Tune in Tomorrow...
(1990)
PG-13 | 105 mins | Romantic comedy | 26 October 1990
Director:
Jon AmielWriter:
William BoydProducers:
John Fiedler, Mark TarlovCinematographer:
Robert StevensEditor:
Peter BoyleProduction Designer:
Jim ClayProduction Companies:
North Pole Pictures, Polar Entertainment, Cinecom International FilmsActor Henry Gibson, portraying radio announcer “Big John Coot,” reads opening credits, including names of twenty-two actors. Title cards introduce two scenes at the beginning of the film: “Detroit – 1951” and “New Orleans - 6 months later.” Written credits do not appear until the end. They contain the following information: “This film was shot entirely on location in Wilmington, North Carolina, New Orleans, Louisiana, and Paris, France.”
The “soap opera” Kings of the Garden District is a story within the story. The film actors who portray WXBU radio actors voicing the characters in the program are different than the film actors who portray the soap opera characters as seen on the screen. For example, the fictional character “Richard Quince” is voiced on radio by Leonard Pando, but seen by the audience as Peter Gallagher.
According to production notes in AMPAS library files, as well as the 25 Aug 1989 DV, Tune in Tomorrow… began principal photography 15 Aug 1989 at the Carolco Studio in Wilmington, NC, where the WXBU radio studio and a New Orleans café were built. An outdoor scene of the “Quince” family’s wedding was also filmed at the Orton Plantation south of Wilmington. However, Hurricane Hugo, one of the most powerful hurricanes on record, interrupted filming and blew down many of the sets. Rather than rebuild, producers moved the film to New Orleans, LA, where some scenes had already been scheduled. The 2 Nov 1989 HR noted that filming was completed.
The budget was set at $11 million, according to the 15 Sep 1989 DV.
The 21 Oct 1990 NYT noted ...
Actor Henry Gibson, portraying radio announcer “Big John Coot,” reads opening credits, including names of twenty-two actors. Title cards introduce two scenes at the beginning of the film: “Detroit – 1951” and “New Orleans - 6 months later.” Written credits do not appear until the end. They contain the following information: “This film was shot entirely on location in Wilmington, North Carolina, New Orleans, Louisiana, and Paris, France.”
The “soap opera” Kings of the Garden District is a story within the story. The film actors who portray WXBU radio actors voicing the characters in the program are different than the film actors who portray the soap opera characters as seen on the screen. For example, the fictional character “Richard Quince” is voiced on radio by Leonard Pando, but seen by the audience as Peter Gallagher.
According to production notes in AMPAS library files, as well as the 25 Aug 1989 DV, Tune in Tomorrow… began principal photography 15 Aug 1989 at the Carolco Studio in Wilmington, NC, where the WXBU radio studio and a New Orleans café were built. An outdoor scene of the “Quince” family’s wedding was also filmed at the Orton Plantation south of Wilmington. However, Hurricane Hugo, one of the most powerful hurricanes on record, interrupted filming and blew down many of the sets. Rather than rebuild, producers moved the film to New Orleans, LA, where some scenes had already been scheduled. The 2 Nov 1989 HR noted that filming was completed.
The budget was set at $11 million, according to the 15 Sep 1989 DV.
The 21 Oct 1990 NYT noted that the cast rehearsed for two weeks in the Wilmington, NC, studio before filming began. Choreographer Quinny Sacks worked with Keanu Reeves and Barbara Hershey an hour each day, instructing them on “the intricacies of the jitterbug,” in order to turn the actors from “stumbling neophytes” into an “erotic twosome.”
The 26 Oct 1990 NYT review notes that Mario Vargas Llosa’s novel, Aunt Julia and the Scriptwriter, took place in Lima, Peru, and that the character of “Pedro Carmichael,” played by Peter Falk in the film, was originally a Bolivian named “Pedro Camacho” who hated Argentines, not Albanians. The 14 Aug 1990 DV noted that the title was briefly Tune in Tomorrow …for the Scandalous Adventures of Aunt Julia and the Scriptwriter. The film was released outside the U.S. under the novel’s original title. Explaining why producers changed the title for American audiences, director Jon Amiel told the 2 Nov 1990 Edmonton Journal, “When we showed the film to 2,000 people in a test market situation, we were shocked to find out that only three people had ever heard of the novel,…and none of them had ever read it.” Also, according to the 28 Oct 1990 Orange County Register, distributor Cinecom wanted to promote “the movie’s slapstick comedy over its romantic elements” in order to attract young men rather than older women. However, upon the film’s release, the 26 Nov 1990 Var deemed it “a sophisticated romantic comedy more attuned to specialized audiences than the company’s target of young males.”
The 22 Aug 1990 Toronto Star announced the film’s “world premiere” closing night of the Toronto Film Festival 15 Sep 1990. Audiences at the Deauville American Film Festival in France picked it as their favorite American film of 1990, the 12 Sep 1990 Globe and Mail reported.
Acknowledgments include the following: “The producers wish to thank the City of Wilmington, North Carolina; The Cafe Atlantique; The North Carolina Film Commission; The Louisiana Film Commission; Earl; All Acts of God; North Carolina State Parks; Orton Plantation; The Sprunt Family; Billy Banks; Stephanie Samuel; John Toomey; Liz Schoenberg.”
Tune in Tommorrow ... For the Scandalous Adventures of Aunt Julia and the Scriptwriter
On May 10, 1951, at radio station WEQT in Detroit, Michigan, producer Victor receives a telephone threat that a bomb is set to detonate in the studio. Everyone runs except a writer, who keeps typing. After the bomb explodes, a dark figure walks away. Six months later, at WXBU in New Orleans, Louisiana, general manager Sam O’Grady informs news writer Martin Loader that he hired a well-known dramatic writer, Pedro Carmichael, to take over the radio station’s failing soap opera, Kings of the Garden District, a saga of the wealthy Quince family. Martin drives to the train depot to pick up his Aunt Julia, who is returning home after years in New York City. Julia confesses to Martin that she dislikes men, but needs to find another rich husband as soon as possible. He leaves her with his Uncle Luke and Aunt Olga Loader’s house. Later, at a welcome home party, Julia wards off several men by telling them she has a movie date with Martin, her young nephew. At WXBU, Martin objects to Pedro Carmichael hogging the newsroom typewriter, and when the older man provokes a fight, Martin knocks him down. Sam O’Grady threatens to fire Martin, but Carmichael defends the young man and claims they are friends. Carmichael spices up the daily soap opera: Elmore Dubuque’s marriage to Elena Quince breaks the heart of her brother, Richard Quince, who tells Uncle Albert Quince that he loves Elena not as a sister, but a woman. Listeners all over New Orleans are spellbound. Carmichael invites Martin to a café, but when the young ...
On May 10, 1951, at radio station WEQT in Detroit, Michigan, producer Victor receives a telephone threat that a bomb is set to detonate in the studio. Everyone runs except a writer, who keeps typing. After the bomb explodes, a dark figure walks away. Six months later, at WXBU in New Orleans, Louisiana, general manager Sam O’Grady informs news writer Martin Loader that he hired a well-known dramatic writer, Pedro Carmichael, to take over the radio station’s failing soap opera, Kings of the Garden District, a saga of the wealthy Quince family. Martin drives to the train depot to pick up his Aunt Julia, who is returning home after years in New York City. Julia confesses to Martin that she dislikes men, but needs to find another rich husband as soon as possible. He leaves her with his Uncle Luke and Aunt Olga Loader’s house. Later, at a welcome home party, Julia wards off several men by telling them she has a movie date with Martin, her young nephew. At WXBU, Martin objects to Pedro Carmichael hogging the newsroom typewriter, and when the older man provokes a fight, Martin knocks him down. Sam O’Grady threatens to fire Martin, but Carmichael defends the young man and claims they are friends. Carmichael spices up the daily soap opera: Elmore Dubuque’s marriage to Elena Quince breaks the heart of her brother, Richard Quince, who tells Uncle Albert Quince that he loves Elena not as a sister, but a woman. Listeners all over New Orleans are spellbound. Carmichael invites Martin to a café, but when the young man claims he would “kind of like” to be a fiction writer, Carmichael mocks him for not being serious enough. Martin later meets Aunt Julia for dinner, but she is with Brent Maconnochie, a wealthy but stodgy bachelor. Martin asks Julia to dance, and chides her for dating dull men, but she likes dull men because they behave themselves. In the soap opera, Elena Quince Dubuque confesses to Uncle Albert that she is pregnant with her brother Richard’s baby. Martin Loader takes flowers to Julia and kisses her. When she reminds him that she is his aunt, Martin reminds Julia in turn that she is not his blood relative, but rather the sister of his Uncle Luke Loader’s wife. Furthermore, the fact that Julia is thirty-six and Martin only twenty-one does not faze him. Julia agrees to accompany him that evening to a jazz club. The next day, they fish on the Gulf of Mexico, and Martin declares he is going to write a book called My Aunt Julia. At the radio station, Carmichael gives the actors a pep talk about putting more emotion into their work. He pulls aside the middle-aged Leonard Pando, the voice of young “Richard Quince,” and suggests he relax by masturbating before the program. In the soap opera, the broken-hearted Richard Quince elects to live as a monk at Father Serafim’s leper colony. Meanwhile, his father, vermin extermination king Robert E. Quince, confesses to Father Serafim that when he was a child looking after his infant sister, she was killed by rats, and that is why he dedicated his life to eradicating vermin, as well as Albanians. Elena Quince visits her brother at the leper colony, and despite Richard’s vow of chastity, they proclaim their love. In the studio, actor Leonard Pando’s vocal performance is more emotional than ever as he pulls the equally middle-aged actress portraying Elena to the floor, requiring Carmichael to follow them with the microphone. Afterward, a glowing Leonard thanks Carmichael for the advice. After seeing An American in Paris at a movie theater, Martin takes Julia to a soda shop and confesses his dream to live in Paris, but Ernest Hemingway’s Paris, not Hollywood’s. Imagining a magic moment at a Parisian café, he includes Julia in his reverie and she is briefly carried away. However, she snaps out of it and brings Martin back to reality. Pedro Carmichael joins them, but Julia has to rush off. The old writer congratulates Martin on his taste in women. As they leave, several Albanians accost Carmichael because of his constant allusions to Albanians as goat farmers and worse on Kings of the Garden District. The Albanians hurry away as a police siren approaches. The next day, Albanians picket the radio station. Sid O’Grady, the other half of general manager Sam O’Grady’s split personality, tells Martin he is getting complaints from the Albanian community, but the soap opera’s audience has increased 183%, so what can he do? When Martin suggests that Carmichael “go easy” on Albanians, the writer insists that audiences need to hate somebody because it adds to the “impact of reality.” Carmichael invites Martin and Julia to his house for dinner that evening, and when they arrive, the host is dressed as a maid and wears a wig. He gives a dramatic display of dusting that, he claims, is supposed to show years of drudgery raising nine children. After serving wine, Carmichael shows them food in the kitchen and leaves. Martin professes his love to Julia, and she claims she does not want to hurt him. As they argue, Carmichael lurks outside, recording their conversation. He turns it into dialogue for Kings of the Garden District. When Martin goes to Aunt Olga’s house to see Julia, he discovers her with a new man, Dr. Ted Orson. Julia later telephones to explain, and when Martin hangs up, she hurries to the radio station to order him to never hang up on her again. As they argue, Carmichael takes notes outside the door. Listening to the soap opera while driving home, Martin recognizes the dialogue and hurries back to confront Carmichael. He challenges the writer’s right to commandeer his conversations, but Carmichael counters that Martin, like everyone else, gets his words and emotions from writers, and he is simply recycling them. As a peace gesture, Carmichael gives Martin two tickets to a jazz nightclub. However, Carmichael also telephones Aunt Olga and tells her that she and her husband won complimentary WXBU tickets to the club. When Uncle Luke and Aunt Olga arrive, Julia panics, grabs Martin, and scurries out the back door. Martin carries her to a romantic spot on the river and kisses her, The next day, Julia telephones Martin at the station to inform him that his parents, Donald and Frances Loader, and the rest of the family are aware of their affair and have branded her a “fallen woman.” Martin’s father, a deputy sheriff, suddenly arrives, hits him, and threatens to jail Julia on a “morals bust.” He tells his son that Luke and Olga are ready to throw her out of their house. Nearby, as Carmichael listens in, he is worried about where to take this new twist in the story. He talks Martin into asking Julia to marry him, then drives them to a remote church on the bayou. On the way, Julia warns Martin that when he reaches her current age, she will be over fifty. Regardless, Martin professes his love, so Julia offers a five-year marriage deal, which will give Martin enough time to get tired of her, but leave her young enough to find a rich older man. During the wedding ceremony, Martin realizes the preacher is Leonard Pando in costume and unmasks him. Julia runs from the church and steals Carmichael’s car. Martin jumps on Leonard Pando’s motorcycle and chases her, yelling that he had nothing to do with the ruse. As Julia packs her belongings, Olga Loader begs her to remain in New Orleans and to promise Martin’s parents she will stay away from him, but Julia is determined to leave. Later, Martin sees Julia with Dr. Orson. He tries to intervene, but Orson knocks him down and drives away with Julia. Meanwhile, Sam O’Grady informs Carmichael that his (imaginary) brother, Sid, promised local Albanians that there will be no more Albanian insults and jokes on Kings of the Garden District. As the program begins with new, inoffensive dialogue, Carmichael thanks the actors and leaves. He telephones Martin, gives him the address of Ted Orson’s townhouse, and pulls the radio station fire alarm, forcing an evacuation. Carmichael stays behind and takes over the microphone. Serving as a narrator, he uses various voices to wrap up the story. Richard Quince dresses as a doctor to attend his baby’s birth. Uncle Albert Quince confesses that he, not Richard, is the father of Elena Quince because of his affair with his brother’s wife, Margaret Quince. That means Elena and Richard are cousins, not siblings. However, more story twists reveal that Elena and Richard are not even cousins. Kings of the Garden District ends as Albanians rape a German shepherd dog outside the hospital, and Elmore Dubuque shoots Albert and Margaret. Real Albanians set the radio station afire, and Martin decides to shoot Julia and Dr. Orson. However, when Martin finds Julia sitting in Carmichael’s car, she is alone. She explains that when Martin saw her with Dr. Orson that afternoon, she was saying goodbye. Julia and Martin climb into the back seat and make love. Afterward, Martin insists they are getting married and going to France. A stolen fire truck pulls alongside and Carmichael wishes them luck. He is leaving to write for television in New York, and confesses to being half-Albanian. As Carmichael drives away, the soap opera cast stands on the back of the fire truck, waving goodbye to Martin and Julia. Later, the couple embrace on a tour boat in the reflection of Paris's Eiffel Tower.
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