Whose Life Is It Anyway? (1981)

R | 118 mins | Drama | 2 December 1981

Director:

John Badham

Cinematographer:

Mario Tosi

Editor:

Frank Morriss

Production Designer:

Gene Callahan

Production Company:

Metro-Goldwyn-Mayer, Inc.
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HISTORY

       Whose Life Is It Anyway? was a theatrical production written by Brian Clark and performed on stage in London and on Broadway. According to the 22 Aug 1979 Var, John Kohn, an EMI production executive, and independent producer Elliott Kastner claimed a verbal contract existed between Clark and Kohn’s production company, Cinecrest, for screen rights to the play. Allegedly, Clark agreed to assign film rights for $150,000, would write the screenplay, and would have approval of the director and star. However, the London High Court ruled in favor of Clark, stating that Kohn was “inaccurate” in his claim that the conversation between Clark and the producers constituted a legal agreement. Clark retained worldwide film and television rights to his play, although a clause in his contract with theater producer Ray Cooney gave Cooney the right of first refusal, with the option of matching any third party offer.
       The 6 Mar 1980 HR announced that executive producers Ray Cooney and Martin C. Schute and producer Lawrence P. Bachmann signed a deal with Metro-Goldwyn-Mayer (MGM) to film the play. Articles in DV on 12 Dec 1980 and 2 Dec 1981 noted that Bachmann was rejected twice by MGM before David Begelman joined the company and greenlit the project. John Badham who had been interested in the film signed as director. The 30 Jun 1980 HR reported that Richard Dreyfuss was Begelman’s first choice for the lead role, making it unlikely that Tom Conti, who had originated the stage role in London and on Broadway, would be cast.
       As tracked in articles in the ...

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       Whose Life Is It Anyway? was a theatrical production written by Brian Clark and performed on stage in London and on Broadway. According to the 22 Aug 1979 Var, John Kohn, an EMI production executive, and independent producer Elliott Kastner claimed a verbal contract existed between Clark and Kohn’s production company, Cinecrest, for screen rights to the play. Allegedly, Clark agreed to assign film rights for $150,000, would write the screenplay, and would have approval of the director and star. However, the London High Court ruled in favor of Clark, stating that Kohn was “inaccurate” in his claim that the conversation between Clark and the producers constituted a legal agreement. Clark retained worldwide film and television rights to his play, although a clause in his contract with theater producer Ray Cooney gave Cooney the right of first refusal, with the option of matching any third party offer.
       The 6 Mar 1980 HR announced that executive producers Ray Cooney and Martin C. Schute and producer Lawrence P. Bachmann signed a deal with Metro-Goldwyn-Mayer (MGM) to film the play. Articles in DV on 12 Dec 1980 and 2 Dec 1981 noted that Bachmann was rejected twice by MGM before David Begelman joined the company and greenlit the project. John Badham who had been interested in the film signed as director. The 30 Jun 1980 HR reported that Richard Dreyfuss was Begelman’s first choice for the lead role, making it unlikely that Tom Conti, who had originated the stage role in London and on Broadway, would be cast.
       As tracked in articles in the 30 Jul 1980 NYT, the 2 Dec 1981 DV and the 13 Dec 1981 LAHExam, three months prior to the start of principal photography, Badham took the “unusual step” of directing a special two week engagement of the stage play at the Williamstown Theatre in Williamstown, MA. The “revamped” stage version included some adjustments made by Clark with additional scenes from Reginald Rose’s screenplay. One change included the addition of the main character’s girlfriend. “Pat” was only mentioned in the original stage version, but was added to the new theatrical production and to the feature film, where she was played by Janet Eilber, making her screen debut. Although Celeste Holm and Blythe Danner co-starred with Dreyfuss on stage in Williamstown, Badham stated it was “premature” to state if Danner would also co-star in the film version, and neither actress participated in the feature film.
       The production chart in the 19 Dec 1980 HR stated principal photography began 10 Nov 1980 in Boston, MA, and Los Angeles, CA. The 12 Dec 1980 DV noted the film’s budget was $10 million. Principal photography began in Boston, then moved to stage 27 at MGM studios where the filmmakers created a $1 million hospital set, including two wings, an operating room, dialysis room, intensive care unit, doctors offices, nurses stations, library, hallways, an elevator and a solarium. The set allowed the freedom of movement that would not have been available in a working hospital.
       The 30 Jun 1981 LAHExam reported that Badham wanted to film in black and white, believing it would best serve the subject matter. However, Begelman suggested it be shot in color, and a black-and-white print could be made from the color elements. To determine which version should be released, a black-and-white print was sneak previewed in San Jose, CA, and a color print was previewed in San Francisco, CA. Although Begelman stated that “both played brilliantly,” his choice prevailed and the film was released in color.
       The 7 Oct 1981 Var and the 2 Dec 1981 DV reported the film would be distributed by United Artists, with a limited release on 2 Dec 1981 in Boston, New York, Los Angeles and San Francisco, CA, and Toronto, Canada, followed by a wide release in Feb 1982. An item in the 5 Nov 1981 HR noted the world premiere on 2 Dec 1981 in Boston at the Sack Cheri 2 would benefit the Faulkner hospital.
       A list of the “Last Releases of 1981” in the 23 Feb 1982 Village Voice stated Whose Life Is It Anyway? was a “disaster” with an estimated box-office gross between $3 - $6 million.

      End credits include the following statements: "Whose Life Is It, Anyway? produced on the London stage by Ray Cooney Limited and The Mermaid Theatre Trust” and “The Film Makers gratefully acknowledge the generous assistance of the people of the Commonwealth of Massachusetts and the Williamstown Theatre Festival in the making of this film.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
5 Dec 1980
p. 28
Daily Variety
12 Dec 1980
---
Daily Variety
2 Dec 1981
---
Hollywood Reporter
6 Mar 1980
---
Hollywood Reporter
30 Jun 1980
---
Hollywood Reporter
19 Dec 1980
---
Hollywood Reporter
5 Nov 1981
---
Hollywood Reporter
24 Nov 1981
p. 2
LAHExam
30 Jun 1981
---
LAHExam
13 Dec 1981
---
Los Angeles Times
4 Dec 1981
p. 1
New York Times
30 Jul 1980
---
New York Times
2 Dec 1981
p. 23
Variety
22 Aug 1979
---
Variety
7 Oct 1981
p. 43
Variety
25 Nov 1981
p. 20
Village Voice
23 Feb 1982
p. 55
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Metro-Goldwyn-Mayer Presents
A Cooney-Schute Production
A John Badham Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
2d asst dir
DGA trainee
PRODUCERS
Exec prod
Exec prod
WRITERS
PHOTOGRAPHY
Dir of photog
Cam op
1st asst cam
Still photog
Key grip
Cam asst
Still photog, Boston
Cableman
Best boy
Best boy
2d grip
Dolly grip
ART DIRECTORS
Prod des
FILM EDITORS
Film ed
Asst ed
SET DECORATORS
Set dec
Prop master
Figure sculptures
Set des
Set des
Leadman
2d prop man
Const coord
COSTUMES
Cost des
Ward
Set man ward
SOUND
Vocal eff adv
Re-rec mixer
Re-rec mixer
Re-rec mixer
Boom op
VISUAL EFFECTS
Titles and opticals
Spec eff asst
DANCE
Choreog
MAKEUP
Hairdresser
Hairdresser
PRODUCTION MISC
Prod assoc
Casting
Unit pub
Scr supv
Tech adv
Dial coach
Prod's asst
Spec medical equip provided by
Spec medical equip provided by
Spec medical equip provided by
Spec medical equip provided by
Spec medical equip provided by
Secy to dir
Transportation gaffer
Transportation capt
Loc mgr
Auditor
Extra casting
STAND INS
Stunt coord
COLOR PERSONNEL
SOURCES
LITERARY
Based on the stage play Whose Life Is It Anyway? by Brian Clark (New York, 17 Apr 1979).
LITERARY SOURCE AUTHOR
SONGS
"Hospital Ladies," words and music by Arthur B. Rubinstein, performed by "The Rebel Rockers"; "Punkette Nights," words and music by Michael Starobin.
PERFORMED BY
DETAILS
Release Date:
2 December 1981
Premiere Information:
New York opening: 2 Dec 1981; Los Angeles opening: 4 Dec 1981
Production Date:
began 10 Nov 1980
Copyright Info
Claimant
Date
Copyright Number
Metro-Goldwyn-Mayer Film Company
10 December 1981
PA122714
Physical Properties:
Sound
Color
Lenses
Panaflex® Camera and Lenses by Panavision®
Duration(in mins):
118
MPAA Rating:
R
Country:
United States
Language:
English
PCA No:
26374
SYNOPSIS

In Boston, Massachusetts, sculptor Ken Harrison finishes the installation of a large art piece in a park, assisted by his students and his dancer girlfriend, Pat. He promises to make dinner for Pat and they drive off in separate cars. Brakes fail on a truck as it speeds through an intersection and Ken crashes into the truck. At the hospital, Dr. Michael Emerson, chief of medical services, performs the surgery which saves Ken’s life, but leaves him a quadriplegic. Six months later in the Intensive Care ward, Nurse Rodriguez introduces rookie nurse Mary Jo Sadler to Ken, who decides to call her “Joey,” and jokes while helping instruct her on his care. When Pat visits, Nurse Rodriguez reveals that Ken has no hope of recovery. An orderly named John arrives to shave Ken and as they discuss the orderly’s band, John drums a beat on Ken’s leg. Dr. Clare Scott examines Ken and announces he is ready to start physical therapy, insisting it will help him feel better. At the nurses’ station, Dr. Scott tells Nurse Rodriguez that Ken seems more agitated than usual, and increases his dose of Valium. As Dr. Emerson leads a group on the daily rounds, they discuss a fifty-six-year-old patient who died, and Emerson lectures that death is the enemy and they should feel sick whenever they see a body that has not reached its allotted seventy years. When Joey brings coffee to Ken, he laughs and refuses to drink it, accidentally causing her to spill the liquid on him. As Ken apologizes, she rushes to change his clothes and the sheets, ...

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In Boston, Massachusetts, sculptor Ken Harrison finishes the installation of a large art piece in a park, assisted by his students and his dancer girlfriend, Pat. He promises to make dinner for Pat and they drive off in separate cars. Brakes fail on a truck as it speeds through an intersection and Ken crashes into the truck. At the hospital, Dr. Michael Emerson, chief of medical services, performs the surgery which saves Ken’s life, but leaves him a quadriplegic. Six months later in the Intensive Care ward, Nurse Rodriguez introduces rookie nurse Mary Jo Sadler to Ken, who decides to call her “Joey,” and jokes while helping instruct her on his care. When Pat visits, Nurse Rodriguez reveals that Ken has no hope of recovery. An orderly named John arrives to shave Ken and as they discuss the orderly’s band, John drums a beat on Ken’s leg. Dr. Clare Scott examines Ken and announces he is ready to start physical therapy, insisting it will help him feel better. At the nurses’ station, Dr. Scott tells Nurse Rodriguez that Ken seems more agitated than usual, and increases his dose of Valium. As Dr. Emerson leads a group on the daily rounds, they discuss a fifty-six-year-old patient who died, and Emerson lectures that death is the enemy and they should feel sick whenever they see a body that has not reached its allotted seventy years. When Joey brings coffee to Ken, he laughs and refuses to drink it, accidentally causing her to spill the liquid on him. As Ken apologizes, she rushes to change his clothes and the sheets, but in her haste, he starts to fall off the bed. Orderlies rush to help and lower Ken to the floor, and Nurse Rodriguez scolds Joey as they change his bed sheets. Ken insists it was his fault but is embarrassed that he cannot do anything. When Dr. Emerson enters with his students, Ken yells at them to leave. Emerson closes the curtains behind them, returning moments later with Dr. Scott to examine Ken. They tell Ken he is doing well, dialysis treatments are working, and he will transfer to a rehabilitation facility soon. Ken asks if he will regain use of his limbs, and they admit he will not. He wonders why they did not tell him earlier, and learns they waited until he was ready to face asking the question. Dr. Emerson orders Dr. Scott to increase Ken’s Valium dose. She gets another pill, but Ken refuses to take it. His consciousness is all he has left and he does not want that paralyzed as well. Dr. Scott informs Dr. Emerson that Ken would not take the pill and argues that a depressive drug will not help him. Dr. Emerson disagrees and returns to Ken’s room with a Valium shot. Ken refuses permission and states that he does not want to stay alive. Dr. Emerson insists Ken is depressed and cannot make that decision. He gives the shot, and Ken is infuriated until the drug takes hold. Later, he cries as he dreams of Pat dancing while he sculpts. In the morning, Ken asks Nurse Rodriguez to contact the insurance company lawyer, claiming he realizes he needs money. When Pat visits, Ken asks her to leave forever and find a new life. He knows she loves him, but is no longer the man he was. She is shocked, but Ken insists her presence is a torturous reminder of everything he will never do again. Later, the orderly John wheels Ken into the solarium to meet Mrs. Kate Boyle, an administrator who heard that Ken no longer wants treatment. Ken admits he wants to die, so she attempts to give him a pep talk, suggesting he dictate a book on sculpting or write poetry. Ken counters that he is not interested in changing art forms. His whole life revolved around being a sculptor. As they debate the issue, he becomes more convinced he wants to die. When he starts to choke and cannot breathe, he begs Kate Boyle to leave him alone, but she calls for assistance and they save Ken’s life. Later, he discusses the situation with Dr. Scott. She thinks he will move past the depression, but he feels she has a moral obligation to accept his decision. When attorney Carter Hill arrives to discuss insurance paperwork, Ken asks if the lawyer will represent him in a right to die case. Hill is uncertain about taking the case, and meets with Dr. Emerson prior to making a decision. Emerson states the hospital has spent a lot of time and money to save Ken’s life, but Hill insists the issue is a man’s right to determine his own life. Emerson claims it is his sworn duty to protect life, and that Ken is mentally unbalanced. Hill informs Ken of Dr. Emerson’s response and wants to bring an independent psychiatrist for another opinion. Hill knows that Dr. Emerson will hire two psychiatrists to corroborate his claims in an attempt to get Ken committed to the hospital under a “mental health” stay. Dr. Scott is stunned when she learns of Dr. Emerson’s plan. She may not agree with Ken’s choice, but argues that being suicidal is not evidence of insanity. Dr. Emerson warns her that if Ken dies suddenly, he will order an investigation. The various psychiatrists meet with Ken, and he is frustrated at being watched on monitors. Dr. Scott visits Ken’s loft and admires his sculptures. She asks Pat to help Ken to change his mind, but Pat respects Ken’s wishes and suggests Clare Scott do the same. Dr. Scott meets with Hill and admits that part of her would be relieved if Ken overdosed on a bottle of sleeping pills. That night, she visits Ken and brings his sculpture of a hand, which is his favorite piece. She asks if Ken is certain of his decision, and is understanding when he insists that life is over for him. Late at night, John and Joey sneak Ken into the basement where John’s band plays music and they share a marijuana cigarette with Ken. The group scatters when a security guard approaches, leaving Ken smoking the “joint.” The next morning, Carter Hill agrees to represent Ken, but not for a hearing. It is against the law to deprive anyone of his liberty without due process and Hill plans to apply for a writ of habeus corpus, meaning “give us the body.” If sufficient cause cannot be established to detain Ken, the judge will order him released. Hill admits he could bear to lose the case, but Ken states that would be a life sentence for him. Judge Wyler leads the formal hearing at the hospital. Dr. Emerson and the hospital’s psychiatrists claim that Ken is clinically depressed. Carter Hill’s psychiatrist argues that Ken is reacting in a rational manner to a bad situation and is capable of making this decision, although the doctor personally disagrees with it. The judge questions Ken, who claims his life is torment, and it is cruel to deprive him of the freedom of choice. Ken asks to be discharged so he can die. The judge retires to study precedents and contemplate the case. Upon returning, he rules that Ken is in possession of his mental faculties and orders he be set free. As Ken is wheeled back to his room, Dr. Emerson offers to let Ken stay at the hospital, promising they will stop treatment and will not attempt any last minute efforts unless Ken asks for help. He promises Ken will not be alone and will not have any discomfort before slipping into a coma within a few days, with death coming within a week or two. Ken thankfully accepts the offer and is wheeled into his room, where he lies in bed staring at his sculpture of the hand.

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

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