Thank You and Goodnight (1992)

102 mins | Documentary | 29 January 1992

Director:

Jan Oxenberg

Writer:

Jan Oxenberg

Producer:

Jan Oxenberg

Cinematographer:

John Hazard

Editor:

Lucy Winer

Production Designer:

Pamela Woodbridge

Production Company:

Red Wagon Films
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HISTORY

According to production notes in AMPAS library files, the project, which took twelve years to complete, began in 1978 when filmmaker Jan Oxenberg received a grant from AFI to make a short film. The funding allowed Oxenberg to make a home movie of her terminally ill grandmother, Mae Joffe, and create an oral history on cassette tape.
       Although the 12 Dec 1984 Var production chart reported a summer 1984 start date on the 16mm film, the film remained in limbo. Nearly three years later, the 11 Nov 1987 Var announced that Dark Horse Films was providing “end money” and supplying creative support to help complete production. Over two years passed before the 14 Apr 1990 The Jersey Journal announced that filming would finally conclude that weekend on the decade-long production, after a two day shoot at the historic Loew’s Jersey Theatre in Jersey City, NJ. Oxenberg had filmed scenes in the ornate lobby ten years earlier, and was grateful that the building was still standing by the end of her project. After receiving a grant in 1980 from the National Endowment for the Arts (NEA), Oxenberg had to write the script and complete other projects before she could resume working on the documentary. Raising funds for the independent project created considerable challenges and delays, but the film was finally near completion after funding was procured from the Public Broadcasting Station’s (PBS) American Playhouse series. According to the May 1993 Pulse!, additional funds came from England’s Channel Four Television.
       The picture premiered in Jan 1991 at the Sundance Film Festival. It later screened at several other film festivals in 1991, ...

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According to production notes in AMPAS library files, the project, which took twelve years to complete, began in 1978 when filmmaker Jan Oxenberg received a grant from AFI to make a short film. The funding allowed Oxenberg to make a home movie of her terminally ill grandmother, Mae Joffe, and create an oral history on cassette tape.
       Although the 12 Dec 1984 Var production chart reported a summer 1984 start date on the 16mm film, the film remained in limbo. Nearly three years later, the 11 Nov 1987 Var announced that Dark Horse Films was providing “end money” and supplying creative support to help complete production. Over two years passed before the 14 Apr 1990 The Jersey Journal announced that filming would finally conclude that weekend on the decade-long production, after a two day shoot at the historic Loew’s Jersey Theatre in Jersey City, NJ. Oxenberg had filmed scenes in the ornate lobby ten years earlier, and was grateful that the building was still standing by the end of her project. After receiving a grant in 1980 from the National Endowment for the Arts (NEA), Oxenberg had to write the script and complete other projects before she could resume working on the documentary. Raising funds for the independent project created considerable challenges and delays, but the film was finally near completion after funding was procured from the Public Broadcasting Station’s (PBS) American Playhouse series. According to the May 1993 Pulse!, additional funds came from England’s Channel Four Television.
       The picture premiered in Jan 1991 at the Sundance Film Festival. It later screened at several other film festivals in 1991, including Chicago, Denver, Toronto, Boston, and at the San Francisco International Lesbian and Gay Film Festival, where it won “Best Documentary Feature” for lesbian filmmaker, Oxenberg, as announced in the 4 Jul 1991 Bay Area Reporter.
       The 20 Jan 1992 Var announced an “exclusive limited engagement” release on 29 Jan 1992 at New York City’s Film Forum 1.
       On 10 Feb 1992, LAT reported an 11 Feb 1992 screening to be held at the University of California Los Angeles’s (UCLA) Melnitz Theater, as part of the UCLA Film Archive and Independent Feature Project/West series.
       The 6 Mar 1992 LAT announced that day’s West Coast theatrical release at Laemmle’s Monica 4-Plex in Santa Monica, CA.
       End credits include the following acknowledgements: “Special Thanks to Jeanne LaBerge, Lynn Holst, Rose Weber, Sally Heckel, Brenda Goodman”; “And Thanks to: Herman Abrahms, James Biberi, Judith Cummings, Robert Grillo, Selma Levenson, Perry Levinson, Sheila Mart, Fortunata Martin, Dorothy Mesney, Marilyn Monaco, John Nacco, Jackie Russ, Philip Sung, Tom Trankle.” Additional acknowledgements include: “Special Thanks to: Irwin Young, Dan Pietragallo, Iris Cahn, John Pierson, Terry Lawler, Janet Cole, Cecilia Roque, Roberta Friedman, Sandra Schulberg, Gilda Zwerman, Athena Alonge, Flory Barnett, Dixie Beckham, Stellar Bennet, Fred Berner, Marjorie Cantor, Ira Deutchman, Lenore DeKoven, Rose Dobroff, Lynn Doherty, Simon Egelton, Bruce Feinberg, Sara Fishko, Stephen Gang, Carmen Goodyear, Janet Grillo, Lynda Hansen, Perrin Ireland, David Joffe, Phyllis Joffe, Marc Kaminsky, Paul Killian, Ruth Landy, Robert Luttrell, Bob Mastronardi, Kay Maunsbach, Kathy Neville, Bill Nisselson, Bill Oliver, Neil Pilzer, Jane Pipik, Dennis Rieff, B. Ruby Rich, Sherry Rogers, Greta Schiller, Ellen Schneider, Rhea Schnurman, Rudd Simmons, Vickie Traub, Roberta Lynn Tross, Barbara Ulrich, Nondas Voll; and to: Miriam Bishop, Carissa Carroll, David Carroll, Elliott Crown, Ted Dunson, Jose Evangelista, Leah Ganz, Susan Gosdick, Ruth Gotheimer, Karen Hamilton, Gary Henderson, L.R. & Nathaniel Hults, Florence Kastriner, Jared Kastriner, Alice Katz, Ellen Klein, Rhiannon Kressler, Raphael Leaderman, Lila Lewis, Fred Nash, Jean Ngpk, Mary Schaefer, Joseph Scott, Stanley Seidman, Mari Share, Hershey Snyder, Maria Speigler, Emanuel Spencer, Bill Tari, Bresci Thompson, Paul Treatman, Gloria Vernack, Jeff Wax, Gracie Wright, Norma Zahrn, Nellie Zastawana.” Special acknowledgements include: “Town of Hempstead Housing Authority; Westover Gardens Residential Community, Ronnie Lawrence, Executive Director, the residents of Westover Gardens; the Port Authority of New York and New Jersey; the Lincoln Tunnel, Richard Kodora, Construction Coordinator, Irene Golinski, Principle Administrative Assistant; the town of Elmont, New York, the Elmont, New York Volunteer Fire Department; the Jersey City Center for the Performing Arts, Inc., Colin Egan, Board of Directors, the Honorable Gerald McCann, Mayor of Jersey City; the New York State Department of Labor, Thomas McDonald; Daughters of Jacoby Geriatric Center; the New York City Mayor’s Office for Film, Theatre and Broadcasting, Jaynne C. Keyes, Director; The Governor’s Office for Motion Picture and Television Development, Mario C. Cuomo, Governor; TVC Film Labs, Roseanne Shaeffer, Bernie Cooper; Ralph Donelly, City Cinemas; Cinergy Communications Corp., Patricia Kranish, Al Wertheimer; Sound Dimensions, Bernie Hadjenberg, Brian Langman; the Independent Feature Project, Karen Arikian; Frankfurt, Garbus, Klein & Selz, Tom Selz; blowup by DuArt, Richard Skeete.” Final end credit acknowledgements include: “Produced in association with American Playhouse and P.O.V. with funds from Public Television Stations; the Corporation for Public Broadcasting; the National Endowment for the Arts; the Chubb Group of Insurance Companies; and the John D. and Catherine T. MacArthur Foundation. Additional funding provided by: Channel Four Television; the National Endowment for the Arts; the New York State Council on the Arts; the Jerome Foundation; the American Film Institute; the New York Foundation for the Arts; the Film Fund Women’s Project; the Astraea Foundation; Original Cinema; and by: Irene Gould, Vivian Shapiro, Tracy O’Kates, Marilyn Lamkay, Jeanne Laberge, Shirley Eaton, Eleanor and Arthur Chernick, Phyllis and Seymour Joffe, Helen Oxenberg, Arthur Oxenberg.” Credits conclude with: “For my friend Vito Russo, 1946-1990.”

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Bay Area Reporter
4 Jul 1991
---
Hollywood Reporter
29 Jan 1992
p. 12, 36
The Jersey Journal
14 Apr 1990
---
Los Angeles Times
10 Feb 1992
---
Los Angeles Times
10 Feb 1992
p. 4
Los Angeles Times
6 Mar 1992
---
New York Times
29 Jan 1992
p. 20
Pulse!
May 1993
p. 61, 64
Variety
12 Dec 1984
---
Variety
11 Nov 1987
p. 4, 99
Variety
22 Jul 1991
p. 55
Variety
20 Jan 1992
---
Village Voice
21 Jan 1992
---
CAST
NAME
CREDITED AS
CREDIT
Family members:
[and]
Grandma's friends:
[and]
People sitting shiva:
[and]
[and]
Crowd:
[and]
Accident scene:
[and]
Addl narration
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
An Aries Film release
An American Playhouse® Theatrical film
In association with P. O. V. Theatrical Films and
Channel Four Television
Red Wagon Films presents
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
1st A.D.
Prod mgr, 2d unit
Prod mgr, 2d unit
Prod mgr, 2d unit
Prod mgr, 2d unit
1st A.D., 2d unit
PRODUCERS
Co-prod
Co-prod
Assoc prod
Assoc prod
Assoc prod
Exec prod
Exec prod for P.O.V.
WRITER
PHOTOGRAPHY
Dir of photog
Documentary cam
Documentary cam
Documentary cam
Documentary cam
Documentary cam
Addl cine
Addl cine
Addl cine
Addl cine
Addl cine
Steadicam op
Steadicam op
Slide seq and still photog
Key grip
Best boy grip
Asst cam
2d asst cam
Grip
Cam asst, 2d unit
Liz Deluna
Cam asst, 2d unit
Cam asst, 2d unit
Tech, 2d unit
Tech, 2d unit
Abbie Carey
Tech, 2d unit
Tech, 2d unit
Tech, 2d unit
Tech, 2d unit
Tech, 2d unit
ART DIRECTORS
Art dir
Title card illustrations
Addl art dir
Art pa
Prod des, 2d unit
Art dir, 2d unit
Art dir, 2d unit
Art dept, 2d unit
Art dept, 2d unit
Patrick Dillon
Art dept, 2d unit
FILM EDITORS
Contributing ed
Contributing ed
Contributing ed
Contributing ed
Contributing ed
Contributing ed
Asst ed and post prod coord
Post prod coord
Negative matching
Ed room intern
SET DECORATORS
Cutout char des and created by
Prop master
2d props
Set dec
Cutouts asst
Set dresser
Set dresser
Set dresser
Set dresser
Props, 2d unit
Props, 2d unit
Props, 2d unit
COSTUMES
Cost des
Assoc costumer
Ward pa
MUSIC
Mus performed by
with:
Reeds
Cello
[and]
Piano
SOUND
Sd des
Sd rec
Boom op
Documentary sd
Documentary sd
Documentary sd
Documentary sd
Documentary sd
Supv sd ed
Foley talent
Asst sd ed
Post prod sd
Sd rec, 2d unit
Sd rec, 2d unit
Re-rec at
Addl mixing
VISUAL EFFECTS
Eff supv
Opticals and titles by
MAKEUP
Makeup
Hair
Addl hair & makeup
Addl hair & makeup
PRODUCTION MISC
Casting
Scr consultant
Prod coord
Addl narration
Scr supv
Prod coord
Asst prod coord
Loc scout
Loc scout
Auditor
Unit mgr
Unit PA
Picture car driver
Picture car driver
Prod coord, 2d unit
Prod coord, 2d unit
Rocket ship by, 2d unit
Intern, 2d unit
Prod counsel
Prod counsel
Blowup by DuArt
COLOR PERSONNEL
Col by
SOURCES
SONGS
“The Pajama Game Overture,” by Richard Adler and Jerry Ross, courtesy of Lakshmi Puja Music Ltd. and J & J Ross Company; “Hernando’s Hideaway,” by Richard Adler and Jerry Ross, courtesy of Lakshmi Puja Music Ltd. and J & J Ross Company; “Racing With The Clock,” by Richard Adler and Jerry Ross, courtesy of Lakshmi Puja Music Ltd. and J & J Ross Company; “Autumn Leaves,” by Johnny Mercer, Jacques Prevert, & Joseph Kosma, courtesy of Morley Music Co., Inc. and SDRM; “People Get Ready,” by Curtis Mayfield, © 1964 Warner-Tamerlane Publishing Corp., performed by The Chambers Brothers, courtesy of CBS Records Music Licensing Department.
PERFORMED BY
SONGWRITERS/COMPOSERS
+
DETAILS
Alternate Title:
Thank You and Goodnight!
Release Date:
29 January 1992
Premiere Information:
Premiered at Sundance Film Festival: Jan 1991; New York opening: 29 Jan 1992; Los Angeles opening: 6 Mar 1992
Production Date:
1980--1990
Physical Properties:
Sound
Color
Duration(in mins):
102
Country:
United States
Language:
English
SYNOPSIS

Jan Oxenberg mourns the death of her grandmother, Mae Joffe, who died from cancer. Jan still looks for her on the street, and laments their distance in her final years. Jan creates a cardboard cutout of her childhood self, named “Scowling Jan,” who fondly reminisces about going to the movie theater with her grandmother, even though she “scowled” and pretended not to care. Before her death, Mae shares her fears of dying and tells Jan stories about her childhood and her marriage. Jan visits her grandmother’s birthplace in Troy, New York, and later interviews her mother, Helen, who had a difficult relationship with her “disconnected” mother. Helen describes Mae as “a worrier with a bad marriage.” On her deathbed, Mae claims that she experienced both happy and sad times in her life, and notes that her children and grandchildren are her greatest joy. She reveals that she never got over the death of her granddaughter, Judy, who was hit by an automobile as a child. Jan finally allows herself to think about her sister’s death, which was rarely talked about in her family. Jan remembers her grandmother’s cooking, and longs for her marble cake and gefilte fish. Before her death, Mae tells Jan and Helen the proper way to prepare the Jewish dish. In her last days, Mae’s friends rally around her in the hospital, telling Jan funny stories about her grandmother. After Mae passes away, Jan’s family sits shiva for her, grieving in different ways. Jan’s brother, Richard, philosophizes about death, and argues with Jan about the meaning of life. Jan’s thoughts turn to Judy, and she remembers finding her sister in the street after being run over. ...

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Jan Oxenberg mourns the death of her grandmother, Mae Joffe, who died from cancer. Jan still looks for her on the street, and laments their distance in her final years. Jan creates a cardboard cutout of her childhood self, named “Scowling Jan,” who fondly reminisces about going to the movie theater with her grandmother, even though she “scowled” and pretended not to care. Before her death, Mae shares her fears of dying and tells Jan stories about her childhood and her marriage. Jan visits her grandmother’s birthplace in Troy, New York, and later interviews her mother, Helen, who had a difficult relationship with her “disconnected” mother. Helen describes Mae as “a worrier with a bad marriage.” On her deathbed, Mae claims that she experienced both happy and sad times in her life, and notes that her children and grandchildren are her greatest joy. She reveals that she never got over the death of her granddaughter, Judy, who was hit by an automobile as a child. Jan finally allows herself to think about her sister’s death, which was rarely talked about in her family. Jan remembers her grandmother’s cooking, and longs for her marble cake and gefilte fish. Before her death, Mae tells Jan and Helen the proper way to prepare the Jewish dish. In her last days, Mae’s friends rally around her in the hospital, telling Jan funny stories about her grandmother. After Mae passes away, Jan’s family sits shiva for her, grieving in different ways. Jan’s brother, Richard, philosophizes about death, and argues with Jan about the meaning of life. Jan’s thoughts turn to Judy, and she remembers finding her sister in the street after being run over. In time, Jan and Helen empty out Mae’s apartment, and try to move on with their lives.

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

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