City of Hope (1991)

R | 130 mins | Drama | 11 October 1991

Director:

John Sayles

Writer:

John Sayles

Cinematographer:

Robert Richardson

Editor:

John Sayles

Production Designers:

Dan Bishop, Dianna Freas

Production Company:

Esperanza
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HISTORY

Production notes in AMPAS library files state that producers Sarah Green and Maggie Renzi requested a script from writer-director John Sayles in early 1990. The independent filmmaker drafted a screenplay in two weeks, based on an idea that “had been in his head for a long time,” according to a Sep 1991 Box interview. Many of the roles were written for actors who had worked with Sayles on past projects. By Mar 1990, the two producers secured funding for the project. Contemporary sources noted that RCA/Columbia Home Video financed the project in exchange for video rights to the picture. On 9 Mar 1990, HR announced that City of Hope was scheduled to shoot in Cincinnati, OH, for five weeks. Principal photography began 10 Jul 1990. The $3 million picture was filmed on forty locations within the city, as well as in the suburbs, and in areas of northern Kentucky, according to a 25 Feb 1991 Var article.
       Cinematographer Robert Richardson convinced Sayles to film in 2.35:1 anamorphic format. The wide-frame image allowed filmmakers to shoot characters and scenes, from foreground to background, in continuous, interconnecting takes. In a 28 Jan 1991 DV article, Sayles described the process as “trading, where you follow one group of characters and then pick up on another.” Later, many contemporary reviews remarked on the choreographic camerawork. The 8 Feb 1991 Screen International admired the camera’s ability to reveal “a kaleidoscope of interconnecting urban strata,” while the 25 Oct 1991 Village View acknowledged the film’s “depth of detail.” The 11 Oct 1991 NYT declared the camera “an active presence ...

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Production notes in AMPAS library files state that producers Sarah Green and Maggie Renzi requested a script from writer-director John Sayles in early 1990. The independent filmmaker drafted a screenplay in two weeks, based on an idea that “had been in his head for a long time,” according to a Sep 1991 Box interview. Many of the roles were written for actors who had worked with Sayles on past projects. By Mar 1990, the two producers secured funding for the project. Contemporary sources noted that RCA/Columbia Home Video financed the project in exchange for video rights to the picture. On 9 Mar 1990, HR announced that City of Hope was scheduled to shoot in Cincinnati, OH, for five weeks. Principal photography began 10 Jul 1990. The $3 million picture was filmed on forty locations within the city, as well as in the suburbs, and in areas of northern Kentucky, according to a 25 Feb 1991 Var article.
       Cinematographer Robert Richardson convinced Sayles to film in 2.35:1 anamorphic format. The wide-frame image allowed filmmakers to shoot characters and scenes, from foreground to background, in continuous, interconnecting takes. In a 28 Jan 1991 DV article, Sayles described the process as “trading, where you follow one group of characters and then pick up on another.” Later, many contemporary reviews remarked on the choreographic camerawork. The 8 Feb 1991 Screen International admired the camera’s ability to reveal “a kaleidoscope of interconnecting urban strata,” while the 25 Oct 1991 Village View acknowledged the film’s “depth of detail.” The 11 Oct 1991 NYT declared the camera “an active presence within the film.”
       On 16 Jan 1991, DV announced that the world premiere of City of Hope would be held at the Sundance Film Festival. The film screened on 23 Jan 1991, according to a 25 Jan 1991 DV review. Three months later, the Samuel Goldwyn Company agreed to distribute the picture, with a release planned for “late summer or early fall,” as noted in a 9 Apr 1991 DV news brief. The film opened in New York on 11 Oct 1991. Four days later, the Los Angeles premiere was held at the Avco Cinema Center in Westwood. A 9 Oct 1991 DV news item indicated that a panel discussion on the topic of urban decay was scheduled to follow the Los Angeles screening. Although the film won “Grand Prix” at the 1991 Tokyo International Film Festival, domestic reviews were decidedly mixed. HR and the NYT called the picture “Sayles’ best and most mature work,” his “most invigorating achievement to date.” However, the 1 Nov 1991 LAWeekly and 10 Oct 1991 WSJ appraised City of Hope as “an embarrassing wreck of a movie,” with “neither the resonance nor originality” of the director’s earlier films. On 3 Dec 1991, the NYT reported that the picture grossed a mere $1 million in the weeks following its opening. However, the film often appeared on festival programs in the years after its release, and, according to an announcement on the Sundance Institute website, was scheduled to play at the Sundance Film Festival on 29 Jan 2016, twenty-five years after its world premiere there.
       End credits include the following acknowledgements: “Thanks to Luke Latino for footage from the film ‘A Man’s Race,’ used by permission; Special thanks to: Don Donigi; Bill Nisselson; Lori Holladay; Greater Cincinnati Film Commission; Ohio State Film Commission; Lt. Gerald Kyles, Cincinnati Police Department; Capt. Tim Tieman, Cincinnati Fire Department; Robert Knopp, Traffic Engineering Division, City of Cincinnati; And: Corona Beer; General Electric Company; Mountain Valley Water Company Inc.; Police uniforms provided by Intapol Industries; Tumble Forms ®, J. A. Preston Corporation.” End credits conclude with the statement: “Very special thanks to: Phil Radin, Panavision.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
Sep 1991
pp. 10-11
Daily Variety
2 Aug 1990
---
Daily Variety
16 Jan 1991
---
Daily Variety
25 Jan 1991
p. 2, 10
Daily Variety
28 Jan 1991
---
Daily Variety
9 Apr 1991
---
Daily Variety
9 Oct 1991
---
Hollywood Drama-Logue
23 Aug 1990
---
Hollywood Reporter
9 Mar 1990
---
Hollywood Reporter
10 Aug 1990
---
Hollywood Reporter
25 Jan 1991
---
Los Angeles Times
25 Oct 1991
Calendar, p. 1
LA Weekly
1 Nov 1991
p. 33
New York Times
11 Oct 1991
Section C, p. 19
New York Times
13 Oct 1991
Section A, p. 13
New York Times
3 Dec 1991
---
Screen International
11 Aug 1990
---
Screen International
8 Feb 1991
---
Variety
28 Jan 1991
pp. 69-70
Variety
25 Feb 1991
---
Village View
25-31 Oct 1991
p. 9
WSJ
10 Oct 1991
---
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Prod mgr
Asst prod mgr
1st asst dir
2d asst dir
2d 2d asst dir
PRODUCERS
Exec prod
Exec prod
WRITER
PHOTOGRAPHY
Dir of photog
1st asst cam
Loader
Steadicam™ op
Still photog
Video asst
Video playback
Key grip
Best boy grip
Dolly grip
Company grip
Company grip
Company grip
Best boy elec
Company elec
Company elec
Grip prod asst
Cam, Intern
Elec, Intern
Lighting and grip equip
Lighting and grip equip
Lighting and grip equip
Lighting and grip equip
Lighting and grip equip
Video asst
Video playback equip
Video prod stage
ART DIRECTORS
Prod des
Prod des
Art dept coord
Art, Intern
Art, Intern
Art, Intern
FILM EDITORS
Post prod supv
Apprentice ed
Editing, Intern
Post prod, Intern
Negative cutter
SET DECORATORS
Lead person
Set dresser
Set dresser
Set dresser
Prop master
Key on-set dresser
2d on-set dresser
Construction coord
Carpenter
Charge scenic
Scenic artist
Scenic artist
Swing gang
Swing gang
Swing gang
Set, Intern
Set, Intern
Set, Intern
Addl set, Intern
Addl set, Intern
Addl set, Intern
Prop, Intern
COSTUMES
Cost des
Ward supv
Asst cost des
Ward asst
Ward shopper
MUSIC
Addl mus supv
Mus eng by
Mus eng by
Mus mixed by
Horn arrangements by
Mus performed by
Mus performed by
Mus performed by
Mus performed by
Mus performed by
Mus performed by
Richard Hunter
Mus performed by
Mus performed by
Mus performed by
Mus performed by
Mus performed by
SOUND
Sd mixer
Boom op
Cable puller
Supv sd ed
Dial ed
FX ed
Foley ed
Asst sd ed
Asst sd ed
Re-rec mixer
Post prod sd, Intern
Post prod sd, Intern
Re-rec facility
VISUAL EFFECTS
Spec eff
Titles by
MAKEUP
Hair/Makeup supv
Makeup artist
PRODUCTION MISC
Casting
Asst prod coord
Prod auditor
Asst auditor
Scr supv
Loc mgr
Asst loc mgr
Unit mgr
Loc casting
Cook's asst
Craft service
Promotions coord
Key prod asst
Key prod asst
Set prod asst
Set prod asst
Unit prod asst
Office prod asst
Office prod asst
Transportation coord
Transportation capt
Honeywagon op
Driver
Driver
Loc, Intern
Loc, Intern
Unit, Intern
Unit, Intern
Casting, Intern
Casting, Intern
Casting, Intern
Completion bond
Legal services
Mobile phones
Payroll services
Prod financing
Prod financing
Travel services
Travel services
COLOR PERSONNEL
SOURCES
SONGS
"Yvonne," written by Mason Daring, performed by Dennis Brennan, published by Daring Music/ASCAP; "Peace Of Mind," written by John Presiosa, Michael Fields and Warren Walcott, performed by Top Choice Clique, published by Scratch Music/BMI, used by permission of Sample Records; "Calle Loca," written by John Sayles, Bill Novick, and Mason Daring, performed by Alex Alvia, published by Daring Music/ASCAP; "Oh Marie," written by Eduardo DiCapua, arranged by Louis Prima, performed by Louis Prima, published by Enterprise Music Co., administered by Larry Spier, Inc., licensed by CEMA Special Markets, Capitol Records, Inc.; "Buona Sera," written by Carl Sigman & Peter DeRose, performed by Louis Prima, published by Major Songs, DeRose Music Co. & Redwood Music, Ltd., licensed by CEMA Special Markets, Capitol Records, Inc.; "As One," written by Mason Daring, performed by Dennis "Fly" Amero, Daring Music/ASCAP; "I Want It Back," written by Mason Daring, performed by Jace Alexander, Daring Music/ASCAP; "Don't Leave A Single Clue," written by Mason Daring, performed by Adam Maffei and Mason Daring, Daring Music/ASCAP; "Body Language," written by Larry Luddecke and Mason Daring, performed by Dee Dee Stewart, Daring Music/ASCAP; "Highway Patrol," written by Ron Llewellyn, used by permission of EMI Unart Catalog Inc.; "All For Nothing, Our Balls To The Wall," written by Mason Daring, performed by The Band That Time Forgot, Daring Music/ASCAP; "Fearless," written by Gary Nicholson, Wally Wilson & Brian Stolz, performed by The Neville Brothers, published by Cross Keys Publishing Co., Inc., courtesy of A&M Records.
SONGWRITERS/COMPOSERS
+ −
DETAILS
Release Date:
11 October 1991
Premiere Information:
Sundance Film Festival world premiere: 23 Jan 1991; New York opening: 11 Oct 1991; Los Angeles premiere: 15 Oct 1991
Production Date:
10 Jul--mid Aug 1990
Copyright Info
Claimant
Date
Copyright Number
Esperanza, Inc.
6 March 1991
PA511897
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Widescreen/ratio
2.35:1
Lenses
Filmed in Panavision®
Duration(in mins):
130
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

At a construction site in Hudson City, New Jersey, Nick Rinaldi expresses frustration with his blue-collar job. He asks to be fired, but the shift manager scoffs at the request out of respect for Nick’s father, Joe, the general contractor. Nick quits and walks out. Just then, his friends Bobby and Zip drive by and offer him a ride. Elsewhere at the construction site, black city councilman Wynn asks Joe Rinaldi to give jobs to African Americans who live in the community, but the contractor informs Wynn that he cannot accommodate non-union workers. Meanwhile, Nick and his pals stop at an automotive repair shop run by the unscrupulous Carl, who advises Bobby and Zip about a robbery they have planned that evening. Back across town, Wynn invites two respected elders of the African American community to the city council meeting that evening. However, they dismiss the political system, because it only serves the interests of white people. Just then, Wynn’s wife, Reesha, drives by and asks if he can find a job for her brother, Franklin. Although frustrated by yet another request, Wynn says he will try to help. Down the block, two middle-class white women complain to police about miscreants and homeless people. Tired of listening, the two officers drive away. En route, they encounter Detective O’Brien, who encourages them to arrest a young hoodlum, regardless of whether a crime was committed. Across the street at an Italian restaurant, three men discuss a new development project called Galaxy Towers. Larry Zimmer, the district attorney’s assistant, discretely accepts a bribe from one of the developers. Meanwhile, Wynn continues his walkabout of the downtown area, and stops at “Mad Anthony’s” ...

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At a construction site in Hudson City, New Jersey, Nick Rinaldi expresses frustration with his blue-collar job. He asks to be fired, but the shift manager scoffs at the request out of respect for Nick’s father, Joe, the general contractor. Nick quits and walks out. Just then, his friends Bobby and Zip drive by and offer him a ride. Elsewhere at the construction site, black city councilman Wynn asks Joe Rinaldi to give jobs to African Americans who live in the community, but the contractor informs Wynn that he cannot accommodate non-union workers. Meanwhile, Nick and his pals stop at an automotive repair shop run by the unscrupulous Carl, who advises Bobby and Zip about a robbery they have planned that evening. Back across town, Wynn invites two respected elders of the African American community to the city council meeting that evening. However, they dismiss the political system, because it only serves the interests of white people. Just then, Wynn’s wife, Reesha, drives by and asks if he can find a job for her brother, Franklin. Although frustrated by yet another request, Wynn says he will try to help. Down the block, two middle-class white women complain to police about miscreants and homeless people. Tired of listening, the two officers drive away. En route, they encounter Detective O’Brien, who encourages them to arrest a young hoodlum, regardless of whether a crime was committed. Across the street at an Italian restaurant, three men discuss a new development project called Galaxy Towers. Larry Zimmer, the district attorney’s assistant, discretely accepts a bribe from one of the developers. Meanwhile, Wynn continues his walkabout of the downtown area, and stops at “Mad Anthony’s” appliance and electronics store. The councilman urges Anthony to hire local residents, but the businessman protests that the locals are untrustworthy. Wynn recommends his brother-in-law, Franklin, for a position as security guard. While talking, the men do not notice two African American teenagers playing video games in a nearby aisle. Later, at City Hall, Zimmer informs Mayor Baci that the district attorney’s office has gathered incriminating evidence against municipal government officials. He advises Baci to award the Galaxy Towers project to certain developers, or face charges. Later that evening, Nick, Bobby, and Zip drive around Hudson City talking about how to make easy money. They stop at Nick’s house, where Joe’s business associates have gathered for a party. Nick asks family members for money, before getting into an argument with his father about his decision to quit working at the construction site. Angered, he leaves the house and asks to be a part of Zip and Bobby’s heist. Back downtown, Reesha walks Franklin to his first night as security guard at Mad Anthony’s appliance store. The two teenage boys jeer at the couple, before being antagonized by policemen. Lacking a reason to arrest the youngsters, the officers send them on their way. At a nearby bar, Nick repays a debt to Carl, who indicates that the payment is far short of the amount owed. While Zip and Bobby play music with the house band, Nick flirts with Angela, a girl he knew in high school. Meanwhile, at the city council meeting, the two conservative-minded women complain about the proposed school bond. Wynn is disappointed when it loses by a landslide. Oblivious to the decisions being made about their future education, the two African American boys walk through a park, frustrated with how the Hudson City police treat them. When a jogger passes by, they decide to assault him. However, the man escapes, and police arrest the boys, who defend themselves by saying the jogger tried to molest them. Later, Nick drives Zip and Bobby to Mad Anthony’s appliance store. However, Franklin catches the two thieves. Nick escapes by running down the street, where he encounters Angela, whose car is stalled. They walk together and share their disappointments with life. The next day, Rizzo, a police officer and Angela’s ex-husband, confronts Nick about his interest in Angela, but Nick dismisses the jealous man’s inquiry. Meanwhile, members of the African American community pressure Wynn to respond to the incident between the boys and the jogger. Later, Wynn questions one of the boys. Elsewhere, Detective O’Brien blackmails Carl for the name of Zip and Bobby’s accomplice. At City Hall, Zimmer uses his knowledge of Nick Rinaldi’s involvement in the attempted robbery to pressure Mayor Baci about the Galaxy Towers deal. A few hours later, Joe Rinaldi receives a stop work order at his construction site. He learns from his brother, Pauly, about the entanglement between the district attorney and the mayor. Pauly suggests that both sides would be appeased if Joe were to “take care of” the Galaxy Towers site, which the contractor had planned to develop sometime in the future. Joe pays a visit to his financial backer, Kerrigan, to ask for support. However, the man has already chosen to side with Baci. A crestfallen Joe meets with Carl, who agrees to set fire to the yet-to-be developed buildings, which currently house low-income residents. As night falls on Hudson City, Nick and Angela make love in her apartment. Hours later, they are awakened by the sound of fire trucks. Nick runs to the location of the blaze and notices his father standing nearby. The next day, Wynn learns that Joe Rinaldi is declaring a total loss and selling the property to other developers. The African American community expected as much. Wynn consults with his mentor, Errol, about how to handle the situation with the boys and the jogger. Wynn does not believe the boys’ story, but admits it would further upset the community if he called them liars. Errol advises the councilman to “be a leader.” Meanwhile, Joe confronts Mayor Baci about the fire, which claimed two lives. He demands that police leave Nick alone, and Baci agrees. However, Nick, unaware that his father has bought his safety, decides to seek retaliation against Carl. That afternoon, Wynn visits Les Pullman, the jogger, and urges him to drop the charges. Although disgusted by what he views as political diplomacy, Les agrees. That night, members of the African American community gather for a meeting, and Wynn announces that the boys will not face charges. He then rallies everyone to march on the mayor’s nearby dinner party. There, Baci enthuses about the revitalizing effect of the proposed Galaxy Towers project, until Wynn’s entourage enters the banquet room. Across town, Nick confronts Carl at the automotive shop, but when Carl pulls a gun, he leaves. He encounters Rizzo on the sidewalk and argues with the off-duty policeman, who shoots at him. Wounded, Nick flees to his father’s construction site. Joe finds his son there, and the two have a heartfelt conversation. Just then, Joe notices the severity of Nick’s injury and shouts for help. No one hears except a deranged homeless man, who echoes the call to Hudson City’s empty streets.

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

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