On the Nickel (1980)

R | 96 mins | Melodrama | 11 April 1980

Director:

Ralph Waite

Writer:

Ralph Waite

Producer:

Ralph Waite

Cinematographer:

Ric Waite

Production Company:

Rose's Park Productions
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HISTORY

Not all credits were legible on the print seen by AFI and therefore some may be missing.
       The following acknowledgments appear in the end credits: “The filmmakers express their thanks to the men and women who live ‘on the nickel,’ especially Rose; Scorpion; Mike Holliday; Chino; Peanut John; Red; Eugene; Mason; Father Don and Robert Sundance and Jill Halverson whose knowledge and love of the people on skid row made this picture possible,” and “Thanks also to the Alvarado Hotel; Downtown Women’s Center; St. Vincent’s Center; Harbor Lights; Los Angeles Rescue Mission; Marvin Worth; Global Business Management; Lorimar Productions; Columbia Broadcasting System; City of Los Angeles; County of Los Angeles; Council John Ferraro; and Neil Maffeo.”
       According to a 13 Jan 1980 LAT article, actor-writer-producer-director Ralph Waite decided to write his own screenplay after he was unable to find material to his liking. A news story about a group of homeless people, who gathered nightly around a flowering tree in a nearby park and protested when the police chopped it down, sparked his interest. Waite reportedly spent many months in Los Angeles, CA’s, Skid Row, observing and researching its inhabitants. In production notes from AMPAS library files, Waite claimed that most of the film’s scenes were accurate and true, based on his observations. He modeled the character “Rose” on an actual person, who lived on Skid Row for eighteen years at the time of his research. The actual person was not an alcoholic, but had gone to live there because she could not make it anywhere else. Actress Penelope Allen met the woman, befriended her, wore the same clothes, cooked with her, and spent time on ...

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Not all credits were legible on the print seen by AFI and therefore some may be missing.
       The following acknowledgments appear in the end credits: “The filmmakers express their thanks to the men and women who live ‘on the nickel,’ especially Rose; Scorpion; Mike Holliday; Chino; Peanut John; Red; Eugene; Mason; Father Don and Robert Sundance and Jill Halverson whose knowledge and love of the people on skid row made this picture possible,” and “Thanks also to the Alvarado Hotel; Downtown Women’s Center; St. Vincent’s Center; Harbor Lights; Los Angeles Rescue Mission; Marvin Worth; Global Business Management; Lorimar Productions; Columbia Broadcasting System; City of Los Angeles; County of Los Angeles; Council John Ferraro; and Neil Maffeo.”
       According to a 13 Jan 1980 LAT article, actor-writer-producer-director Ralph Waite decided to write his own screenplay after he was unable to find material to his liking. A news story about a group of homeless people, who gathered nightly around a flowering tree in a nearby park and protested when the police chopped it down, sparked his interest. Waite reportedly spent many months in Los Angeles, CA’s, Skid Row, observing and researching its inhabitants. In production notes from AMPAS library files, Waite claimed that most of the film’s scenes were accurate and true, based on his observations. He modeled the character “Rose” on an actual person, who lived on Skid Row for eighteen years at the time of his research. The actual person was not an alcoholic, but had gone to live there because she could not make it anywhere else. Actress Penelope Allen met the woman, befriended her, wore the same clothes, cooked with her, and spent time on the street to study her habits and the people she associated with on a daily basis.
       Once Waite found a story, he realized that its low-concept appeal would make it difficult to attract studio financing. A 7 Apr 1980 LAHExam article stated that Waite had been advised to cast movie stars and make script changes to secure funding. Hoping to avoid a drawn-out process and not eager to alter his screenplay, the 13 Jan 1980 LAT article reported that Waite funded the movie with his savings, and a 13 Oct 1978 DV article added that he secured a loan from the CBS television network and Lorimar, in exchange for an additional year’s work, playing the patriarch of The Waltons (CBS, Sep 1972 – Aug 1981). According to a 26 May 1980 Box article, Waite spent around $650,000 on production, $400,000 on postproduction and between $100,000 and $130,000 on promotion.
       The 13 Jan 1980 LAT reported that for his crew, Waite chose a dozen familiar faces from the set of The Waltons. For his cast, he selected New York City actors he had worked with in the past. A 22 May 1978 LAHExam article stated that about 500 homeless people congregated, hoping to appear in the movie, and 200 were selected as extras to be in the picture’s final scenes at the rate of $5 per day, and $10 for a double shift.
       Box reported that Waite’s reluctance to use his visibility as a television star to promote the movie proved to be a roadblock in attracting a major distributor, and was a factor that caused the Atlantic Releasing Corp. to back out of a distribution deal at the last minute. Undeterred, Waite took over distribution, releasing the film using “four-wall rental,” according to the 13 Jan 1980 LAT, renting theaters for several weekends at a flat fee. The company received all the ticket sale revenue while the theater kept concession money, as opposed to the standard practice of shared revenue between owners and distributors.
       According to the 22 May 1978 LAHExam, which referred to the film by its working title Rose's Park, the production filmed on the streets and alleys of Los Angeles’ Skid Row for five weeks. The 13 Oct 1978 DV article reported that the $1 million-budgeted movie finished principal photography five days early on a thirty-day shooting schedule, and was completed under budget.
       A 10 Jan 1980 LAT news item announced that the picture was one of eight films by young filmmakers to be screened at AFI’s series titled “New American Filmmakers” at the Directors Guild Theater on 18 Feb 1980.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
26 May 1980
p. 2
Daily Variety
13 Oct 1978
---
Hollywood Reporter
9 Apr 1980
p. 2
LAHExam
7 Apr 1980
Section A, p. 9
LAHExam
22 May 1978
---
Los Angeles Times
10 Jan 1980
---
Los Angeles Times
13 Jan 1980
Calendar, p. 32
Los Angeles Times
6 Apr 1980
p. 1
New York Times
4 May 1980
p. 73
Variety
26 Mar 1980
p. 21, 24
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Rose's Park Productions Presents
A Film by Ralph Waite
DISTRIBUTION COMPANIES
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
Asst dir
2d asst dir
PRODUCERS
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Cam op
Cam asst
Cam asst
Key grip
Elec
Elec
FILM EDITORS
SET DECORATORS
Prop master
Asst prop master
COSTUMES
MUSIC
Mus comp, arr, and prod
Mus supv
Orchestrator
Orchestrator
SOUND
Prod sd mixer
Boom op
Boom op
Supv sd ed
VISUAL EFFECTS
Title des
MAKEUP
Makeup artist
PRODUCTION MISC
Prod assoc
Casting
Scr supv
Transportation capt
Craft service
Asst to Mr. Waite
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Loc equip supplied by
COLOR PERSONNEL
Col and chemtone by
SOURCES
SONGS
"On The Nickel," written and sung by Tom Waits; "Waltzing Matilda," music by Marie Cowan, lyrics by A. B. Patterson; "Love Song," music by Kurt Weill, lyrics by Alan Jay Lerner; "I'm Forever Blowing Bubbles," music by Josh William Kellette, lyrics by Jean Kenbrovin; "Roll Along," music by Frederic Myrow, lyrics by Mark Fleisher.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Alternate Title:
Rose's Park
Release Date:
11 April 1980
Premiere Information:
Los Angeles opening: 11 Apr 1980; New York opening: 4 May 1980
Production Date:
late Apr 1978 in Los Angeles, CA
Physical Properties:
Sound
Color
Lenses/Prints
Lenses and Camera by Panavision®
Duration(in mins):
96
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

From his window, a former homeless man named Sam watches life on the street. He hears the rants of Paul, another homeless man who claims that Sam has forgotten his friends, Paul and C.G., since he became sober. Sam follows Paul to the park, thinking that something terrible has happened to C.G. Instead, Paul, who has a broken arm and leg, asks Sam to drive him to the Salvation Army Harbor Lights mission. Reluctantly, Sam drives but accidentally turns down a one-way street and crashes the car. Frazzled, Sam rants to motorists on the street as he steps out of the car, but Paul calms him and they continue their journey on foot. Elsewhere, a police van pulls up in front of several homeless people, who scatter when they see the officers. Sam and Paul attend an impromptu church service, where a homeless man tells Sam that C.G. is very much alive. On the street, a homeless woman named Rose argues with passengers sitting on a bus. Rose then tells Sam she cannot talk. Sam and Paul guide Rose away from the conflict and continue their way. At Harbor Lights, Sam asks a homeless man named Moses if he has seen C.G. Instead, Moses talks about how he exists to be a “wino,” while Sam, who is now sober, has no identity. Moses suspects this is why Sam is looking for C.G. At night, C.G. growls as he chases the demons away from Rose’s favorite tree, and Rose screams to scare away anything that might harm C.G. Afterward, they share a victory dance, singing “Waltzing Matilda.” As they sway, they imagine their younger, healthier selves. Then, ...

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From his window, a former homeless man named Sam watches life on the street. He hears the rants of Paul, another homeless man who claims that Sam has forgotten his friends, Paul and C.G., since he became sober. Sam follows Paul to the park, thinking that something terrible has happened to C.G. Instead, Paul, who has a broken arm and leg, asks Sam to drive him to the Salvation Army Harbor Lights mission. Reluctantly, Sam drives but accidentally turns down a one-way street and crashes the car. Frazzled, Sam rants to motorists on the street as he steps out of the car, but Paul calms him and they continue their journey on foot. Elsewhere, a police van pulls up in front of several homeless people, who scatter when they see the officers. Sam and Paul attend an impromptu church service, where a homeless man tells Sam that C.G. is very much alive. On the street, a homeless woman named Rose argues with passengers sitting on a bus. Rose then tells Sam she cannot talk. Sam and Paul guide Rose away from the conflict and continue their way. At Harbor Lights, Sam asks a homeless man named Moses if he has seen C.G. Instead, Moses talks about how he exists to be a “wino,” while Sam, who is now sober, has no identity. Moses suspects this is why Sam is looking for C.G. At night, C.G. growls as he chases the demons away from Rose’s favorite tree, and Rose screams to scare away anything that might harm C.G. Afterward, they share a victory dance, singing “Waltzing Matilda.” As they sway, they imagine their younger, healthier selves. Then, C.G. lies down and has a seizure. When the attack stops, Rose wipes the dirt and sweat from his face and torso. As Sam arrives, C.G. suffers another seizure Sam restrains his friend. When C.G. recovers, he and Sam go off in search of wine. C.G. cannot believe that Sam has gained control of his alcoholism. Sam buys a bottle of wine from a man with a shopping cart filled with wine bottles and offers it to C.G. Sam confesses that he may have gotten wine out of his system but not the life. He claims life on the outside is boring and scary. Sam tells C.G. that if the wine did not make him sick and the police went away, he would return to Skid Row. The men join a group of homeless friends, drinking wine in an open lot known as Rose’s park. There, Rose entertains the men with a song, and they applaud her effort. A few men also give short offbeat performances. Sam is asked by his friends to sing a song for old time’s sake. However, Sam cannot bring himself to perform, and instead lectures them about wasting their lives, and being at death’s doorstep. Exhausted, Sam falls sleep. In the morning, the police order C.G. and his friends to leave the open lot. When one officer produces a chain saw, C.G. wraps himself around Rose’s tree to prevent it from being cut down. However, officers subdue him and chop down the tree. The officers take C.G. and his friends to court, where they are charged with public drunkenness. As the judge runs through each case, he barely listens to the men’s answers. When C.G. is questioned, he demonstrates how Rose’s tree fell, and collapses on the ground. He is transported to the hospital, where a doctor points out classic signs of alcoholism to medical students, using the unconscious C.G. as an example. Sam tears up as he watches. Suddenly, C.G. leaps off the exam table and stumbles into Sam’s arms, asking Sam to return him to Rose’s park. However, C.G. dies and the medical students place him on a gurney. As an orderly covers C.G.’s body with pillows, telling Sam that the bodies of alcoholics burn faster than other people, and create a blue flame. He adds they also burn brighter than other corpses. Sam sits on the floor and watches the orderly wheel away C.G.’s body. Later, Sam rounds up four homeless friends to search the Los Angeles Crematory for C.G.’s ashes. They spread out to the office, the furnaces, and the storage area, looking for the remains. Sam looks through an office logbook and finds the record of C.G.’s remains, as Paul argues with a clerk about the correct paperwork. After much confusion, the men leave with several boxes of ashes, as they are chased off the premises. On Skid Row, the homeless men present Rose with a potted tree that can be moved wherever she goes. They fold C.G.’s ashes into the soil and pour wine in the dirt. Sam delivers a brief eulogy, and tells his friend to sleep well. In the middle of the street, Sam bursts into a rendition of “Waltzing Matilda,” and the homeless friends dance around Rose’s tree. As Sam and Paul leave, Sam admits it was the first time he ever sang sober, and he did not think it was possible.

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

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