What Lies Beneath (2000)

PG-13 | 130 mins | Drama, Horror, Mystery | 21 July 2000

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HISTORY

Included in the end credits, the producers give thanks to the following individuals and organizations: The State of Vermont; D.A.R. State Park, Addison, Vermont; The Vermont Agency of Transportation; The University of Vermont; The State of New York; NYSDEC Crown Point Public Campground, Crown Point, New York; New York State Department of Environmental Conservation; University of California, Los Angeles; The Bold and the Beautiful provided by Bell-Phillip Television Productions, Inc., Copyright © 1999 BELL-PHILLIP PRODUCTIONS, INC.
       A 4 Jun 1998 DV news item announced that Harrison Ford was cast in a “top secret” project in development at ImageMovers with director-producer Robert Zemeckis. While screenwriter Clark Gregg shares a “Story by” credit onscreen with Sarah Kernochan, DV stated that the film’s story was originated by Steven Spielberg, who is not listed as a writer in the credits. As noted in a 21—23 Jul 2000 HR article, the $10 million film marked Gregg’s debut as a feature film writer; he was previously known for his work as an actor, most notably with playwright and director David Mamet.
       On 14 Oct 1998, DV reported that Twentieth Century Fox and Dreamworks were negotiating a deal to share distribution rights to Zemeckis’ forthcoming films, Cast Away (2000, see entry) and What Lies Beneath. The studios planned to evenly divide production expenses and share the worldwide box-office grosses for both films. Dreamworks was set to distribute What Lies Beneath domestically, with Fox as foreign distributor; the studios switched roles for Cast Away. The article also noted that Zemeckis worked on the ... More Less

Included in the end credits, the producers give thanks to the following individuals and organizations: The State of Vermont; D.A.R. State Park, Addison, Vermont; The Vermont Agency of Transportation; The University of Vermont; The State of New York; NYSDEC Crown Point Public Campground, Crown Point, New York; New York State Department of Environmental Conservation; University of California, Los Angeles; The Bold and the Beautiful provided by Bell-Phillip Television Productions, Inc., Copyright © 1999 BELL-PHILLIP PRODUCTIONS, INC.
       A 4 Jun 1998 DV news item announced that Harrison Ford was cast in a “top secret” project in development at ImageMovers with director-producer Robert Zemeckis. While screenwriter Clark Gregg shares a “Story by” credit onscreen with Sarah Kernochan, DV stated that the film’s story was originated by Steven Spielberg, who is not listed as a writer in the credits. As noted in a 21—23 Jul 2000 HR article, the $10 million film marked Gregg’s debut as a feature film writer; he was previously known for his work as an actor, most notably with playwright and director David Mamet.
       On 14 Oct 1998, DV reported that Twentieth Century Fox and Dreamworks were negotiating a deal to share distribution rights to Zemeckis’ forthcoming films, Cast Away (2000, see entry) and What Lies Beneath. The studios planned to evenly divide production expenses and share the worldwide box-office grosses for both films. Dreamworks was set to distribute What Lies Beneath domestically, with Fox as foreign distributor; the studios switched roles for Cast Away. The article also noted that Zemeckis worked on the two films at the same time, shooting What Lies Beneath when the Cast Away production took a hiatus for actor Tom Hanks to lose weight.
       According to studio publicity materials from AMPAS library files, principal photography began late summer 1999 in Addison, VT. HR production charts on 31 Aug 1999 reported that filming started 23 Aug 1999, and on 17 Aug 1999, HR stated that production began in Los Angeles, CA, on 6 Sep 1999. Exteriors of the “Spencer” and “Feur” homes were built on location in Addison, then replicated (interiors and exteriors) on Los Angeles soundstages, including five versions of the “Spencer” bathroom. A 15 Nov 1999 DV brief reported that sets for the film’s bridge were under construction at an airplane hangar that had been built by Howard Hughes for the H-4 Hercules (“Spruce Goose”) at the Los Angeles International Airport. Filming was planned to continue at the hangar through the end of 1999. As stated in publicity material, the film was shot concurrently in both Addison and Los Angeles; some scenes were divided between the two locations and filmed simultaneously. In an effort to maintain continuity, director of photography Don Burgess used the Panavision Kodak Digital Photography system, which allowed camera assistants to download still photographs of scenes into a computer that simulated film stock selections. These images were printed and shared with the second unit so color, lighting and stock could be accurately matched.
       Despite mixed reviews, the film grossed over $30 million its opening weekend, making it the top earning picture of the week according to a 24 Jul 2000 DV article. The film also marked Zemeckis’ “career best” opening to that time. Various reviews, including the 17 Jul 2000 DV and the 21 Jul 2000 LAT noted that the film’s allusions to classic horror films, particularly pictures by director Alfred Hitchcock, resulted in cliché, but the 17 Jul 2000 HR review, which stated that Zemeckis’ “shameless milking of suspense gimmicks” was “an affectionate, tongue-in-cheek tribute to movie trickery,” called the film’s scare tactics effective yet exhausting.
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SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
4 Jun 1998
p. 1, 38.
Daily Variety
14 Oct 1998
p. 3, 14.
Daily Variety
15 Nov 1999
p. 3, 20.
Daily Variety
17 Jul 2000
p. 2, 10.
Daily Variety
24 Jul 2000
p. 1, 25.
Hollywood Reporter
17 Aug 1999.
---
Hollywood Reporter
31 Aug 1999.
---
Hollywood Reporter
17 Jul 2000
p. 6, 17.
Los Angeles Times
21 Jul 2000
p. 1.
New York Times
21 Jul 2000
p. 10.
Variety
17 Jul 2000
p. 25, 28.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXTS
Dreamworks Pictures and Twentieth Century Fox Present
An ImageMovers Production
A Robert Zemeckis Film
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit prod mgr
1st asst dir
2d asst dir
2d 2d asst dir
Dir, 2d unit
1st asst dir, 2d unit
2d asst dir, 2d unit
Dir, Underwater unit
1st asst dir, Underwater unit
PRODUCERS
Prod
Exec prod
Exec prod
Assoc prod
Assoc prod
WRITERS
Story
PHOTOGRAPHY
Dir of photog
Cam/Steadicam op
1st asst cam
2d asst cam
Loader
Libra mount tech
Preview system tech
Still photog
Video eng
Best boy
Key grip
Dolly grip
Crane grip
Rigging key grip
Rigging best boy
Grip
Dir of photog, 2d unit
1st asst cam, 2d unit
2d asst cam, 2d unit
2d asst cam, 2d unit
Gaffer, 2d unit
Key grip, 2d unit
Video assist, 2d unit
Dir of photog, Underwater unit
1st asst cam, Underwater unit
2d asst cam, Underwater unit
Loader, Underwater unit
Gaffer, Underwater unit
Key grip, Underwater unit
Best boy grip, Underwater unit
Crane op, Underwater unit
Video assist, Underwater unit
Rigging gaffer, Vermont crew
Rigging best boy, Vermont crew
Rigging electric, Vermont crew
Key rigging grip, Vermont crew
Rigging grip, Vermont crew
ART DIRECTORS
Prod des
Prod des
Art dir
Art dir
Art dir
Asst art dir
Storyboard artist
Art dept coord
Art dept prod asst
Art dept coord, Vermont crew
FILM EDITORS
1st asst ed
Apprentice ed
Ed prod asst
Negative cutter
SET DECORATORS
Set dec
Asst set dec
Lead person
Prop master
Asst prop master
Asst prop
Set des
Set des
Set des
Set des
2d lead person
Draper
Gang boss
Floral des
On set dresser
Set dec coord
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Set dresser
Const coord
Gen foreman
Gen foreman
Const foreman
Const foreman
Const foreman
Const foreman
Const foreman
Labor foreman
Labor foreman
Labor foreman
Paint foreman
Paint supv
Stand-by painter
Modeler/Gang boss
Greensman coord
Greensman foreman
Greens gen foreman
Greens standby foreman
Greensman
Greensman
Greensman
Prop master, 2d unit
Leadperson, Vermont crew
Swing gang, Vermont crew
Swing gang, Vermont crew
Swing gang, Vermont crew
Swing gang, Vermont crew
Buyer, Vermont crew
Buyer, Vermont crew
Buyer, Vermont crew
Draper, Vermont crew
COSTUMES
Cost des
Harrison Ford's cost des
Cost supv
Key cost
Key cost
Ms. Pfeiffer's dresser
Mr. Ford's dresser
Mr. Ford's cost asst
Set cost
Cost illustrator
MUSIC
Mus comp and cond
Mus ed
Asst mus ed
Mus rec mixer
Scoring coord
Ms. Pfeiffer's cello instructor
Mus contractor
Mus consultant
SOUND
Prod sd mixer
Boom op
Cable person
Post prod sd services provided by
a division of Lucas Digital Ltd., Marin County, California
Sd des, Skywalker Sound
Supv sd ed, Skywalker Sound
ADR/Dial supv, Skywalker Sound
Re-rec mixer, Skywalker Sound
Re-rec mixer, Skywalker Sound
Re-rec mixer, Skywalker Sound
Dial ed, Skywalker Sound
Sd eff ed, Skywalker Sound
Sd eff ed, Skywalker Sound
Foley ed, Skywalker Sound
Foley ed, Skywalker Sound
Supv asst sd ed, Skywalker Sound
Sd des asst, Skywalker Sound
ADR/Dial asst, Skywalker Sound
Dial asst ed, Skywalker Sound
ADR mixer, Skywalker Sound
ADR rec, Skywalker Sound
Sd eff asst ed, Skywalker Sound
Foley asst ed, Skywalker Sound
Foley artist, Skywalker Sound
Foley artist, Skywalker Sound
Foley mixer, Skywalker Sound
Foley rec, Skywalker Sound
Loop group
VISUAL EFFECTS
Visual eff supv
Spec eff supv
Spec eff coord
Spec eff
Spec eff
Spec eff
Titles and opticals
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Puppeteer
Assoc visual eff supv, Imageworks
Senior visual eff prod, Imageworks
Visual eff digital prod, Imageworks
Visual eff exec prod, Imageworks
Digital eff supv, Imageworks
Visual eff prod mgr, Imageworks
Visual eff digital coord, Imageworks
Visual eff assoc coord, Imageworks
Senior char anim, Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
VFX T.D., Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
High speed compositing artist, Imageworks
Compositer, Imageworks
Compositer, Imageworks
Compositer, Imageworks
Digital char model lead, Imageworks
Modeler, Imageworks
Modeler, Imageworks
Modeler, Imageworks
Modeler, Imageworks
Matte painting artist, Imageworks
Match move artist, Imageworks
Match move artist, Imageworks
Match move artist, Imageworks
Match move artist, Imageworks
Match move artist, Imageworks
Match move artist, Imageworks
Texture painting artist, Imageworks
Texture painting artist, Imageworks
Rotoscope lead artist, Imageworks
Rotoscope artist, Imageworks
Rotoscope artist, Imageworks
Travelling pictures, Imageworks
Travelling pictures, Imageworks
Travelling pictures, Imageworks
Travelling pictures, Imageworks
Travelling pictures, Imageworks
Travelling pictures, Imageworks
Visual eff ed, Imageworks
Visual eff Avid ed, Imageworks
Negative line-up, Imageworks
Head of high speed compositing, Imageworks
HSC prod mgr, Imageworks
Visual eff accountant, Imageworks
Prod still supv, Imageworks
Lead tech asst, Imageworks
Tech asst, Imageworks
Tech asst, Imageworks
Tech asst, Imageworks
Tech asst, Imageworks
Tech asst, Imageworks
Digital col timer, Imageworks
Asst digital col timer, Imageworks
Asst digital col timer, Imageworks
Digital col timing coord, Imageworks
Systems engineering dept mgr, Imageworks
Senior systems eng, Imageworks
Systems eng, Imageworks
Systems eng, Imageworks
Systems admin, Imageworks
VP of tech operations, Imageworks
Software development dept mgr, Imageworks
Bonsai team lead, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Software eng, Imageworks
Senior coord, archives, Imageworks
Senior VFX video ed, Imageworks
Lead film rec, Imageworks
Lead scanning tech, Imageworks
Senior mgr-Digital operations, Imageworks
Visual effects prod asst, Imageworks
Sony Pictures Imageworks senior staff
Sony Pictures Imageworks senior staff
Sony Pictures Imageworks senior staff
Sony Pictures Imageworks senior staff
Sony Pictures Imageworks senior staff
Sony Pictures Imageworks senior staff
Senior eff prod, Computer Film Company
Coord, Computer Film Company
Senior compositor, Computer Film Company
Paint artist, Computer Film Company
Digital studio, Computer Film Company
Madison makeup eff des and created by
Eff supv, Stan Winston Studio
Concept art dir, Stan Winston Studio
Mechanical eff coord, Stan Winston Studio
Key artist, Stan Winston Studio
Key artist, Stan Winston Studio
Art dept, Stan Winston Studio
Art dept, Stan Winston Studio
Mold tech dept supv, Stan Winston Studio
Mold tech dept, Stan Winston Studio
Mold tech dept, Stan Winston Studio
Mold tech dept, Stan Winston Studio
Key hair, Stan Winston Studio
MAKEUP
Ms. Pfeiffer's make-up artist
Mr. Ford's make-up artist
Key make-up artist
Ms. Pfeiffer's hair dresser
Mr. Ford's hair dresser
Key hair stylist
PRODUCTION MISC
Casting
Casting
Scr supv
Prod coord
Asst prod coord
Travel coord
Prod secy
Unit pub
Prod accountant
1st asst accountant
Payroll accountant
Const accountant
Post prod accountant
Accounting asst
Accounting asst
Accounting asst
Accounting asst
Prod controller
Addl casting
Casting assoc
Casting assoc
Casting asst
Loc mgr
Key set prod asst
Set prod asst
Set prod asst
Prod asst
Prod asst
Prod asst
Asst to Mr. Zemeckis
Asst to Mr. Zemeckis
Asst to Mr. Zemeckis
Asst to Mr. Starkey
Asst to Mr. Rapke
Asst to Mr. Rapke
Asst to Ms. Bradshaw
Asst to Mr. Ford
Asst to Ms. Pfeiffer
Asst to Ms. Pfeiffer
Laboratory consultant
Animal trainer
Animal trainer
Transportation coord
Transportation capt
Transportation office coord
Picture car capt
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Marine coord
Marine asst
Marine
Marine
Marine
Craft services
Craft services
Medic
Scr supv, Underwater unit
Loc mgr, Vermont crew
Asst loc mgr, Vermont crew
Loc scout, Vermont crew
Loc scout, Vermont crew
Prod coord, Vermont crew
Prod asst, Vermont crew
Prod asst, Vermont crew
Transportation coord, Vermont crew
Transportation capt, Vermont crew
Transportation capt, Vermont crew
Accountant, Vermont crew
Asst accountant, Vermont crew
Loc projectionist, Vermont crew
Post prod exec
STAND INS
Mr. Ford's stand-in
Ms. Pfeiffer's stand-in
Ms. Pfeiffer's double
Ms. Pfeiffer's double
Stunt coord
Mr. Ford's stunt double
Ms. Pfeiffer's stunt double
Addl stunts
Addl stunts
Addl stunts
Addl stunts
Addl stunts
Addl stunts
Addl stunts
Addl stunts
Addl stunts
Addl stunts
COLOR PERSONNEL
Col timer
SOURCES
MUSIC
"The Four Seasons: Autumn, composed by Antonio Vivaldi.
SONGS
"Too Late," written by Justine Brandy, Katie Harris, Lissa Beltri, Claudia Rossi & Doug DeAngelis, performed by LoBall, courtesy of Doug DeAngelis
"Domination," written & performed by Adam Hamilton, courtesy of MasterSource Music Library
"Gymnopedie No. 1," written by Erik Satie, performed by Rowena Hammill.
DETAILS
Release Date:
21 July 2000
Premiere Information:
Los Angeles opening: 21 July 2000
New York opening: week of 21 July 2000
Production Date:
began late summer 1999 in Addison, VT, and 6 September 1999 in Los Angeles, CA
Copyright Claimants:
DreamWorks, LLC Twentieth Century Fox Film Corporation
Copyright Dates:
25 July 2000 25 July 2000
Copyright Numbers:
PA934117 PA934117
Physical Properties:
Sound
Dolby® Digital in selected theatres; Digital dts® Sound; SDDS Sony Dynamic Digital Sound
Color
Color by Technicolor®
Lenses/Prints
Filmed with Panavision® cameras & lenses; Prints by Technicolor®
Duration(in mins):
130
MPAA Rating:
PG-13
Country:
United States
Language:
English
PCA No:
37554
Passed by NBR:
No
SYNOPSIS

Submerged in bath water, housewife Claire Spencer wakes from a nightmare in her Vermont home. Later, after Claire and her husband, Norman, have driven Claire’s daughter, Caitlin, to her new college dormitory, the couple reflect on their empty nest and make love; however, they are interrupted by the ecstatic moans of their new neighbors, Warren and Mary Feur. Missing Caitlin, Claire looks through some photographs and is upset by the pictures of herself before her marriage when she was once a promising young cellist. Crying in the garden, Claire overhears the frightened wails of Mary Feur and becomes suspicious of Warren. At dinner, Claire urges Norman to inquire about Warren, who works at the University where Norman was awarded the prestigious DuPont Chairmanship of Genetics. Norman agrees, even though he is engrossed with preparations for a conference. The next day, Claire is visited by her friend Jody, who brings tea to settle Claire’s nerves, but later Claire is shocked to see Warren drag a large bag into his car. By the time Claire wakes Norman, Warren's car has disappeared and Norman grows concerned about his wife’s obsession with supernatural phenomenon. In the coming days, Claire spies on her neighbors and becomes convinced that Warren murdered Mary. At dinner with Norman’s colleague, Dr. Stan Powell, and his new girlfriend, Elena, Norman announces that Claire believes their house is haunted and jokingly claims that it is the spirit of his father, who lived at their residence before his death. Returning home, Claire finds a skeleton key and discovers that the bath has been mysteriously filled, then screams at the apparition of a woman reflected ... +


Submerged in bath water, housewife Claire Spencer wakes from a nightmare in her Vermont home. Later, after Claire and her husband, Norman, have driven Claire’s daughter, Caitlin, to her new college dormitory, the couple reflect on their empty nest and make love; however, they are interrupted by the ecstatic moans of their new neighbors, Warren and Mary Feur. Missing Caitlin, Claire looks through some photographs and is upset by the pictures of herself before her marriage when she was once a promising young cellist. Crying in the garden, Claire overhears the frightened wails of Mary Feur and becomes suspicious of Warren. At dinner, Claire urges Norman to inquire about Warren, who works at the University where Norman was awarded the prestigious DuPont Chairmanship of Genetics. Norman agrees, even though he is engrossed with preparations for a conference. The next day, Claire is visited by her friend Jody, who brings tea to settle Claire’s nerves, but later Claire is shocked to see Warren drag a large bag into his car. By the time Claire wakes Norman, Warren's car has disappeared and Norman grows concerned about his wife’s obsession with supernatural phenomenon. In the coming days, Claire spies on her neighbors and becomes convinced that Warren murdered Mary. At dinner with Norman’s colleague, Dr. Stan Powell, and his new girlfriend, Elena, Norman announces that Claire believes their house is haunted and jokingly claims that it is the spirit of his father, who lived at their residence before his death. Returning home, Claire finds a skeleton key and discovers that the bath has been mysteriously filled, then screams at the apparition of a woman reflected in the water. At Norman’s behest, Claire consults a psychiatrist named Dr. Drayton who encourages Claire to communicate with the spirit. Claire invites Jody to a séance and, although the women are spooked, they attribute the disturbances to Claire’s dog. However, Claire again discovers the bath filled with water after Jody leaves. When she asks the ghost what it wants, a message appears on the mirror saying: “You know.” Racing downstairs, Claire notices the initials “M. E. F.” entered into the computer. Assuming that the initials belong to Mary, Claire runs to Norman’s office. However, when she sees Warren at the University and accuses him of murder, Mary appears and embraces her husband. Back at Dr. Drayton’s office, Claire concedes her experiences are delusional and returns home to find Mary, who apologizes for provoking her anxiety. Claire soon discovers a framed photograph of Norman receiving the DuPont honor smashed for a second time; on the back of which is a newspaper clipping about a missing woman with the initials M. E. F.: Madison Elizabeth Frank. After researching the case, Claire reports her findings to Norman, who is enraged that his wife is still obsessed with ghosts. Claire continues her search for the girl, though, and visits Madison’s family home, where she sees photographs of her wearing a silver necklace and steals a lock of Madison’s hair. That night, Norman returns home to find Claire possessed by the spirit of Madison, but, as she seduces Norman, Claire snaps out of it and remembers discovering her husband with Madison on the night of the DuPont ceremony. Admitting the affair, Norman claims that he sought a relationship with Madison because Claire was distracted by Caitlin. Claire goes to stay with Jody, who confesses that she saw Norman with Madison at a café in Adamant, Vermont. Returning home, Claire discovers Norman passed out and seemingly electrocuted in the bath with a hair dryer, leading her to suspect malfeasance by Madison’s ghost, but Norman revives and blames the incident on clumsiness. Hoping to restore his marriage, Norman claims that Madison threatened to kill herself and disappeared when he tried to end the affair. Later, as Norman calls an expert in paranormal phenomena, he sees Claire jump off the boat dock by their house. He dives into the water to save her. Norman begs Claire for forgiveness and suggests that they get away for a few days. When Claire suggests they visit Adamant, Norman claims he has never been there. The night before they leave, Claire takes a bath and she sees the skeleton key she found previously reappear in her towel. She returns to the dock to find a small box with a lock that fits the key; inside is the necklace Madison wore in her photographs. When Claire accuses her husband of murder, Norman says that Madison killed herself in their home and left the box for Claire, but he threw it into the lake. Norman confesses that he put Madison’s body inside her car and rolled it off the dock in order to save his career and marriage. However, Claire insists that he report the incident to the police. After making the call, Norman heads upstairs to dress and Claire, who is wearing Madison's necklace, follows him into the bathroom. However, when Claire selects redial on the phone, she discovers that Norman deceived her and called information instead of emergency. Surprising Claire from behind, Norman overwhelms her with a towel soaked in poison and admits to drowning Madison. Norman places Claire’s half-conscious and immobile body in the bath and kisses her goodbye as it fills with water. When he sees Madison’s necklace, he remembers the girl’s face as she drowned and jumps back, hitting his head on the sink. Although Norman passes out, he revives and tries to strangle Claire, but he loses consciousness again before he can reach her. The bath water rises past Claire’s mouth and, though she makes an attempt to dislodge the plug with her toes, she is unsuccessful. However, as Claire begins to drown, her body jolts and the stopper comes loose. Claire revives as water runs down the drain. Pulling herself out of the bath, Claire realizes that Norman is no longer in the room and she arms herself with a mirror shard. She backs down the stairs to find Norman on the ground, but when she attempts to take the phone that he has put in his pocket, he revives. As Claire escapes in their truck and dials the phone for help, she remembers that the area does not have reception. She then sees Norman come after her from his hiding place in the truck’s cab. Norman breaks the back window and the vehicle veers off the road, plummeting into the lake. As water rises inside the truck, Norman reaches for Madison’s necklace at Claire’s throat; however, Madison appears and grabs his hand, allowing Claire to swim free while Norman drowns. Madison smiles underwater at her successful revenge. That winter, Claire lays a rose on Madison’s snow-covered tombstone. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.