Tap (1989)

PG-13 | 111 mins | Drama | 10 February 1989

Director:

Nick Castle

Writer:

Nick Castle

Cinematographer:

David Gribble

Editor:

Patrick Kennedy

Production Designer:

Patricia Norris

Production Company:

Tri-Star Pictures
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HISTORY

According to a 1 Feb 1989 HR item, director Nick Castle, Jr. and producer Gary Adelson met while filming The Boy Who Could Fly (1986, see entry) and developed a good working relationship. When that project finished, Adelson asked Castle to develop another film they could work on. Castle, whose father was the famous choreographer, Nick Castle, Sr., conceived of a tap dancing movie. They took it to Adelson’s father, Merv Adelson, who was then chairman of Lorimar, who had always wanted to do a tap dancing movie. Actor Gregory Hines was brought in to help develop the project. However, Lorimar put the film into turnaround and it was then acquired by Tri-Star Pictures.
       A 26 Jun 1989 LAT article stated that choreographer Le Tang was Hines’ first dance teacher when he was four years old.
       An 11 May 1988 Var news item reported that principal photography had begun on 22 Mar 1988.
       Although the story takes place in New York City, the LAT article stated it was entirely shot on sound stages at Raleigh Studios in Los Angeles, CA.
       The scene in which the older tap dancers take up “Max’s” challenge was shot in roughly twelve minutes with most of the dancers improvising their steps.
       The 1 Feb 1989 HR column reported that when Tri-Star picked up the project, it had requested Gary Adelson have it ready for the fall of 1988 to fill an opening in Tri-Star's distribution schedule. This meant a very short post-production schedule. However, when executives at Tri-Star saw the final cut, they ...

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According to a 1 Feb 1989 HR item, director Nick Castle, Jr. and producer Gary Adelson met while filming The Boy Who Could Fly (1986, see entry) and developed a good working relationship. When that project finished, Adelson asked Castle to develop another film they could work on. Castle, whose father was the famous choreographer, Nick Castle, Sr., conceived of a tap dancing movie. They took it to Adelson’s father, Merv Adelson, who was then chairman of Lorimar, who had always wanted to do a tap dancing movie. Actor Gregory Hines was brought in to help develop the project. However, Lorimar put the film into turnaround and it was then acquired by Tri-Star Pictures.
       A 26 Jun 1989 LAT article stated that choreographer Le Tang was Hines’ first dance teacher when he was four years old.
       An 11 May 1988 Var news item reported that principal photography had begun on 22 Mar 1988.
       Although the story takes place in New York City, the LAT article stated it was entirely shot on sound stages at Raleigh Studios in Los Angeles, CA.
       The scene in which the older tap dancers take up “Max’s” challenge was shot in roughly twelve minutes with most of the dancers improvising their steps.
       The 1 Feb 1989 HR column reported that when Tri-Star picked up the project, it had requested Gary Adelson have it ready for the fall of 1988 to fill an opening in Tri-Star's distribution schedule. This meant a very short post-production schedule. However, when executives at Tri-Star saw the final cut, they realized the film suffered from such an accelerated schedule and moved the release date to 10 Feb 1989 to give Adelson more time to polish the film.
       End credits include the following statements: "Special thanks to Craig Safan and Mark Mueller"; “With appreciation to: Ansell-Americas, Essence Communications, Inc., G. Heileman Brewing Company, Katnap Dance Studio, Los Angeles Choreographers and Dancers, Inc., NBA Entertainment, Inc., The Seagram Wine Company, Tom’s of Maine, Viacom Enterprises, Warner Vineyards, World of Curls, Inc., Doug Buttleman, Yamaha, Don Grierson and Bernie Miller” and “The producers acknowledge the services and cooperation of The New York City Mayor’s Office of Film, Theatre and Broadcasting, Patricia Reed Scott, Director.” End credits also include the following acknowledgments: “Little Miss Broadway ©1938, renewed 1966, Twentieth Century Fox Film Corporation, All Rights Reserved; Orchestra Wives ©1942, renewed 1970, Twentieth Century Fox Film Corporation, All Rights Reserved; Wake Up And Live ©1937, renewed 1965, Twentieth Century Fox Film Corporation, All Rights Reserved; You’re My Everything ©1949, renewed 1975, Twentieth Century Fox Film Corporation, All Rights Reserved; Sun Valley Serenade ©1941, renewed 1969, Twentieth Century Fox Film Corporation, All Rights Reserved” and “Filmed in part at Raleigh Studios, Hollywood, California.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Hollywood Reporter
1 Feb 1989
p. 16
Los Angeles Times
10 Feb 1989
p. 1
Los Angeles Times
26 Jun 1989
Calendar, p. 7
New York Times
10 Feb 1989
p. 17
Variety
11 May 1988
---
Variety
8 Feb 1989
p. 18
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Tri-Star Pictures presents
A Gary Adelson production
A Nick Castle film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Nick Castle
Dir
Unit prod mgr
1st asst dir
2d asst dir
2d 2d asst dir
2d asst dir, New York crew
2d 2d asst dir, New York crew
DGA trainee, New York crew
PRODUCERS
WRITER
Nick Castle
Wrt
PHOTOGRAPHY
Dir of photog
Addl photog
Cam op
2d asst cam
Gaffer
Elec best boy
Key grip
Best boy grip
Dolly grip
Grip
Still photog
Still photog
Cranes and dollies by
Cam op, New York crew
1st asst cam, New York crew
2d asst cam, New York crew
Gaffer, New York crew
Elec best boy, New York crew
Key grip, New York crew
2d grip, New York crew
Dolly grip, New York crew
Still photog, New York crew
Still photog, New York crew
Addl still photographs provided by
ART DIRECTORS
Prod des
Art dept coord
Illustrator
FILM EDITORS
Street dance ed
2d asst ed
Apprentice ed
SET DECORATORS
Set dec
Leadman
Prop master
Asst prop
Const coord
Const foreman
Illustrator
Set dresser, New York crew
Set dresser, New York crew
Set dresser, New York crew
Set dresser, New York crew
Chargeman scenic artist, New York crew
Asst prop master, New York crew
Const coord, New York crew
Key set builder, New York crew
COSTUMES
Cost des
Costumer
Set costumer
Ward supv, New York crew
Ward asst, New York crew
MUSIC
Exec mus prod
Mus ed
Addl mus ed
Supv mus rec eng
Loc mus rec consultant
Side line mus supv
Mus equip consultant
Multi-track remote rec by
Addl mus score and orchs by
SOUND
Sd mixer
Supv sd ed
Sd ed
Sd ed
Prod tap ed
Asst sd ed
Asst sd ed
ADR ed
Foley ed
Foley artist
Foley artist
Re-rec mixer
Re-rec mixer
Re-rec mixer
Sd mixer, New York crew
Boom op, New York crew
VISUAL EFFECTS
Spec eff
Opticals by
Title des by
Spec eff, New York crew
Spec eff, New York crew
DANCE
Choreog
Improvography
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Dancer
Tap-Tronics™ concept and development
Midi tap supv
Midi tap coord
Electronic tap programmer
Asst choreog
Asst choreog
Tap-Tronics™ choreog consultant
Tap-Tronics™ development
"Shim Sham" choreog
Tap dance consultant
MAKEUP
Makeup artist
Asst makeup artist
Hairstylist
Asst hairstylist
Makeup, New York crew
Hairstylist, New York crew
PRODUCTION MISC
Casting
Addl casting by
Asst to Mr. Castle
Loc mgr
Loc liaison
Scr supv
Transportation coord
Transportation capt
Prod accountant
Asst accountant
Loop group casting
Unit pub
Studio teacher
Prod coord
Asst to Ms. Saperstein
Asst to Mr. Adelson
Asst to Mr. Sill
Prod secy
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Extras casting
Addl casting by
Catering by
Craft service
DGA trainee, New York crew
Loc mgr, New York crew
Transportation capt, New York crew
Unit pub, New York crew
Asst accountant, New York crew
Prod secy, New York crew
Extras casting, New York crew
Prod asst, New York crew
Prod asst, New York crew
Prod asst, New York crew
Prod asst, New York crew
Prod asst, New York crew
Prod asst, New York crew
Prod asst, New York crew
Prod services provided by
STAND INS
Stunts
Stunts
Stunts
Stunts
Stunts
Stunt coord
COLOR PERSONNEL
Col by
SOURCES
SONGS
“All I Want Is Forever,” written by Diane Warren, produced by Narada Michael Walden, performed by Regina Belle and James “J. T.” Taylor, Regina Belle appears courtesy of CBS Records, James “J. T.” Taylor appears courtesy of MCA Records; “Max’s Theme,” written, produced and performed by Stanley Clarke, courtesy of CBS Records; “Lover’s Intuition,” written by Joe Ericksen, Barbara Rothstein, and Dorothy Gazeley, produced by Peter Bunetta, and Rich Chudacoff, performed by Amy Keys, courtesy of CBS Records; “Strong As Steel,” written by Diane Warren, produced by Ted Currier, performed by Gregory Abbott, courtesy of CBS Records; “Baby What You Want Me To Do,” written by Jimmy Reed, produced by Rob Frabont and Lupe DeLeon, performed by Etta James, courtesy of Island Records, Inc.; “Bad Boy,” written by Dennis Matkosky and Matthew Wilder, produced by Teena Marie, Dennis Matkosky and Matthew Wilder, performed by Teena Marie, courtesy of CBS Records; “Forget The Girl,” written by Everton DeLuxe McCalla and Jeffrey Calvert, produced by Ted Currier, performed by Tony Terry, courtesy of CBS Records; “Somebody Like You,” written by Gerard Mansis, Tony Valor, and Michel Mansis, produced by Tony Valor, performed by Melissa Rowan, courtesy of CBS Records; “Can’t Escape The Rhythm,” written and produced by James Newton Howard and Glen Ballard, performed by Gregory Hines, courtesy of CBS Records; “Free,” written by Dennis Matkosky and Matthew Wilder, produced by Russ Titelman, performed by Gwen Guthrie, courtesy of Warner Bros. Records, Inc.; Additional titles: “On The Sunny Side Of The Street,” written by Dorothy Fields and Jimmy McHugh, performed by Bunny Briggs; “Stormy Monday,” written by Aaron T. Walker, performed by T. Bone Walker, courtesy of Gregmark Records; “Cheek To Cheek,” written by Irving Berlin, orchestrated by Brad Dechter.
PERFORMED BY
+ −
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
10 February 1989
Premiere Information:
Los Angeles and New York openings: 10 Feb 1989
Production Date:
began 22 Mar 1988
Copyright Info
Claimant
Date
Copyright Number
Crescent Film Enterprises
14 April 1989
PA409352
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Lenses
Lenses and Panaflex® camera by Panavision®
Prints
Prints by Technicolor®
Duration(in mins):
111
MPAA Rating:
PG-13
Country:
United States
Language:
English
SYNOPSIS

The night before cat burglar Max Washington is released from prison, he puts on his tap shoes and dances until he falls asleep. Once out on parole, he gets a job washing dishes at a restaurant. Howard, a petty criminal, finds him and invites Max to a party. Max goes to a dance studio and sees his old girl friend, Amy Simms, helping director Bob Whythe, audition tap dancers. Her son, Louis, warns Max not to stare at his mother or he will kick his butt. Max laughs and hugs Louis before going upstairs to a private rehearsal hall to dance. Sandman, an old tap dancer, sees Max and runs up to the roof where dance school owner, Little Mo, is tending his tomato plants. Max is not looking for work, but Mo claims he was just thinking. Max tells Mo he is too old to dance, but the dance school owner yells, “Challenge.” Old dance buddies who were playing poker in another room rush in, and dance a number that would kill a normal twenty-year-old. Amy arrives in time to see Mo and Max square off, and yells for them to stop. After warning the men that Mo is too sick to be dancing, she kicks Max out. After Max leaves, Amy reminds Mo that with his bad heart, dancing could kill him. Mo complains that his only joy in life is dancing. After finding where Max is staying, Mo sends Amy to invite him “Charlie’s” bar for “hoofer’s night.” Instead, Amy tells Max not to come. Max accuses her of having feelings for him, ...

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The night before cat burglar Max Washington is released from prison, he puts on his tap shoes and dances until he falls asleep. Once out on parole, he gets a job washing dishes at a restaurant. Howard, a petty criminal, finds him and invites Max to a party. Max goes to a dance studio and sees his old girl friend, Amy Simms, helping director Bob Whythe, audition tap dancers. Her son, Louis, warns Max not to stare at his mother or he will kick his butt. Max laughs and hugs Louis before going upstairs to a private rehearsal hall to dance. Sandman, an old tap dancer, sees Max and runs up to the roof where dance school owner, Little Mo, is tending his tomato plants. Max is not looking for work, but Mo claims he was just thinking. Max tells Mo he is too old to dance, but the dance school owner yells, “Challenge.” Old dance buddies who were playing poker in another room rush in, and dance a number that would kill a normal twenty-year-old. Amy arrives in time to see Mo and Max square off, and yells for them to stop. After warning the men that Mo is too sick to be dancing, she kicks Max out. After Max leaves, Amy reminds Mo that with his bad heart, dancing could kill him. Mo complains that his only joy in life is dancing. After finding where Max is staying, Mo sends Amy to invite him “Charlie’s” bar for “hoofer’s night.” Instead, Amy tells Max not to come. Max accuses her of having feelings for him, but she reminds him that he stood her up during a performance in order to rob a liquor store. Across the street, the dancers have supper and discuss Max. Sandman calls him a quitter, but Bunny, the only female of the group, reminds them how Max took Amy in when she was pregnant and helped raise Louis. Sandman points out that Max left them. Sonny tells Louis that Max was about to be a star when tap dancing became unfashionable. Later, Bob takes Max to a party at an upscale townhouse owed by Francis, a crime kingpin. The first person Max meets is his nemesis, Nicky, who asks how he likes washing dishes. Before a fight breaks out, Francis takes Max aside and tells him he has a job for him. Max turns down the job when he learns Nicky will be involved. He was arrested because Nicky panicked during their last heist, and ran off leaving him for the police. Francis tells the two men that if they want to work for him, they have to bury the hatchet. Max goes to Charlie’s where Mo introduces him to Harry, a musician who wants to have Max tap dance to rock music. Harry explains he has rigged a pair of tap shoes to his amplifier to make them part of the music. Before Max can respond, Amy Simms takes the stage with three other female dancers and does a routine that brings the house down. As Amy talks to Bob Wythe about using one of the girls in his show, Max interrupts, telling Bob he has business with Amy. Little Mo gets on stage and talks about Max’s father, Sonny, as the most original tap dancer he ever saw, and asks Max to demonstrate some of his father’s routines. Max declines, until Amy agrees to go out with him. He takes the audience outside and tells them his father got his steps listening to the sounds of the city. He demonstrates by dancing to the sound of taxicabs driving over a steel cover. At a construction site, he taps to machine rhythms. Soon all the customers are tapping. The next day, Max, Howard and Nicky case out a jewelry store. Max asks what the take will be and Nicky explains they are splitting $750,000 with the owner, who is leaving a window open and giving them the combination to the vault. Howard tells Max the job is his if he wants it, but Nicky accuses Max of being washed up. That night, Max takes Amy on a date and tells her he was in prison. While there, he beat up a guard who was tormenting him, and was tossed into solitary confinement for three months. The only thing that kept him sane was dancing. Amy tells him he was born to be a dancer and begs him to work with Little Mo. Max is only interested in making money, but Amy tells him she does not need a wealthy man, just someone who loves her and Louis, and lets her dance. The next day, Amy is shocked when Max auditions for Bob Wythe’s show. When Little Mo learns Max got the job, he warns Amy that the man is not a line dancer and needs his freedom. Amy takes Max on the roof to practice steps, but he puts on the music for their old number. The music ends, and they make love. The next morning, Nicky and Howard come to the school to see if Max plans on doing the heist. When Max declines, Nicky pulls a gun on him, but Howard tells Nicky to back off. Later, Max auditions for a solo with Bob Wythe, and he changes the choreography. Wythe tells him to stick to the steps or leave, and Max sullenly performs Wythe’s routine. When Wythe tells Max to get off the stage, the ex-con hurls him to the floor and storms off. Amy tries to follow, but Max tells her to go back to her show. She pushes back, telling Max she does not deserve his attitude. He agrees, walks to the river and tosses his tap shoes into the water. That night, Little Mo offers Max a dance job. As Max leaves, Mo tells him that rehearsal starts at ten in the morning. Howard and Nick drive Max to the jewelry store. As Max puts on his gloves, a taxi drives over a steel cover and the rhythm reminds him of the dance. As Max scales the building he hears city sounds become music. He gets into the office, opens the safe and finds a stash of uncut diamonds. However, as he leaves, he bumps into a water cooler causing it to drip. The sound reminds him of water dripping in his prison cell. Max returns to Howard and Nick and confesses he put the stones back in the safe. Nicky pulls his gun and demands Max go back up. Max does not believe Nicky will shoot him. Max ducks when Nicky takes a swing at him, then knocks Nicky unconscious. The next morning, Max returns to the dance school and tells Louis he is there for good. After kissing Amy, Max hears music coming from the practice room and finds Little Mo waiting to rehearse.

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

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