City of Hope
(1991)
R | 130 mins | Drama | 11 October 1991
Director:
John SaylesWriter:
John SaylesProducers:
Sarah Green, Maggie RenziCinematographer:
Robert RichardsonEditor:
John SaylesProduction Designers:
Dan Bishop, Dianna FreasProduction Company:
EsperanzaProduction 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 ...
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.”
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” ...
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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