Thief of Hearts
(1984)
R | 99 mins | Drama, Romance | 19 October 1984
Director:
Douglas Day StewartWriter:
Douglas Day StewartProducers:
Don Simpson, Jerry BruckheimerCinematographer:
Andrew LaszloEditor:
Tom RolfProduction Designer:
Edward RichardsonProduction Company:
Paramount
As noted in a 31 Oct 1984 Var article, writer-director Douglas Day Stewart conceived the Thief of Hearts screenplay in the mid-1970s, but did not find studio-backing for the project until after he achieved box-office success with his script for The Blue Lagoon (1980, see entry). At that time, Stewart secured a deal with Columbia Pictures to direct his first theatrically-released feature film. When early drafts of Thief of Hearts suggested it was a “psycho-thriller,” Columbia decided to end its support of the project and it was optioned by Twentieth Century-Fox. An 11 Jan 1984 HR article stated that the property was developed at Fox by independent producer George Litto. However, Fox’s production chief, Sherry Lansing, left the studio to become an independent producer at Paramount Pictures not long after her acquisition of Thief of Hearts, and the new Fox executives were uninterested in producing the film. Unrelated to Lansing’s move to Paramount, the studio’s second-in-command, Dawn Steel, championed Thief of Hearts with Paramount’s former vice-president of production Don Simpson and his partner, Jerry Bruckheimer.
During the four years in which Thief of Hearts was at both Fox and Paramount, Stewart wrote twenty-seven different drafts of the screenplay. According to Var, Stewart began the film as the story of a couple who fear being robbed a second time, but then evolved the narrative into a film noir, mixing romance and crime by portraying the thief as a sympathetic, lovelorn loner who falls in love with the wife by reading her diaries. ...
As noted in a 31 Oct 1984 Var article, writer-director Douglas Day Stewart conceived the Thief of Hearts screenplay in the mid-1970s, but did not find studio-backing for the project until after he achieved box-office success with his script for The Blue Lagoon (1980, see entry). At that time, Stewart secured a deal with Columbia Pictures to direct his first theatrically-released feature film. When early drafts of Thief of Hearts suggested it was a “psycho-thriller,” Columbia decided to end its support of the project and it was optioned by Twentieth Century-Fox. An 11 Jan 1984 HR article stated that the property was developed at Fox by independent producer George Litto. However, Fox’s production chief, Sherry Lansing, left the studio to become an independent producer at Paramount Pictures not long after her acquisition of Thief of Hearts, and the new Fox executives were uninterested in producing the film. Unrelated to Lansing’s move to Paramount, the studio’s second-in-command, Dawn Steel, championed Thief of Hearts with Paramount’s former vice-president of production Don Simpson and his partner, Jerry Bruckheimer.
During the four years in which Thief of Hearts was at both Fox and Paramount, Stewart wrote twenty-seven different drafts of the screenplay. According to Var, Stewart began the film as the story of a couple who fear being robbed a second time, but then evolved the narrative into a film noir, mixing romance and crime by portraying the thief as a sympathetic, lovelorn loner who falls in love with the wife by reading her diaries. Initially a weak, nerdy character, the husband was given a stronger role as the man who discovers the mystery of the robbery. In addition, the wife was rewritten so that she resisted the advances of her suitor much longer than in initial drafts, thereby making her character more sympathetic.
The project was first developed with big-name actors including Diane Keaton, as the wife and Warren Beatty, as the thief. However, first time feature film director Douglas Day Stewart opted to cast younger, relatively unknown talent so he would not be “overwhelmed” by the caliber and experience of the actors. The change brought the Thief of Hearts budget down to $8 million. As stated in the 11 Jan 1984 HR article, Thief of Hearts marked the first release in an “exclusive” five-picture contract between Simpson-Bruckheimer and Paramount.
A 27 Mar 1984 HR production chart reported that principal photography began 13 Feb 1984 in San Francisco, CA, and a 17 Apr 1984 HR news item announced that production ended 13 Apr 1984 in Los Angeles, CA, two days ahead of schedule, according to studio production notes in AMPAS library files. The film was shot in the following San Francisco-area locations: Sausalito, the Golden Gateway Center, Telegraph Hill, the China Basin Marina, and Washington Square Park. Although production notes added that filming in San Francisco was followed by six weeks of location work in Los Angeles, the 11 Jan 1984 HR article stated that interiors were shot in Los Angeles’s Paramount soundstages.
In the wake of generally negative reviews, which complained the film was overly derivative of Hitchcock pictures and John Ford’s The Man Who Shot Liberty Valance (1962, see entry), Thief of Hearts did not fare well at the box-office, and a 16 Jun 1985 LAT news item called it a “disaster for Paramount.” However, the picture was widely successful in Israel, and LAT speculated this was due to a different marketing campaign, which portrayed the film as a romance instead of an action movie.
End credits include: “The producers would like to thank the following: City of San Francisco, Tiffany & Co., KPIX 5 San Francisco.”
In San Francisco, California, a cocaine-addicted parking valet named Buddy Calamara greets Ray and Mickey Davis at an upscale restaurant, where they are celebrating their sixth wedding anniversary. As the couple goes inside, Buddy contacts his partner-in-crime, Scott Muller, by walkie-talkie. Scott breaks into the Davis house and steals artwork, a safe, and Mickey’s secret, erotic diaries, as well as an enlarged photograph of the young woman. Arriving home, Mickey is terrified by the loss of her journals, and fears the thief will discover her sexual fantasies. In the coming days, Scott engrosses himself in Mickey’s erotica and stages an “accidental” meeting with her outside a grocery store. Mickey is intrigued by the handsome stranger. She tries to seduce her husband at home, but Ray is preoccupied with finishing his latest children’s novel. Mickey returns to the store, hoping for another encounter with Scott. When they meet again, Mickey explains she is an interior designer and Scott claims he wants to remodel his apartment. She invites him to an event that showcases her work and Ray Davis becomes jealous of his wife’s new client. The next day at work, Mickey receives one dozen roses from Scott and an invitation to join him for lunch. At the San Francisco marina, Scott gives Mickey a $10,000 down payment for a $100,000 project. The next day, Mickey visits Scott’s loft to begin work. When she discovers a handgun, he teaches her how to shoot and they make love. Mickey returns home with a gun of her own and hides it inside her piano. Ray becomes incensed over ...
In San Francisco, California, a cocaine-addicted parking valet named Buddy Calamara greets Ray and Mickey Davis at an upscale restaurant, where they are celebrating their sixth wedding anniversary. As the couple goes inside, Buddy contacts his partner-in-crime, Scott Muller, by walkie-talkie. Scott breaks into the Davis house and steals artwork, a safe, and Mickey’s secret, erotic diaries, as well as an enlarged photograph of the young woman. Arriving home, Mickey is terrified by the loss of her journals, and fears the thief will discover her sexual fantasies. In the coming days, Scott engrosses himself in Mickey’s erotica and stages an “accidental” meeting with her outside a grocery store. Mickey is intrigued by the handsome stranger. She tries to seduce her husband at home, but Ray is preoccupied with finishing his latest children’s novel. Mickey returns to the store, hoping for another encounter with Scott. When they meet again, Mickey explains she is an interior designer and Scott claims he wants to remodel his apartment. She invites him to an event that showcases her work and Ray Davis becomes jealous of his wife’s new client. The next day at work, Mickey receives one dozen roses from Scott and an invitation to join him for lunch. At the San Francisco marina, Scott gives Mickey a $10,000 down payment for a $100,000 project. The next day, Mickey visits Scott’s loft to begin work. When she discovers a handgun, he teaches her how to shoot and they make love. Mickey returns home with a gun of her own and hides it inside her piano. Ray becomes incensed over their lack of intimacy, but Mickey blames her husband for being preoccupied with his book. Meanwhile, Scott and Buddy rob another mansion, but provoke the suspicion of a police officer. As the detective radios for backup, Buddy shoots him dead and the thieves get away in their van. Sometime later, Mickey meets Scott for lunch and is startled by his knowledge of her private life. However, he claims he read a magazine article about her. When Mickey tries to imagine Scott’s upbringing, he refuses to reveal his past, and she becomes fearful of their affair. She later admits she still loves her husband. As Scott drives away from the date, he is secretly followed by Ray and his literary agent, Marty Morrison. At a dockside warehouse, Ray sneaks onto the roof. As he looks down into the storage facility through an open ceiling fan, he sees the artwork stolen from his home and discovers Scott is the thief. At the same time, Buddy catches a glimpse of Ray. Since Ray is following Scott, Buddy realizes his partner-in-crime is having an affair with Ray’s wife. Still unaware of Buddy’s involvement with the robbery, Ray reports his findings to police. Elsewhere, at Mickey’s office, Scott begs her to leave town with him, and admits to reading her diaries. Scott declares he is worthy of her affection because he made her fantasies come true. Just then, Ray arrives and Mickey decides to stay with her husband. The next evening, the couple goes to the restaurant, unaware that Buddy is waiting for an opportunity to break into their home. At dinner, Mickey promises to talk openly about her sexual longings instead of keeping them in a secret journal. Meanwhile, Buddy heads to the Davis home and discovers that Scott is already inside, reading Mickey’s recent diary entries. The men hold each other at gunpoint as the couple returns home. Realizing there has been another break-in, Ray orders Mickey to telephone the police as he pursues the men with a fireplace poker. When a masked gunman appears at the top of the stairs, Mickey retrieves her weapon from its hiding place and threatens to kill the intruder, even though she presumes he is Scott. The man falls over, dead, but Mickey does not recall pulling the trigger. When police arrive, they unmask Buddy. At the same time, Mickey sneaks into her bedroom and finds Scott, wounded. As he admits to killing Buddy, the lovers exchange final glances and Scott climbs through the window to escape the police.
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