Get Crazy (1983)

R | 92 mins | Comedy | 5 August 1983

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HISTORY

       According to production notes from AMPAS library files, the film was inspired by the experiences of director Allan Arkush and screenwriter Danny Opatoshu during their tenure as employees of the Fillmore East, a live music venue in New York City, during the late 1960s and early 1970s. Anecdotes from other Fillmore East alumni, such as producer John Davidson, director Jonathan Kaplan, and playwright John Ford Noonan, were also incorporated into the screenplay. Arkush stated that the incidents portrayed in the picture were based on actual events, though they did not occur “as frenetically and certainly not on the same night.” The director added that the idea of using a “blues band” comprised of orthodox Jews was inspired by blues musicians Mike Bloomfield and Barry Goldberg.
       The location for the “Saturn Theater” was the Wiltern Theater, constructed in 1931 at the intersection of Wilshire Boulevard and Western Avenue in Los Angeles, CA, and was threatened with demolition at the time. Art director Elayne Ceder expanded the stage and installed lighting and sound systems. Members of the cast and crew occupied the theater during seven days of photography.
       The 31 Aug 1982 HR reported that principal photography began 2 Aug 1982, and that actor Malcolm McDowell was cast in the role of “Reggie Wanker.” According to the 10-16 Sep 1982 LA Weekly, Russell Mael was originally chosen for the part, but “wasn’t coming across that well on camera.”
       A news item in the 27 Aug 1982 BAM stated that a “New Year’s Eve rock party” sequence, which included singers Lee Ving and Russell Mael, drummer John Densmore, ...

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       According to production notes from AMPAS library files, the film was inspired by the experiences of director Allan Arkush and screenwriter Danny Opatoshu during their tenure as employees of the Fillmore East, a live music venue in New York City, during the late 1960s and early 1970s. Anecdotes from other Fillmore East alumni, such as producer John Davidson, director Jonathan Kaplan, and playwright John Ford Noonan, were also incorporated into the screenplay. Arkush stated that the incidents portrayed in the picture were based on actual events, though they did not occur “as frenetically and certainly not on the same night.” The director added that the idea of using a “blues band” comprised of orthodox Jews was inspired by blues musicians Mike Bloomfield and Barry Goldberg.
       The location for the “Saturn Theater” was the Wiltern Theater, constructed in 1931 at the intersection of Wilshire Boulevard and Western Avenue in Los Angeles, CA, and was threatened with demolition at the time. Art director Elayne Ceder expanded the stage and installed lighting and sound systems. Members of the cast and crew occupied the theater during seven days of photography.
       The 31 Aug 1982 HR reported that principal photography began 2 Aug 1982, and that actor Malcolm McDowell was cast in the role of “Reggie Wanker.” According to the 10-16 Sep 1982 LA Weekly, Russell Mael was originally chosen for the part, but “wasn’t coming across that well on camera.”
       A news item in the 27 Aug 1982 BAM stated that a “New Year’s Eve rock party” sequence, which included singers Lee Ving and Russell Mael, drummer John Densmore, and one thousand background actors, was filmed at the Wiltern on 19 Aug 1982. An article describing the event appeared in the 4 Sep 1982 Screen International, which noted the removal of the theater’s Wurlitzer organ, the seats on its lower level, and many of its art deco appointments to allow adequate space for filming. Non-union background actors were acquired through radio promotions and a “special casting agency,” all of whom were eighteen years of age or older. The live concert performance featured singer-choreographer Lori Eastside, singers Bill Henderson, Howard Kaylan, and Lou Reed, and comedian Franklyn Ajaye, in addition to Mael, Ving and Densmore. A summer 1983 release was planned, although the film did not yet have a distributor.
       Arkush expressed his concern to the 10 Aug 1983 Var that Get Crazy may not be the mainstream success he had anticipated. Sherwood Productions and distributor Embassy Films excluded cast members Reed and Ving from advertising, as well as any indication that the plot centers on a rock concert. In addition, no advance screenings for the media were scheduled, despite “favorable initial reaction from the music press.” Arkush stated that he originally planned to hire an existing band with each member playing a character, “but they got real scared.” The director also approached several famous bands about appearing in the film, all of which declined, afraid that audiences might believe them to be the bizarre characters portrayed in the screenplay. Much of the music used in the live concert sequences was performed by professional studio musicians, some of whom, according to Arkush, had worked with celebrities parodied in the film. One exception was Ving’s rendition of “I’m Your Hoochie Coochie Man,” with accompaniment by the band, Fear. Get Crazy was produced on a budget of $5.5 million over a period of thirty-seven days.
      Before the end credits, the following statement reads: "'The End, is always a new beginning…'-Captain Cloud." End credits include the following statement: "Special thanks to Mike Finnell, Todd Hallowell, Christopher Jenkins, Robert J. Glass." End credits then conclude with the statement: "Thanks for the memories to the entire staff of the Fillmore East 1968-77."

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Hollywood Reporter
9 Aug 1983
p. 5
Los Angeles Times
8 Aug 1983
p. 3
New York Times
14 Oct 1983
p. 11
Variety
10 Aug 1983
p. 18
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Herbert Solow Production
DISTRIBUTION COMPANIES
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
1st asst dir
2d asst dir
2d asst dir
DGA trainee
PRODUCERS
Prod
Exec prod
PHOTOGRAPHY
Dir of photog
Cam op
2d cam op
1st asst cam
1st asst cam
Still photog
Lighting consultant
Gaffer
Best boy elec
Michael DeChellis
Lighting tech
Lighting tech
Key grip
Best boy grip
Dolly grip
Rigging grip
Addl photog
Spec lighting equip supplied by
Spec elec equip supplied by
ART DIRECTOR
Elayne Ceder
Art dir
FILM EDITORS
Supv ed
Film ed
Film ed
Ed consultant
Asst ed
Asst ed
Vaune Kirby
Apprentice ed
SET DECORATORS
Set dec
Prop master
Asst prop master
Asst prop master
Leadman
Swing gang
Swing gang
Const coord
Const foreman
COSTUMES
Cost des
Cost supv
Men's costumer
Women's costumer
Women's costumer
MUSIC
Orig mus score by
Kenneth Karman
Mus ed
Asst mus ed
Mus equip supplied by
Record prod
Rec eng
Mus consultant
Mus coord
Arr
Mus contractor
Mus score rec at
Mus score rec by
Orig mus compositions rec at
SOUND
Sd mixer
Playback op
Supv sd ed
Dial ed
A.D.R. ed
Sd eff ed
Sd eff ed
Post-prod mixer
Post-prod mixer
Post-prod mixer
Post-prod mixer
Dolby consultant
VISUAL EFFECTS
Spec visual eff by
Praxis Filmworks, Inc.
Visual eff supv
Prod mgr, Visual eff
Dir of photog, Visual eff
Opt supv, Visual eff
Anim, Visual eff
Spec mechanical devices, Visual eff
Dick Albain
Spec mechanical eff
Spec mechanical eff
Titles and opt
DANCE
Choreog
MAKEUP
Makeup
Makeup
Hairstylist
Hairstylist
PRODUCTION MISC
Casting
Asst to the prod
Transportation coord
Transportation capt
Loc mgr
Prod coord
Prod accountant
Asst accountant
Scr supv
Unit pub
STAND INS
Stunt coord
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
Stunts
COLOR PERSONNEL
SOURCES
SONGS
"Just One Look," written by Doris Payne and Gregory Carroll, performed by Doris Troy, under license from Atlantic Recording Corp., Premier Music Publishing Inc.; "Big Electric Cat," written by Adrian Belew, performed by Adrian Belew, courtesy of Island Records, Saiko Music Co.; "Wipeout," written by Patrick Connolly, James Fuller, Robert Berryhill and Ronald Wilson, performed by The Surfaris, courtesy of Key Seven Music, Miraleste Music; "Harlem Nocturne," written by Earle Hagen, performed by Johnny Otis, from the Savoy album, "The Roots of Rock & Roll, Vol. 4/The Original Johnny Otis Show," Shapiro, Bernstein & Co. Inc.; "Walking In The Clouds," written by Mark Volman and Howard Kaylan, performed by Flo & Eddie, D & P Productions; "You Can't Make Me," words and music by Sue Shifrin and Sue Pomerantz, additional lyrical material by Lori Eastside, performed by Lori Eastside, Pomer Rants Music/Sookloozy Music/D & P Productions; "Headline News," written by Mikey Dread, performed by Mikey Dread, DACT Music; "The Sky Is Crying," written by E. James, C. Lewis, and M. Levy, performed by Bill Henderson, Big Seven Music Corp.; "It's Only A Movie AKA But, But," composed and performed by Marshall Crenshaw, used through the courtesy of Belwin-Mills Publishing Corp., MHC Music; "Metal Guru," written by Marc Bolan, performed by Flo & Eddie, Wizard Publishing Ltd.; "Chop Suey," written by Joey Ramone, performed by The Ramones, courtesy of Sire Records, Taco Tunes; "Get Crazy," written by Russell Mael and Ron Mael, performed by Sparks, courtesy of Mellow B.V., Atlantic Recording Corp., Hansa France/D & P Productions; "The Blues Had A Baby And They Named It Rock And Roll," written by M. Morganfield and B. McGhee, performed by Bill Henderson, Watertoons Music/McGhee Publishing Co.; "I'm Your Hoochie Coochie Man," written by Willie Dixon, performed by Lee Ving, Bill Henderson, and Malcolm McDowell, Lee Ving courtesy of Slash Records, Arc Music Corp.; "I'm Not Going To Take It No More," written by Lenny Ferrari, performed by Lori Eastside, D & P Productions; "Hot Shot," written by Michael Price and Daniel Walsh, performed by Malcolm McDowell, D & P Productions; "Carbine," written by Michael Rose, performed by Black Uhuru, courtesy of Island Records, Island Music on behalf of Rydim Music Ltd.; "Auld Lang Syne," performed by Howard Kaylan, arranged by Sparks; "My Baby Sister," written and performed by Lou Reed, courtesy of RCA Records, Metal Machine Music/D & P Productions.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
5 August 1983
Premiere Information:
Los Angeles opening: 5 Aug 1983; New York opening: 14 Oct 1983
Production Date:
2 Aug 1982--Oct 1982
Copyright Info
Claimant
Date
Copyright Number
D and P Productions
30 November 1983
PA193536
Physical Properties:
Sound
Dolby Stereo
Color
Lenses/Prints
Filmed in Panavision®
Duration(in mins):
92
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

On New Year’s Eve, 1982, Max Wolfe, the owner of the Saturn Theater, tests a model spaceship that will be launched as a finale to his concert that night. Stage manager Neil Allan experiences love at first sight when he encounters Willy Loman, a former female Saturn employee. She reports that she left the music business following the loss of her latest venue to real estate tycoon Colin Beverly. Moments later, Colin appears with his minions, Mark and Marv. Max’s nephew and heir, Sammy Fox, idolizes Colin, but Max despises the tycoon. Colin offers Max $1.2 million and the use of his stadium in exchange for leasing the Saturn, but Max refuses, saying that audiences should be able to “see the stage, afford the tickets, and hear the music.” After harsh words are exchanged, Max clutches his chest and falls to the floor. Sammy abandons his uncle and offers to assist Colin in securing the lease. Max is attended to by Dr. Carver, who informs the crew that Max suffers from indigestion and needs to rest. Saddled with a heavy workload, the crewmembers express the need for a powerful stimulant. A black-clad apparition named Electric Larry appears in a cloud of smoke and grants their wish. Sammy, believing his uncle is near death, is determined to get Max’s signature on a release form by midnight. Backstage, a young stagehand named Joey complains to Neil about his troubles with women, while outside, Captain Cloud and the Rainbow Telegraph disembark from a psychedelic school bus named Furthur. ...

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On New Year’s Eve, 1982, Max Wolfe, the owner of the Saturn Theater, tests a model spaceship that will be launched as a finale to his concert that night. Stage manager Neil Allan experiences love at first sight when he encounters Willy Loman, a former female Saturn employee. She reports that she left the music business following the loss of her latest venue to real estate tycoon Colin Beverly. Moments later, Colin appears with his minions, Mark and Marv. Max’s nephew and heir, Sammy Fox, idolizes Colin, but Max despises the tycoon. Colin offers Max $1.2 million and the use of his stadium in exchange for leasing the Saturn, but Max refuses, saying that audiences should be able to “see the stage, afford the tickets, and hear the music.” After harsh words are exchanged, Max clutches his chest and falls to the floor. Sammy abandons his uncle and offers to assist Colin in securing the lease. Max is attended to by Dr. Carver, who informs the crew that Max suffers from indigestion and needs to rest. Saddled with a heavy workload, the crewmembers express the need for a powerful stimulant. A black-clad apparition named Electric Larry appears in a cloud of smoke and grants their wish. Sammy, believing his uncle is near death, is determined to get Max’s signature on a release form by midnight. Backstage, a young stagehand named Joey complains to Neil about his troubles with women, while outside, Captain Cloud and the Rainbow Telegraph disembark from a psychedelic school bus named Furthur. Max is overjoyed to see the band, even though they are fifteen years late for the Saturn’s 1968 opening, and he invites them to sing “Auld Lang Syne” at the show’s conclusion. Moments later, a battered 1957 Chevrolet arrives, containing singer Nada and the thirteen women who comprise her band. Locked in the trunk is punk rock star Piggy, who goes on a violent rampage the moment he is released. Fire inspector Connell O’Connell appears, and warns Neil that no fireworks or pyrotechnics of any kind will be allowed, or the theater will be closed. Meanwhile, legendary blues singer King Blues attends the funeral of Howard Blind Luther Washington, his guitarist and driver. Luther Junior, who prefers the name, “Cool,” inherits his father’s position and takes his employer on a harrowing ride to the Saturn Theater. When Willy announces her departure, Neil and Max convince her to stay, promising a rare appearance by the iconic singer-songwriter, Auden, who has not left his apartment in six years. Auden hires a taxi and tells the driver to “take the scenic route,” allowing him time to write a song for the occasion. Veteran rock star Reggie Wanker flies to the Saturn in his private jet, accompanied by his girl friend, Countess Chantamina, and his band, all of whom consume large amounts of cocaine. Elsewhere in the city, Colin makes a presentation to his investors, in which he destroys a model of the Saturn as a modern glass-and-steel tower rises from the rubble. As show time approaches, the doors of the Saturn open and the audience pours in. Among the crowd is Neil’s teenaged sister, Susie, who came to the show without her parents’ knowledge, prompted by rumors of an appearance by Auden. She makes her way backstage as King Blues and Cool open the show accompanied by a band comprised of Hassidic Jews and a stagehand named Arthur. They start with the King’s classic, “I’m Your Hoochie Coochie Man.” When Sammy learns that Max is not seriously ill, he reports to Colin, who in turn orders Mark and Marv to destroy the building with a time bomb. Piggy makes a guest appearance with Nada and her band, and performs “I’m Your Hoochie Coochie Man,” as members of the audience, including Susie, dive into the crowd from the balcony. Later, as Reggie and his band assemble on the stage, Willy sees Chantamina flirting with Neil and leaves the theater in a fit of anger. Mark and Marv sneak into the building and give Sammy the explosive device, assuring him that it is a harmless stink bomb set to detonate at midnight. While Sammy hides the bomb in the spaceship, Reggie performs his rendition of “I’m Your Hoochie Coochie Man.” Sammy runs to the door and collides head first with O’Connell, as Electric Larry adds LSD to the water cooler. When Neil gives Sammy a drink of the drug-laced water, the young man rejects materialism and bonds with Captain Cloud’s troupe. Outside, Willy learns of the time bomb, but is abducted by Colin before she can warn Neil. While Reggie’s drummer, Toad, takes an extended solo, the singer engages in an orgy with several young girls. Chantamina seduces Joey as an act of revenge, but becomes enamored with the boy and his sexual prowess. When Reggie discovers Chantamina’s infidelity, he returns to the stage and expresses his heartbreak to the adoring audience. Afterward, he asks Neil for a drink of water. Meanwhile, Auden’s taxi careens through the streets and collides with Colin’s limousine, allowing Willy to make her escape. She informs Neil of the bomb, which they remove from the spaceship with only seconds remaining before it detonates. The bomb is passed through the crowd, out the front door, and into Colin’s limousine. Upon explosion, the tycoon and his minions become airborne and crash through the roof of the theater, while Captain Cloud sings “Auld Lang Syne.” Reggie feels the effects of the LSD as he enters a restroom, and imagines a lecture from his penis on the sorry state of his career. The singer is impressed and hires the penis as his manager. Chantamina asks Joey to marry her, King Blues takes Arthur and the Jews band on the road, and Sammy joins the Rainbow Telegraph. Auden arrives as the audience files out, owing $11,864.90 in cab fare. Inside, Max announces his retirement to Neil and Willy, and turns the theater over to them. Susie sits in rapt attention as Auden sings just for her.

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

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