honeysuckle Ranch, he gives his son, Jamie Bonham, a horse for his birthday. Viv Bonham embraces her husband and the couple heads to the bedroom, where she bursts out laughing when she sees “take me, I’m yours” written across his chest. Later, when Viv asks her husband how faithful he has been on the road, she is sad to hear there have been other women in his life. At the Bonham family reunion, Buck meets Garland’s grown daughter, Lily. When Buck is asked to sing, Jamie reluctantly accompanies him on guitar. Mid-song, Jamie leaves the stage and Lily finishes the tune as Buck follows his son to a nearby creek. Jamie thinks he does not possess musical talent, but Buck tells him to be patient because, in time, his talent will blossom. On the reunion stage, Buck and Viv perform a heartfelt duet that ends with a kiss. Later, Viv wishes Buck would tour less, but he tells her he cannot stop. When Buck books a short tour, several musicians are unavailable so Viv suggests Lily as a replacement for a couple of weeks. Garland is not happy about his daughter traveling with a bunch of rough musicians, and tries to talk her out of the idea, but Lily views it as a great opportunity to work as a professional. As the band leaves, Buck tells Viv to make a surprise visit with Jamie while he is on ...
Country musician Buck Bonham’s life is a series of concert dates strung together by tour road trips. After twenty years together, Buck’s guitar-player buddy, Garland Ramsey, tells him that he is leaving the band. When Buck returns home to the Honeysuckle Ranch, he gives his son, Jamie Bonham, a horse for his birthday. Viv Bonham embraces her husband and the couple heads to the bedroom, where she bursts out laughing when she sees “take me, I’m yours” written across his chest. Later, when Viv asks her husband how faithful he has been on the road, she is sad to hear there have been other women in his life. At the Bonham family reunion, Buck meets Garland’s grown daughter, Lily. When Buck is asked to sing, Jamie reluctantly accompanies him on guitar. Mid-song, Jamie leaves the stage and Lily finishes the tune as Buck follows his son to a nearby creek. Jamie thinks he does not possess musical talent, but Buck tells him to be patient because, in time, his talent will blossom. On the reunion stage, Buck and Viv perform a heartfelt duet that ends with a kiss. Later, Viv wishes Buck would tour less, but he tells her he cannot stop. When Buck books a short tour, several musicians are unavailable so Viv suggests Lily as a replacement for a couple of weeks. Garland is not happy about his daughter traveling with a bunch of rough musicians, and tries to talk her out of the idea, but Lily views it as a great opportunity to work as a professional. As the band leaves, Buck tells Viv to make a surprise visit with Jamie while he is on the road. He promises to take her on a vacation after the tour ends. As they travel, Lily tells Buck she cannot believe her good fortune, while country stars like Emmylou Harris joins the band onstage for a show. After the concert, Buck misses Garland’s company and invites Lily to breakfast, and she reveals that she has been attracted to Buck since she was a little girl. At the hotel, they share a marijuana cigarette and fall into each other’s arms. At the ranch, Viv gets a call from Buck to add more dates to the tour. Buck and Lily’s affections grow until the arrival of Cotton, a musician in a flashy green cowboy suit with sequins, threatens to spoil Lily’s good time as he has been contracted to play for the rest of the tour. When Buck and his band upstage Cotton, a fight follows the show and Cotton leaves, while Buck openly declares his affection for Lily with a kiss. Cotton’s manager phones Viv to report that Buck will be sued for breach of contract, and he is having an affair with Lily. Backstage at a show, Viv sees the attraction between Buck and Lily as they perform, and when the song ends, she strides to the microphone and announces that her fifteen-year marriage to Buck is over. In spite of the awkwardness, the band decides to play at Garland’s picnic. However, Buck is adrift and travels to Mexico while Lily goes home and apologizes to her father for creating a mess. Garland travels to Mexico to confront Buck. Drunk on tequila, Garland chases after Buck, shooting a pistol. After a bullet grazes Buck’s shirt, they calm down and grab drinks at the cantina. Meanwhile, Lily goes to Honeysuckle Ranch and apologizes to Viv. Later, Viv explains to her son it is not enough to love somebody, they have to love you back, and Garland convinces Buck to return to his family. At Garland’s picnic, Viv apologizes to the crowd for Garland and Buck’s absence and performs a song. Buck surprises Viv, jumping on stage and accompanying her on his guitar, as the crowd cheers. Buck’s next song is an apology to Viv. Finally, the band launches into a rousing number, enabling Buck and Viv to rekindle their love in a duet, as Jamie and Garland join them on stage.
- STORMY WEATHER (1943)
- KNUTE ROCKNE--ALL AMERICAN (1940)
- GOING MY WAY (1944)
- ANIMAL CRACKERS (1930)
- A DAY AT THE RACES (1937)
- THE WIZARD OF OZ (1939)
- IT'S A MAD, MAD, MAD, MAD WORLD (1963)
- DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964)
- MEET ME IN ST. LOUIS (1944)
- THE NAUGHTY NINETIES (1945)
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