On 27 Jan 1975, Box heralded actor-filmmaker Mark Miller’s planned second production, Savannah Smiles, a “bizarre comedy love story” starring his daughter Savannah Miller in the title role, with Leigh Taylor-Young, Slim Pickens and Ed Asner. Miller described it as a family picture with “a strong moral theme,” reminiscent of The Champ and Skippy (1931, see entries). Principal photography was scheduled for spring 1975. However, the project remained in limbo until 1981.
       According to production notes in AMPAS library files, the idea for the film was suggested to Miller while he was in the process of writing a “big budget Western.” Because his daughter had outgrown the title role, Miller and his team auditioned 120 girls in Salt Lake City, UT, and Los Angeles, CA. They selected Bridgette Andersen, who, by coincidence, lived a short distance from Miller’s Malibu, CA, home. Miller considered his screenplay to be “a blueprint,” and revised the action and dialogue to suit the actors, particularly in the case of Andersen. Following a chance meeting with Ken Sutherland on an airliner, Miller hired the songwriter to score the entire film. Principal photography took place on location throughout Utah, including American Fork Canyon, Brighton, Grantsville, Bridal Veil Falls, and in Salt Lake City at St. Mark’s Cathedral, the Hall of Justice, Liberty Park, and LaCaille.
       The film opened 9 Apr 1982 on twenty-seven screens throughout Utah and earned approximately $125,000 during its first weekend, as noted in the 16 Apr 1982 HR. Several theater owners estimated that twenty-five percent of their towns’ citizenry saw the film over the weekend. The 20 Apr 1982 HR reported on the early Apr 1982 premiere of Savannah Smiles in Salt Lake City, UT. Net proceeds from the event, totaling $16,500, benefited Westminster College. A wider release of 100 prints, planned for 26 May 1982, was postponed until the following month, when 300 prints would gradually be circulated across the country over the next several weeks. Engagements in UT, MT, and ID were extended because of public demand.
       A news item in the 18 May 1982 HR stated that Alfie Jarratt and Denise Leigh of AJ Film Distributors, Ltd., would represent the picture at the 1982 Cannes Film Festival. The 7 Jun 1982 DV reported that approximately 200 total prints were circulating in the Oklahoma City, OK, Seattle, WA, and Denver, CO, metropolitan areas. Miller explained that the risks involved in a larger release were too great, and considered his current plan to be the only practical option. On 8 Sep 1982, a full-page advertisement in Var announced gross earnings of $2,391,000, from engagements “in only 7% of the U.S. market.”
       According to the 1 Oct 1982 HR, Savannah Smiles was selected as a fundraising tool for the national Special Olympics organization. Following a screening in New Orleans, LA, the organization’s executive committee assigned two national coordinators to arrange benefit performances “in each city where the film opens and the foundation has offices.”
       The 18 Mar 1983 HR announced 350 to 400 upcoming engagements in Los Angeles, New York City, San Francisco, CA, Chicago, IL, Detroit, MI, Cleveland, OH, and Pittsburgh, PA. Earnings over the previous eleven months were estimated at $7.5 million. According to Miller, the production’s $3 million budget was supplied by oil magnate Hal Clifford. Following the picture’s limited release in eleven percent of the U.S., Miller made a deal for distribution and ancillary rights with Embassy Pictures, which opened the film in Minneapolis, MN, at a benefit screening for the Special Olympics. “An independent producer’s representative” was in charge of foreign sales, following deals with AJ Film Distributors and Handmade Films. At the time of the article, Embassy had spent approximately $2 million on promotional expenses, with plans to reissue the film in “its original markets” during summer 1983. A news item in the 22 Mar 1983 LAHExam mentioned that Embassy had the option to create a television series based on the film.
       Savannah Smiles opened to mixed reviews. When the 26 Mar 1983 LAT criticized the filmmakers for trivializing child endangerment, Miller responded with a letter citing the accolades his picture received from “religious and parent-teacher groups,” in addition to “a multitude of awards,” though no specific organizations were mentioned. Director Pierre De Moro published a letter in the 15 Jun 1983 HR, demanding credit for his contributions, and noting the absence of his name from the many articles written on the film’s success. According to De Moro, he aided Miller in many aspects of the production, including financing, scouting locations, and casting.
       The 21 Aug 1986 DV reported that Michigan National Bank and the Federal Deposit Insurance Corporation (FDIC) brought suit against Embassy Pictures and its successor, AEP Corporation, for inadequately promoting the film, as enforcement of the distributor’s contract with Savannah Smiles Productions, a limited partnership. Embassy acquired distribution rights in Dec 1982, and allegedly released the picture in “several markets without effective promotion.” Plaintiffs claimed damages exceeding $2.2 million, plus damages of $168,549 for failure to “accurately account for the film’s revenues,” and $5 million in punitive damages. The outcome has not been determined as of this writing.

      End credits include the following statements: “Various promotional vehicles supplied by Studio Services, Inc.”; “The Little Rascals film clip courtesy of King World Productions, Inc.”; “The producers wish to thank the following: Utah Governor Scott M. Matheson; Salt Lake City Mayor Ted Wilson; Salt Lake City Police Chief Bud Willoughby; Utah Film Commission; Salt Lake City Police Department; Utah County Sheriff’s S.W.A.T team; Utah Forest Rangers; Grantsville Police Department; LaCaille at Quail Run; Robert L. Kovoloff & Associates, Associated Film Promotion; Maxine’s Bridal-Tux Town; Utah State Prison.”