Flowers in the Attic (1987)

PG-13 | 95 mins | Mystery | 20 November 1987

Director:

Jeffrey Bloom

Writer:

Jeffrey Bloom

Producers:

Sy Levin, Tom Fries

Cinematographers:

Frank Byers, Gil Hubbs

Production Designer:

John Muto
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HISTORY

Flowers in the Attic is based on the 1979 gothic coming-of-age novel of the same title, written by V. C. Andrews. The teenage daughters of film producers Sy Levin and Charles Fries separately brought the book to their fathers’ attention. Promotional materials in AMPAS library files indicate that when Levin and Fries found themselves interested in the same property, they optioned it together.
       The 30 Jul 1981 HR noted that Sy Levin and Jeff Begun had formed a new production company, Begun-Levin Productions, and were bringing Flowers in the Attic to the big screen, with Charles Fries as executive producer and Joey Green as co-producer. The film was set to have a $2.5--$5 million budget, but no production dates were given. Two years later, in 1983, Fries and Levin announced they were making Flowers in the Attic for Universal Pictures with a $6.5 million budget. According to the 17 Jun 1983 HR, several executives had already rejected it, including Ned Tanen at Universal, but when Robert Rehme replaced him in late Dec 1982, he approved the project because his daughter had spoken so highly of the book. Fries and Levin also optioned the film rights to V. C Andrews’s second novel, Petals in the Wind, a sequel to Flowers in the Attic. Writer Hilary Henkin was busy working on a screenplay that would combine the two novels.
       In 1984, actress Linda Evans was set to play the mother of the four children. The 21 May 1984 DV reported that the film, now budgeted at $5 million, would start shooting somewhere in the ...

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Flowers in the Attic is based on the 1979 gothic coming-of-age novel of the same title, written by V. C. Andrews. The teenage daughters of film producers Sy Levin and Charles Fries separately brought the book to their fathers’ attention. Promotional materials in AMPAS library files indicate that when Levin and Fries found themselves interested in the same property, they optioned it together.
       The 30 Jul 1981 HR noted that Sy Levin and Jeff Begun had formed a new production company, Begun-Levin Productions, and were bringing Flowers in the Attic to the big screen, with Charles Fries as executive producer and Joey Green as co-producer. The film was set to have a $2.5--$5 million budget, but no production dates were given. Two years later, in 1983, Fries and Levin announced they were making Flowers in the Attic for Universal Pictures with a $6.5 million budget. According to the 17 Jun 1983 HR, several executives had already rejected it, including Ned Tanen at Universal, but when Robert Rehme replaced him in late Dec 1982, he approved the project because his daughter had spoken so highly of the book. Fries and Levin also optioned the film rights to V. C Andrews’s second novel, Petals in the Wind, a sequel to Flowers in the Attic. Writer Hilary Henkin was busy working on a screenplay that would combine the two novels.
       In 1984, actress Linda Evans was set to play the mother of the four children. The 21 May 1984 DV reported that the film, now budgeted at $5 million, would start shooting somewhere in the southern United States during the summer of 1984. However, nothing came of the project.
       In 1985, director Wes Craven came aboard, rewrote the script, and planned to direct. The 20 Jul 1985 Screen International reported that Craven, best known for making horror movies, liked the story’s gothic atmosphere. Universal Pictures was no longer involved because the studio was uncomfortable with the story’s sensational aspects, particularly the incestuous relationship between the teenage brother and sister. However, when Robert Rehme left Universal Pictures to head New World Pictures, he picked up the project again at that studio.
       In 1986, Chuck Fries formed his own production company, Fries Entertainment Inc., and was said to be co-producing Flowers in the Attic with New World Pictures, the 6 Mar 1986 HR announced. A May 1986 start date and an Oct 1986 release date were planned, but Wes Craven was no longer involved.
       Principal photography began 13 Oct 1986, according to the 29 Oct 1986 DV production chart. Jeffrey Bloom had come on board as director after rewriting the screenplay, and would subsequently be credited as the only writer. The production filmed in Ipswich, MA, using the Castle Hill mansion in Crane Memorial Reservation as the exterior of the film’s “Foxworth Hall.” Later, the production moved to Southern CA, shooting interiors at the S & A Studios on Occidental Boulevard in Los Angeles and at the Fenyes Mansion in Pasadena, CA.
       Test screenings resulted in re-edits to the film. The 15 Nov 1987 LAT reported that an early cut in late Dec 1986 left the audience, primarily teenage girls, uncomfortable with the sexual relationship between siblings “Christopher” and “Cathy.” Consequently, the incest scenes were cut completely. Another scene, in which Louise Fletcher’s “Olivia Foxworth” whipped a naked “Corrine” (Victoria Tennant), was drastically trimmed.
       The LAT reported that the producers nixed Jeffrey Bloom’s original ending, in which the children walk freely out of the house without resistance, because it was anti-climactic. A new ending was shot with Olivia Foxworth attacking her grandchildren with a meat cleaver, but test audiences found it too horrific. A third ending, in which Corrine (actually a stunt double, because Victoria Tennant refused to do the scene) falls to her death and becomes entangled in a trellis, was mocked by older audiences. As producers scrambled to find a proper ending, the film’s Mar 1987 release date was scrapped, and Jeffrey Bloom asked to be released from his contract. However, he remained credited as writer and director.
       By fall 1987, sneak previews were held on 9 Oct 1987 in San Jose, CA, and Dayton, OH. The 14 Oct 1987 HR called the screenings “successful,” adding that the audience consisted almost entirely of adolescent girls.
       Flowers in the Attic opened on 1,051 screens on 20 Nov 1987 to mostly negative reviews. The 21 Nov 1987 NYT described the film as “written and directed for minimum impact.” However, the film took in $5.2 million in its first three days, according to the 24 Nov 1987 DV box-office report, and by mid-Dec it had grossed $13.1 million, according to the 15 Dec 1987 DV.
       The film is dedicated to editorial consultant David Newhouse and the book’s author, V. C. Andrews, who died from breast cancer in Dec 1986. Andrews had an uncredited cameo in the movie as a window-washing maid.
       End credits state: “The Producers wish to thank: Castle Hill, Ipswich, Massachusetts; Greystone Mansion, City of Beverly Hills, California; City of Ipswich, Massachusetts; Landry & Arcari, Rugs and Carpets; Mrs. William Leslie; Massachusetts Film Commission, Office of the Governor; Mount Saint Mary’s College; Our Secret Jewelers; Pasadena Historical Society, Pasadena, California; University of California at Los Angeles.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
21 May 1984
p. 1, 12
Daily Variety
29 Oct 1986
---
Daily Variety
20 Nov 1987
p. 3, 32
Daily Variety
24 Nov 1987
---
Daily Variety
15 Dec 1987
---
Hollywood Reporter
30 Jul 1981
---
Hollywood Reporter
17 Jun 1983
---
Hollywood Reporter
6 Mar 1986
---
Hollywood Reporter
14 Oct 1987
---
Hollywood Reporter
24 Nov 1987
p. 3, 154
Los Angeles Times
15 Nov 1987
---
Los Angeles Times
20 Nov 1987
Calendar, p. 32
New York Times
21 Nov 1987
p. 12
Screen International
20 Jul 1985
---
Variety
25 Nov 1987
p. 15, 18
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
New World Pictures & Fries Entertainment Present
A Charles Fries Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
PRODUCERS
Prod
Prod
Assoc prod
Exec prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
Dir of photog
Cam op
1st asst cam
2d asst cam
Gaffer
Best boy elec
Elec
Key grip
Best boy grip
Dolly grip
Still photog
Still photog
Generator operator
Gaffer, In Massachusetts
Gaffer, In Massachusetts
Gaffer, In Massachusetts
Elec, In Massachusetts
Grip, In Massachusetts
Grip, In Massachusetts
ART DIRECTORS
Prod des
Asst art dir
Asst art dir
Draftsperson
Art dept asst, In Massachusetts
Art dept asst, In Massachusetts
Art dept asst, In Massachusetts
Art dept asst, In Massachusetts
Art dept asst, In Massachusetts
FILM EDITORS
Film ed
Ed consultant
Asst film ed
Apprentice film ed
Negative cutter
SET DECORATORS
Prop master
William Jones
Prop asst
Const coord
Const coord
Lead person
Lead person
Set dresser
Set dresser
Swing gang
Swing gang
Swing gang
Swing gang
Swing gang
Swing gang
Scenic artist
Scenic artist
Scenic artist
Const foreman
Const foreman
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Carpenter
Asst set dec, In Massachusetts
Scenic artist, In Massachusetts
Carpenter, In Massachusetts
Carpenter, In Massachusetts
COSTUMES
Cost des
Asst cost des
Cost asst
Cost asst
Ward asst, In Massachusetts
MUSIC
Mus ed
Mus ed
Mus consultant
Percussion consultant
Orch conducted by
SOUND
Sd mixer
Boom op
Supv sd ed
Sd eff ed
Sd eff ed
Sd eff ed
Sd eff ed
Dialog/ADR ed
Sd apprentice
Vanessa Crosby
Foley artist
Foley artist
Re-rec mixer
Re-rec mixer
Re-rec mixer
VISUAL EFFECTS
Titles and opticals
Title des
MAKEUP
Makeup
Addl makeup
Addl makeup
Hairstylist
Hairstylist
PRODUCTION MISC
Casting
Exec prod mgr
Scr supv
Loc mgr
Asst to the prod
Assto to the dir
Casting assoc
Extras casting
Extras casting
Prod controller
Prod coord
Prod secy
Prod accountant
Prod asst
Prod asst
Prod asst
Welfare worker
Unit pub
Transportation coord
Transportation capt
Craft service
Catering
Driver
Driver
Driver
Driver
Driver
Prod secy, In Massachusetts
Prod secy, In Massachusetts
Asst auditor, In Massachusetts
Swan boat, In Massachusetts
Prod asst, In Massachusetts
Extra casting, In Massachusetts
Driver capt, In Massachusetts
STAND INS
Stunt coord
Stunt coord
Stunts
Stunts
Stunts
Stunts
Stunts
COLOR PERSONNEL
Col by
Col timer
SOURCES
LITERARY
Based on the novel Flowers in the Attic by V. C. Andrews (New York, 1979).
LITERARY SOURCE AUTHOR
DETAILS
Release Date:
20 November 1987
Premiere Information:
Los Angeles and New York openings: 20 Nov 1987
Production Date:
began 13 Oct 1986
Copyright Info
Claimant
Date
Copyright Number
New World Entertainment & Fries Entertainment
30 November 1987
PA362403
Physical Properties:
Sound
Color
Duration(in mins):
95
Length(in feet):
8,236
MPAA Rating:
PG-13
Country:
United States
Language:
English
PCA No:
28580
SYNOPSIS

Corrine is the happily married mother of teenagers Christopher and Cathy, and five-year-old fraternal twins, Cory and Carrie. When her husband unexpectedly dies on his thirty-sixth birthday, Corrine is left penniless. With no place else to go, Corrine sells their belongings and returns to Foxworth Hall, the estate of her estranged elderly parents, Olivia and Malcolm Foxworth. Corrine explains that her parents disinherited her years ago, but she intends to win back her father’s love and become an heiress to his fortune. When the family arrives at the large, but decrepit mansion, Olivia Foxworth takes the four children to an upstairs room in a secluded portion of the house and locks them inside, instructing them not to yell, cry, or run. Although the room has windows, they are covered with bars, and very little sunlight gets in. When Olivia brings her grandchildren their first tray of food, she tells them, “Remember, God sees everything. God will see whatever evil you do behind my back and he will punish you for it.” She explains that their mother, Corrine, has come home after seventeen years to repent for her incestuous marriage to her uncle. However, Corrine’s father, Malcolm Foxworth, is dying, and Olivia does not intend to let him know that his grandchildren—“the devil’s spawn”— exist, in order to spare him the “final agony of shame.” In another part of the house, Olivia whips Corrine on the back seventeen times, one for each year of living in sin. When she takes Corrine to see the children, Olivia is offended by their glee at being reunited. When Cory bites her for hitting his twin Carrie, Olivia kicks and slaps him. She announces ...

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Corrine is the happily married mother of teenagers Christopher and Cathy, and five-year-old fraternal twins, Cory and Carrie. When her husband unexpectedly dies on his thirty-sixth birthday, Corrine is left penniless. With no place else to go, Corrine sells their belongings and returns to Foxworth Hall, the estate of her estranged elderly parents, Olivia and Malcolm Foxworth. Corrine explains that her parents disinherited her years ago, but she intends to win back her father’s love and become an heiress to his fortune. When the family arrives at the large, but decrepit mansion, Olivia Foxworth takes the four children to an upstairs room in a secluded portion of the house and locks them inside, instructing them not to yell, cry, or run. Although the room has windows, they are covered with bars, and very little sunlight gets in. When Olivia brings her grandchildren their first tray of food, she tells them, “Remember, God sees everything. God will see whatever evil you do behind my back and he will punish you for it.” She explains that their mother, Corrine, has come home after seventeen years to repent for her incestuous marriage to her uncle. However, Corrine’s father, Malcolm Foxworth, is dying, and Olivia does not intend to let him know that his grandchildren—“the devil’s spawn”— exist, in order to spare him the “final agony of shame.” In another part of the house, Olivia whips Corrine on the back seventeen times, one for each year of living in sin. When she takes Corrine to see the children, Olivia is offended by their glee at being reunited. When Cory bites her for hitting his twin Carrie, Olivia kicks and slaps him. She announces that she will provide them food and shelter, but no love or kindness, because she can feel only “disgust for what is not wholesome.” Olivia forces Corrine to show the children the bloody lashes on her back, to serve as a reminder that they must obey the rules. Christopher, who wants to be a doctor, tends to his mother’s wounds. Corrine confesses the years of happiness she shared with her husband were worth a hundred whippings, but she still intends to win back her father’s love. She asks the children to stay in the locked room until he dies. With Olivia’s permission, Corrine shows the children a secret passageway in the closet that leads to the attic, which they can make into a playroom. They clean out the dust and cobwebs, put up a rope swing, try on all the old clothes, and enjoy playing there. Finding leotards, Cathy starts practicing ballet. In the weeks that follow, Corrine rarely comes to see her children. Christopher worries that she is sick, or that Olivia has locked her in another room. Christopher and Cathy loosen a window bar and climb onto the roof, but when they shinny down a rope to the ground, guard dogs chase them back up. The next morning, Corrine visits her children, but chastises them for trying to run away. Her father’s doctors do not expect him to survive the month, so she asks them to hold on until the reading of the will. One night, as Cathy takes a bath, Christopher chats with her through the slightly ajar door. When their grandmother comes in, she is aghast at what she sees, but Christopher talks back to her. After Olivia leaves, Cathy worries that she will retaliate, but Christopher assures her that their mother will never let anything bad happen to them. Cathy is not so sure. The next day, Olivia cuts off Cathy’s shoulder-length blonde hair and refuses to feed the children for a week. As Cory gets weaker, Christopher takes the hinges off the door and explores the downstairs with Cathy. They are distressed to see the luxuriousness of their mother’s bedroom, and upset to find their grandfather is still alive. Cathy wants to take the twins and escape right away, believing their mother’s greed has changed her, but Christopher insists they wait for their grandfather to die. The next morning, Olivia resumes bringing them food, but laces the powdered sugar on the cookies with arsenic. When Corrine comes to see her children, she is excited because her father is throwing a party to reintroduce her to society, and rewriting his will to leave everything to her. Cathy complains about the living conditions in the “prison,” but Corrine calls the children “heartless” to think she does not love them. That night, the two teenagers slip downstairs and observe their mother having a wonderful time at the party. The next morning, as Cory becomes deathly sick, Olivia makes Corrine take him to the hospital, but Corrine returns to inform her children that Cory died of pneumonia. As the groundskeeper digs a grave for the boy, he also digs three others. A few days later, Carrie’s pet mouse dies after she feeds him part of a cookie, which alerts Christopher to the poison in the powdered sugar. Unbeknownst to them, it is Corrine who has been putting arsenic on the cookies. That night, when Christopher sneaks downstairs to look for money so they can escape, he discovers their grandfather has died and their mother is getting married to attorney Bart Winslow the next day. Finding a copy of his grandfather’s will, he reads that if it is proven, even after Malcolm Foxworth’s death, that Corrine had children from her first marriage, she will be disinherited. The children realize their mother never intended to let them leave the attic alive. The next morning, Olivia attacks her grandchildren with a meat cleaver, but they knock her unconscious and run downstairs. As the wedding begins in the parlor, Christopher, Cathy, and Carrie enter the room. As Corrine pretends not to know who they are, they accuse her of poisoning them and offer her a cookie. Cathy pushes her mother against the balcony, and when Corrine topples over the railing, her wedding veil gets caught in the trellis and strangles her. The three children leave Foxworth Hall. Although Carrie continues to be sickly, Christopher goes to medical school and Cathy becomes a dancer. They wonder about Grandmother Olivia, but never again have any contact with her.

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Name Occurs Before Title
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