Smithereens (1982)

R | 97 mins | Drama, Romance | 19 November 1982

Director:

Susan Seidelman

Producer:

Susan Seidelman

Cinematographer:

Chirine El Khadem

Editor:

Susan Seidelman

Production Designer:

Franz Harland

Production Company:

Domestic Films
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HISTORY

       According to articles in the 9 Jan 1983 LAT and the 28 Apr 1983 Rolling Stone, New York University (NYU) graduate Susan Seidelman began production on Smithereens during the summer of 1980 with a crew of former film school colleagues. At the time, Seidelman’s film had a budget of $25,000, financed by family and friends, and principal photography in New York City was scheduled to last five weeks, using 16mm film. By the end of the second week, however, the production had already cost $18,000, when lead actress, Susan Berman, broke her leg.
       Although Seidelman initially considered the setback a catastrophe, the lapse in production allowed her to generate additional funds by screening existing footage to potential investors, and she increased the budget to $80,000. Photography ultimately took place over seven weeks, spanning a period of one year, and an edited version was completed in Mar 1982. According to the 28 Apr 1983 Rolling Stone, Seidelman believed she had finished the picture at the time and screened it for director Jonathan Demme, but he advised her to make several changes. In addition, Seidleman felt uncomfortable about the film’s length, and cut fifteen minutes for the final version.
       While completing edits in Mar 1982, Seidelman applied to various festivals, and received a letter in response from the Cannes Film Festival. Although the picture had not yet been viewed by anyone except Demme and the cast and crew, Seidleman agreed to screen Smithereens for Cannes representative Pierre-Henri Deleau, who was in New York City to secure entries for Directors’ Fortnight, the ...

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       According to articles in the 9 Jan 1983 LAT and the 28 Apr 1983 Rolling Stone, New York University (NYU) graduate Susan Seidelman began production on Smithereens during the summer of 1980 with a crew of former film school colleagues. At the time, Seidelman’s film had a budget of $25,000, financed by family and friends, and principal photography in New York City was scheduled to last five weeks, using 16mm film. By the end of the second week, however, the production had already cost $18,000, when lead actress, Susan Berman, broke her leg.
       Although Seidelman initially considered the setback a catastrophe, the lapse in production allowed her to generate additional funds by screening existing footage to potential investors, and she increased the budget to $80,000. Photography ultimately took place over seven weeks, spanning a period of one year, and an edited version was completed in Mar 1982. According to the 28 Apr 1983 Rolling Stone, Seidelman believed she had finished the picture at the time and screened it for director Jonathan Demme, but he advised her to make several changes. In addition, Seidleman felt uncomfortable about the film’s length, and cut fifteen minutes for the final version.
       While completing edits in Mar 1982, Seidelman applied to various festivals, and received a letter in response from the Cannes Film Festival. Although the picture had not yet been viewed by anyone except Demme and the cast and crew, Seidleman agreed to screen Smithereens for Cannes representative Pierre-Henri Deleau, who was in New York City to secure entries for Directors’ Fortnight, the festival’s section for independent films. As stated in the 9 Jan 1983 LAT, Deleau contacted Seidelman several days after viewing the picture and invited her to breakfast. There, Seidelman was told that placing films in major festivals was expensive, and was asked to find financial backing. Coincidentally, sales representative Joy Pereths was sitting at a nearby table with one of Deleau’s associates. After pleasantries were exchanged, Pereths expressed interest in viewing Smithereens. She liked the film and agreed to support it at Cannes through her company, Affinity Enterprises, in return for a share of its profits. According to an 18 Aug 1982 DV article, Affinity invested $25,000 in completion funds to blow the 16mm film up to 35mm, and to hire a press agent.
       Once the picture was selected for Directors’ Fortnight, it was pre-screened “as a courtesy” for Gilles Jacob, the director of the Cannes Film Festival. Jacob was so impressed, he shifted Smithereens into the festival’s mainstream competition, making it the first independent U.S. feature film to be honored as an official contender since the thirty-five-year-old festival began. There, Affinity sold distribution rights to European territories including Germany and France, as well as to Australia. Three months after the festival, the 18 Aug 1982 DV announced New Line Cinema Distribution Corp. had acquired domestic distribution rights, and was planning a New York City opening 19 Nov 1982 at the Waverly Theatre I. As noted in Rolling Stone, the picture broke the theater’s all-time box-office record, and was later released in Los Angeles and San Francisco, CA, as well as Boston, MA. As of 28 Apr 1983, the film had grossed $500,000.

      End credits include “Special thanks to”: Lee O’Brien, Brick Management, Chilies Bar and Restaurant, Roy Cohn, Judy Copeland, Douglas Durst, Du Art Film Lab, Meg Foss, Bernard Green, Ralph Gionta, Larry Haggard, James Hollinger, Elaine and Arnold Hurvitz, Janusz Ordover, The Peppermint Lounge, Foster Padway, David Scott, Florence and Mike Seidelman, Joey Skaggs, and Josephine Zafonti.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
18 Aug 1982
---
Hollywood Reporter
8 Dec 1982
p. 16
Los Angeles Times
9 Jan 1983
Section T, p. 17
Los Angeles Times
13 Jan 1983
p. 1, 4
New York Times
19 Nov 1982
p. 10
Rolling Stone
28 Apr 1983
---
Variety
2 Jun 1982
p. 15, 94
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
a film by Susan Seidelman
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
1st asst dir
1st asst dir
2d asst dir
PRODUCERS
Assoc prod
PHOTOGRAPHY
Dir of photog
Asst cam
Asst cam
Gaffer
2d elec
Still photog
ART DIRECTORS
Prod des
Asst art dir
Graphics
Van graffiti
FILM EDITORS
Negative cutter
SET DECORATORS
Props
COSTUMES
MUSIC
Mus comp and performed by
Mus comp and performed by
SOUND
Sd rec
Sd rec
Boom op
Boom op
Boom op
VISUAL EFFECTS
Title des
Title des
MAKEUP
Edward E. French
Spec make up horror movie eff
Hairstylist
PRODUCTION MISC
Loc scout
Casting
Business mgr
Lawyer
Prod asst
Prod asst
David Allen
Prod asst
DETAILS
Release Date:
19 November 1982
Premiere Information:
New York opening: 19 Nov 1982; Los Angeles opening: 12 Jan 1983
Production Date:
began summer 1980 in New York City
Physical Properties:
Sound
Color
gauge
16mm
Duration(in mins):
97
MPAA Rating:
R
Country:
United States
Language:
English
SYNOPSIS

In New York City, a young woman named Wren, who fancies herself to be an up-and-coming rock ’n’ roll star, steals sunglasses from a pedestrian and pastes photographs of herself inside a subway train. There, Paul, a plainly-dressed newcomer to the city from Montana, is smitten by the girl. When Wren gives him one of her handbills, he follows her around town and approaches her that night in front of the Peppermint Lounge, a nightclub for New Wave rockers. When Wren is ignored by the showcased musicians, she allows Paul to walk her home, but rejects his request for a date. The next morning, Paul awakens in his makeshift home, a spray-painted van, and admires Wren’s flyer which features the text, “Who is this?” Friday night, Paul waits outside Wren’s door and she reluctantly agrees to join him for a movie. Although Paul tries to coax her back to his van, his seduction is interrupted by a bygone rock star named Eric, who jumps out of a taxicab to get away from his blonde date. Besotted by Eric, the former front man of the band “Smithereens,” Wren chases him to a bar and vies for his attention while Paul grudgingly plays video games. Paul begs her to leave, but she insists Eric can bolster her career. As Wren and Eric dance, Paul leaves in anger. Sometime later, Eric carries the intoxicated Wren back to his basement dwelling and speaks of his plans to move to Los Angeles, California, where he will revitalize his career. In the bathroom, Wren discovers Eric’s disheveled and injured roommate, Billy. Although she ...

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In New York City, a young woman named Wren, who fancies herself to be an up-and-coming rock ’n’ roll star, steals sunglasses from a pedestrian and pastes photographs of herself inside a subway train. There, Paul, a plainly-dressed newcomer to the city from Montana, is smitten by the girl. When Wren gives him one of her handbills, he follows her around town and approaches her that night in front of the Peppermint Lounge, a nightclub for New Wave rockers. When Wren is ignored by the showcased musicians, she allows Paul to walk her home, but rejects his request for a date. The next morning, Paul awakens in his makeshift home, a spray-painted van, and admires Wren’s flyer which features the text, “Who is this?” Friday night, Paul waits outside Wren’s door and she reluctantly agrees to join him for a movie. Although Paul tries to coax her back to his van, his seduction is interrupted by a bygone rock star named Eric, who jumps out of a taxicab to get away from his blonde date. Besotted by Eric, the former front man of the band “Smithereens,” Wren chases him to a bar and vies for his attention while Paul grudgingly plays video games. Paul begs her to leave, but she insists Eric can bolster her career. As Wren and Eric dance, Paul leaves in anger. Sometime later, Eric carries the intoxicated Wren back to his basement dwelling and speaks of his plans to move to Los Angeles, California, where he will revitalize his career. In the bathroom, Wren discovers Eric’s disheveled and injured roommate, Billy. Although she rejects his advances, she awakens the next morning to find herself lying between the two men, completely clothed, as Eric’s sultry, blonde taxicab companion watches from across the room. Eric kisses Wren goodbye and she returns to her shared apartment to find a padlock on the door. The landlady throws her clothes out the window and pours water on her head. Now homeless, Wren seeks a loan from her sister, Terry, who suggests the girl return to their family home in New Jersey. Terry’s boorish husband, Mike, also refuses Wren’s request. The girl then finds Paul’s van in a vacant lot and begs for help. Although he tries to drive away without her, his vehicle breaks down, and she convinces him to burglarize her apartment to retrieve her remaining belongings. Back in the van, Wren finds Paul’s handgun and moves into his shabby abode. However, she remains infatuated with Eric. Sometime later, she tries to take up residence with her copy shop co-worker, Cecile, but the girl insists her roommates despise Wren. When Cecile pleads for an introduction to the infamous Eric, the girls head to his apartment for a date, but he fails to show. Dejected, Wren returns to Paul’s van and rests next to him. Paul awakens in anger and accuses Wren of being an opportunist. The following day, Wren finds Eric at a café, beguiling another lovesick devotee into financing his Los Angeles pilgrimage. Wren insults the woman and a fight ensues. That evening, Paul finds Wren in his van with a bloodied face. She tells him about a dream in which the world is blown to “smithereens,” but the deluded survivors still go about their lives in ignorance, floating on remaining shards of earth. Wren admits she is from New Jersey, where she is universally despised, and asks Paul to shoot her, but the two make love instead. Afterward, Paul announces his plan to leave for New Hampshire and invites her along. When Paul is away the following day, Wren is surprised to find Eric in the van. He claims to be out of money, with no ride to Los Angeles. Although Wren is considering the move to New Hampshire, Eric tempts her with a kiss and shares a “dangerous” idea. Sometime later, at a nightclub, Wren propositions a married businessman named Ed who is in New York City for a convention. As they leave for his hotel in a taxicab, Eric joins them and holds the man at gunpoint, demanding money, jewelry, and his pants. At Eric’s den, he counts their booty of $176 and permits Wren to keep Ed’s wristwatch. She returns to Paul’s van the next morning to collect her two shopping bags of belongings. Leaving behind her broken television, she announces her departure for Los Angeles, but Paul warns Wren that she cannot keep exploiting her allies. Wren arrives at Eric’s to find him gone. In the foyer, Eric’s glum, blonde companion shocks Wren with the news that she is Eric’s wife, and offers Wren a cigarette in commiseration. Wren heads to co-worker Cecile’s apartment and unsuccessfully begs for a place to stay. Homeless yet again, Wren pushes her way into the Peppermint Lounge to proposition a musician, but she is thrown out of the club by a security guard. As a last hope, she telephones her sister but the woman’s callous husband answers and Wren hangs up. After spending the night on the subway with fellow derelicts, Wren returns to Paul’s van, sees a man working underneath the vehicle, and presumes him to be her former lover. However, a stranger slides into view and reveals that Paul sold the inoperable van for $700. Inside, Wren finds the new owner’s small harem of prostitutes, sitting beneath Paul’s portrait of her. Grabbing her broken television, Wren walks away in defiance. Along the road, she is mistaken for a prostitute, and initially ignores the man’s solicitation. However, Wren reconsiders when he asks if she has anywhere else to go.

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

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