Tell Me a Riddle (1980)

PG | 90 mins | Drama | 12 December 1980

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HISTORY

       According to a 14 Dec 1980 NYT article, a Filmways Pictures press release, and production notes in AMPAS library files, producers Mindy Affrime and Rachel Lyon became acquainted with the 1961 novella Tell Me A Riddle at a 1973 public reading by author Tillie Olsen at Washington University at St. Louis, MO. They were so moved by the material, which received the O. Henry Award in 1961, the producers took advice from a new executive director of the San Francisco International Film Festival named Peter Buchanan, and raised $50,000. It took six months to convince Olsen to sell them the film rights after she had rejected four other filmmakers. With the initial money raised, they were also able to hire a screenwriter, and find a director. A 23 Jan 1980 DV article reported that Henry Jaglom, who was considered a candidate for director, suggested actress Lee Grant. The 14 Dec 1980 NYT stated that Grant loved the story and signed on. When the producers approached Fantasy Films owner, Sal Zaentz, he offered editing facilities at his studio, and agreed to help the women find a distributor. Affrime and Lyon also added a third producer and former actress named Susan O’Connell to their group. The women, known as Godmother Productions, eventually raised a budget of $1.6 million from private sources including family, friends, and supporters, representing less than thirty-five people, according to articles in the 13 Feb 1980 HR and the 14 Dec 1980 NYT. The 23 Jan 1980 DV stated that investors contributed anywhere from $15,000 to $300,000. A decision was also made to ...

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       According to a 14 Dec 1980 NYT article, a Filmways Pictures press release, and production notes in AMPAS library files, producers Mindy Affrime and Rachel Lyon became acquainted with the 1961 novella Tell Me A Riddle at a 1973 public reading by author Tillie Olsen at Washington University at St. Louis, MO. They were so moved by the material, which received the O. Henry Award in 1961, the producers took advice from a new executive director of the San Francisco International Film Festival named Peter Buchanan, and raised $50,000. It took six months to convince Olsen to sell them the film rights after she had rejected four other filmmakers. With the initial money raised, they were also able to hire a screenwriter, and find a director. A 23 Jan 1980 DV article reported that Henry Jaglom, who was considered a candidate for director, suggested actress Lee Grant. The 14 Dec 1980 NYT stated that Grant loved the story and signed on. When the producers approached Fantasy Films owner, Sal Zaentz, he offered editing facilities at his studio, and agreed to help the women find a distributor. Affrime and Lyon also added a third producer and former actress named Susan O’Connell to their group. The women, known as Godmother Productions, eventually raised a budget of $1.6 million from private sources including family, friends, and supporters, representing less than thirty-five people, according to articles in the 13 Feb 1980 HR and the 14 Dec 1980 NYT. The 23 Jan 1980 DV stated that investors contributed anywhere from $15,000 to $300,000. A decision was also made to pay cast and crew on salary instead of deferred payments to boost moral, so the costs were factored into the budget.
       A 23 Aug 1978 Var brief announced that principal photography would begin in fall 1978. The entire picture was filmed in San Francisco, CA, according to an article in the 26 Mar 1980 HR. The 8 Feb 1980 HR stated that principal photography had been completed on that day.
       A 19 May 1982 Var news item reported that the first International Jewish Film Festival in Paris, France, gave the film double honors in a field of 10,000 submissions.
       The picture marked actress Lee Grant’s feature film directorial debut.

      The following acknowledgments appear in end credits: “The production thanks: The Ames Gallery, Berkeley Repertory Theatre, Al Bendich, Ann Brebner, Mal Burnstein, Danica Women’s Choral Ensemble, Franklin Hospital, Richard B. Francis and Associates, Valentine Glockner, Flora Gordon, Dr. & Mrs. Seymour Grossman, Ike Jones, Maxfield Bleu, Marvin Miller, Polly Platt, David Rubinson & Friends, San Francisco Mime Troupe, Irving Saraf, The Slavyanka Chorus, Stan Washburn, Dale Wilhite.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
23 Jan 1980
---
Hollywood Reporter
8 Feb 1980
---
Hollywood Reporter
13 Feb 1980
---
Hollywood Reporter
26 Mar 1980
---
Hollywood Reporter
5 Dec 1980
p. 5
Los Angeles Times
28 Dec 1980
p. 1
New York Times
14 Dec 1980
p. 21, 32
New York Times
15 Dec 1980
p. 13
Variety
23 Aug 1978
---
Variety
10 Dec 1980
p. 30
Variety
19 May 1982
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Godmother Productions and Saul Zaentz present
A Godmother Production of
A Lee Grant Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir
Prod mgr
1st asst dir
2d asst dir
PRODUCERS
Prod
Exec prod
WRITERS
PHOTOGRAPHY
Dir of photog
2d unit dir of photog
1st asst cam
2d asst cam
Gaffer
Best boy
Key grip
Dolly grip
Utility grip elec
Still photog
Still photog
ART DIRECTORS
Art dept
FILM EDITORS
Film ed
Asst film ed
Apprentice film ed
SET DECORATORS
Prop master
Asst prop master
Set dec
Const coord
Const crew
Const crew
Const crew
Const crew
COSTUMES
Ward
Asst ward
Asst ward
Asst ward
MUSIC
Mus comp
Mus consultant
Mus cond
Kenneth Karman
Mus ed
Addl mus wrt and performed by
Chilean songs courtesy of
SOUND
Prod sd mixer
Boom op
Supv sd ed
Sd ed
Asst sd ed
Post prod sd mixer
Post prod sd mixer
Post prod sd mixer
VISUAL EFFECTS
MAKEUP
Makeup/Hair
Makeup/Hair
PRODUCTION MISC
Prod coord
Loc auditor
Loc auditor
Loc auditor
Exec asst to prods
Loc mgr
Transportation coord
Scr supv
Driver
Driver
Driver
Driver
Driver
Craft service
Catering
Post prod supv
Prod exec
Asst to prods
Asst to prods
Asst to prods
Asst to Mr. Rosenberg
Asst to Ms.Grant
Asst to Mr. Douglas
Asst to Ms. Kedrova
Hotel accommodations by
Hotel accommodations by
Post prod services
Berkeley, California
STAND INS
Stand-in
Stand-in
SOURCES
LITERARY
Based on the novella Tell Me a Riddle by Tillie Olsen (Philadelphia, 1961).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
12 December 1980
Premiere Information:
Los Angeles opening: 12 Dec 1980; New York opening: 15 Dec 1980
Production Date:
ended 8 Feb 1980 in San Francisco, CA
Copyright Info
Claimant
Date
Copyright Number
TMAR Productions
26 January 1981
PA95200
Physical Properties:
Sound
Color
Duration(in mins):
90
MPAA Rating:
PG
Country:
United States
Language:
English
SYNOPSIS

An elderly woman named Eva listens to a record of Russian folk music, and thumbs through an album from her youth with photographs of Anton Chekhov and Victor Hugo. Outside, her husband, David, unsteadily climbs a ladder to repair the roof, but changes his mind. He complains that he is too old to maintain the property, and upsets Eva when he announces his plan to sell their house and move to the Union Haven, a residence for senior citizens. Later, Eva cooks a feast for her husband and visiting children. They ask her if she would like to move, but Eva responds that she would not enjoy living among other people. Her answer upsets her husband, who leaves the table. Later, David posts a “For Sale” sign in front of the house. At night, he wakes up and discovers his wife is missing. He finds her sitting on the porch swing in the rain, singing a Russian song. He gently guides her back in the house. After a doctor visit, David learns from his daughter that Eva has a kidney disorder and low blood cell count, but Eva insists that nothing is wrong, and disappears inside the house. The couple’s son tells David that Eva has cancer, and it has spread. The doctors expect Eva will have one year to live. When Eva has an operation in the hospital, she asks her family what is wrong, but no one will tell her the truth. After Eva is discharged, she and David travel to Omaha, Nebraska, to visit their daughter, Vivi, and their grandchildren. Eva refuses to hold her baby grandson. She remembers the many hours she ...

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An elderly woman named Eva listens to a record of Russian folk music, and thumbs through an album from her youth with photographs of Anton Chekhov and Victor Hugo. Outside, her husband, David, unsteadily climbs a ladder to repair the roof, but changes his mind. He complains that he is too old to maintain the property, and upsets Eva when he announces his plan to sell their house and move to the Union Haven, a residence for senior citizens. Later, Eva cooks a feast for her husband and visiting children. They ask her if she would like to move, but Eva responds that she would not enjoy living among other people. Her answer upsets her husband, who leaves the table. Later, David posts a “For Sale” sign in front of the house. At night, he wakes up and discovers his wife is missing. He finds her sitting on the porch swing in the rain, singing a Russian song. He gently guides her back in the house. After a doctor visit, David learns from his daughter that Eva has a kidney disorder and low blood cell count, but Eva insists that nothing is wrong, and disappears inside the house. The couple’s son tells David that Eva has cancer, and it has spread. The doctors expect Eva will have one year to live. When Eva has an operation in the hospital, she asks her family what is wrong, but no one will tell her the truth. After Eva is discharged, she and David travel to Omaha, Nebraska, to visit their daughter, Vivi, and their grandchildren. Eva refuses to hold her baby grandson. She remembers the many hours she spent nursing her own children, and when she had time for herself she took pleasure in reading books. However, David would always discourage her reading. At night, Eva wakes David, and wants to go home. She accuses him of selling the house, which explains why they have money to travel. He reassures her that he has not sold the property yet, and tells her to go back to sleep. The next day, David helps a grandson build a kite and tells riddles, while Eva tells a granddaughter she does not know any riddles. As Eva watches her grandson fly his kite, she recalls a moment from her childhood when Russian soldiers hanged a local boy. At night, she is disturbed by memories of a soldier who captured her sister. Back in the present, Eva rises from bed, and hides in the closet. She remembers her sister’s body hanging from a noose and screams. David soothes her, and she goes back to sleep. The next day, David tells someone on the telephone that he made a mistake, and needs to fix it. Before long, Eva and David visit their granddaughter, Jeannie, a visiting nurse who lives in San Francisco, California. After settling in, the couple takes a bus ride, and Eva is overjoyed to see the ocean. She removes her shoes and socks, and frolics on the beach, while David watches in amazement. Later, at a Laundromat, Eva is recognized by an old friend, Mrs. Mays, who strikes up a conversation. She invites Eva and David to her apartment for tea. However, Eva feels claustrophobic in Mrs. Mays’s cramped one-room apartment. One day, Eva informs David that she is ready to go home. He tells her to talk to a doctor, and walks away. Later, Jeannie shows Eva a folk art doll that was made by the mother of a young patient who recently died. Jeannie says the family will hold a tribute for the girl, and sing her favorite songs. Eva asks if Jeannie will do the same for her when she is gone. Soon, David has another heated telephone call, pleading with someone to fix the mistake. Later, David packs Eva’s suitcase to go to a hospital, where she can receive better care. Eva refuses, and wrestles the suitcase away from her husband. As she descends the staircase, she insists on going home. David then admits there is no home. He forged Eva’s signature and sold the house while they were traveling. When Eva collapses on the stairs, he explains that he tried to reverse the sale, and cries as he apologizes. When Jeannie returns from work, David admits that he did a terrible thing, and he does not know how to make it right. Eva barely looks at her husband when he brings her a corsage, and she insists on attending Mrs. Mays’ birthday party, despite a fever. The senior center choir sings Russian folk songs that lift Eva’s spirits. Later, she smiles, and tells David it is not right for her to stand in his way. He should move to the Union Haven; she will stay with Jeannie. David wonders aloud how he can exist without her. Eva remembers when David was young, and they were passionately in love. Suddenly, they fall into each other’s arms and kiss. Later, Jeannie tears up over the breakup with her boyfriend. Eva shows her granddaughter her old album filled with photographs of Emil Zola, Walt Whitman, and Victor Hugo, and says that their work will sustain Jeannie as they have helped her. David is jealous when he discovers that Eva hid the photo album from him, and views the photographs as if they are secret lovers. Soon, chemotherapy makes Eva sleepy. She has dreams of long ago, losing her shoe when she runs through the forest with David. In the present, Eva cries out for her shoe and David hands it to her. Eva looks tiny curled up in bed, and Jeannie covers her grandmother with an embroidered red shawl. She insists that the family will have a big party to celebrate Eva’s life, then embraces her grandfather.

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

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