A, ‘I “c“ L 2“,.» {1}“ 713': 5.1.3.: n‘n’q'.‘ I)» '5-‘3 ‘9”‘\3,{-u\ ' X m. :1;- V 7 55, _.. t ,2 I: 3h "?l ) f K J?" ? _ . gr ’v‘v. ‘. i Y nir‘ . r! vr I? ‘1 '1y »5 r v ’r r 7v ,r it .v, r:- -. ‘w 1 J 1 I )1»..- ..‘> ~,‘ 2 ’.L ~ ,, ' ”\\ .- L‘wvfiffi . 55 ’f 5, ‘3 Y '9: .1 t ‘1 > ‘ r v “’rfi‘r‘; (atrial. - v.) 'r I" ‘ ( . r». I?! 1;! 3‘9: 7 if F I, I I z firs: 1“" “3" £4:;.; “‘3‘”. K: ”rt-cg, 3:233? .‘n ~. ., v. : 2‘ 9.. it,» ' V... N»; u.» 7’ ,.‘JE'mET ,‘J‘L,~ y ”I: a) 3&3???" 25?;951 ;§_ ’ . 3:»: -"~ nut.“ * " 9‘“?- “W\ 22’? v. 1w» .. ‘2" “‘“M' ' y; - ,1- ~\‘~‘O,-z.‘;‘::.~ 23.57:" (“a ${\~:“I,}42‘1m . .,.. ' ”I“. .6“’"\J4, {"3 V" m- . )1 j‘v’, u: gflu- 2“. V ”1-915": 21'; 3*‘fir'7 ‘ ‘ 5' ”:"‘.‘K~ :J‘x—wu." x“... “Ky; "' 5.2:,» :- r93..;."»/ 2- )3” ,f Orr-5 . -\ ) . 1’9?!”- kn, "lq 2., vii. 1" . -V A V ¢ 1:13;!- I v '1' ‘3’ . I {'9 5-9272:- 1 \ z I ' V‘s! w ,4 . ”i: “-3. J , 2 '7‘ I} #311, a .1 ’ ‘ ’ ‘ 1-. f I. .r ’ 215.: £2 £9 J26: I”? ‘ I I :- f-F,.«'; 2 ‘ ‘ ,3; , ‘_‘..,. ‘ 1 ”GI-12'1“; ‘9' 1:9} "" .51?! 25f .22.,- 12 ,‘i—"J ”W“, L’.‘ ‘53 1‘ ”1-19 .. {1? a; ." ,4 1 I; .4... ,2 K 43"? ' ~ «9-4293: 9 5w” 1 ”"3“”? .- ,0. $.99. 2141.2 2 2 $3.199 751?“! N", [Li-,5; 2-,; ".-"~ “3“”; ,5 .. ‘ ;/ Add??? _J”/;?;’ 1".“ “If; . 1154'th 2 .311?! . r ,Pufifxf‘ i” ,r p- ‘ 92;”; 4in 31;» —.l‘;" : "$24”. I.” 2'; 2 2- ; i 3.“ ma). DF v N 9 . ’9’ "' " 4',- . . r in, ‘ 2... p‘,‘ ,- “2", ‘%’#92ufifi,'”%fl%9' ‘ n’,;.',’,’/’,€,}N ' f 1’? J: ' mgr ' 11". - I. n -" Gull ‘f [22,- 1" {if , L. 3%: 1"". V , 9‘ N “39. 022.1,, r a i a ‘4‘: . \x“: . a -. - . -. ‘3‘155 ' 1:32;“ ‘ . K , . , n‘i‘N {“1 ‘~‘~ 32;? :34? :51» s \ ‘3‘; ‘x if! “#115,.- I In I ’1 1?" 1x2" .- , {kg-('5 ., 9M ffiflfi; 95299911911 r~2999,m%%9@929 ’ 91’2”?” “"- W "”9": ‘pmfi‘f-Kfigx .22 ,V‘ 9' ”(fife 1.4% {W'- “[2,,- _ ,9} ”fr-’3: 3‘27}; (r: r . ”I K. #- .l-A’x‘li' 9,5722, 0' ‘ . (,:"'r‘"‘J.II‘. '9‘? ‘1" .(I 2, -. .9, ,9;- . 2 ,, , ‘99» (157%,? 2/ 2,13; .1" ,.2 3‘45 "1 ,- 9; ,d‘ flux}, "-1-” 2:12 9,51,21,9" m 4%,! 555/3", 1-0;? ,3 9 ,1, ,fr - F" '21" fig“; {2 -, pdli‘yul'lg’rhqi'y/{réfi ,. ’(}'g{f Tflfffixyggrryy-é’fsé ". ""1" t. 21“,}, ”kgw 3,2412? {far/,0 ”(15’ 9 r w [fink ifln-lef, If! arrlf’;,q‘&r/? ;.,£,.,” {If/19"”! ""059," ,fi;,"}’; I]??? if? 7‘35’14 [1,, HIV/H222 '2 r-. . Cfcfia’é'wf, ,P’L’IS} I 'H 2 a It!“ nmnr .,j 4”,", ,flllgr , "2‘4 : -' , ~. w 99- If“ ‘3 ”1“”9'993‘99999 $959999”? ‘3"? a” “W ‘ -‘- r W"! "1:. ., ,m-c. Wri"'-I$ 12L - 193?, f '2’ - 2 M22“ #9,. r- "’2?” . 9’1,”- 91.99.29,, 19/ M” m" ‘2" ' K ‘ K! 2" I NI ,,' 2 (KI-,1? r “ . Mfr: -'~' 055’)"; 9 1/1? A fi.(p€vl'l';’r “him” ‘ "Tr?! {55:5- aJ/éx: firm "C" , .;2 “,9- . ”9”- I9, 999. "9‘ 99’ 9-2-99. . ”W 43} 9,2;- 95’1- .112”r 1.5-; (".Ur , r. - ‘ ,9 27. ‘I‘ f I" m. 95$)!“ .0“ {fir 'fi‘ifé};: #6?!" .6954: F}; 2554;; .2; 995w. . --.; 999- 3,5,9 999? .5999“. it '=-'. ’7 9.99.9299- I", 9,9,; 55,3. 22,. ,9 4“ ' ’93,“,9'71'" -.’C:.‘}I'I.g'§'"5' , .«vfl'fmi‘i‘fffififi ' " ,2 2» _ u~ ' 2" V, (2' 1-, :2 l1; gfiffi?" 515;“ $2,135 {2/ lilfl'fll'fi‘ 9:7,, pp] I 2!??? 'fiy’pi' 1' fiflf': Ifl‘gfafigf” 2}},1 .r ’1‘}?pr " (-1 I; ’99,? n F r‘ I. lrr‘g- }{'I;?*"' #1,! ,I ' ’,.. 1.1;“) “Ir‘rr‘, :grrftfi , ’I' Wu‘ ’;r r, 2*, 3:94:11 ,. r f ~w-1 w-w ’2 9949419' * 99999.222,W 9221,,;W2n99299 ,9 ,I9999~9¢999wa , Pfr'hwr M u. " rrr‘. 'Zf‘f .. ' "'r ‘n' (If; 41‘, ' "1 - w-II' , '9125-ILI‘“*“‘” ' ""12, . 92-53%, 9‘“ ,1"; ”Iii/9,9 99:392-1va 22,-2.9? Ki: 23.,232; w ---II,1’I‘-‘»IH 9 ,. - #919929 99-99-991: £999 - Mvv 9,-2-9 ’99” »: ' 92%99999n90-9 'I/nVII. ' 'f-r.,z'I-2I!vr/'- 52"22‘ ME! ’ “r" .‘r" ' w r 1 ., ,2, H,;‘-,,-,l.,. 755 ““Vw- 'n . .2“. r' "*1"? ’- ,. 9-9 2931.99 9"” "9“” ; fag-“r, €59 9999,5221?” J ., , ‘ 7'. - t. I.“ ‘ . ‘ - - . \. I MICHIGAN STATE UNIVERSITY LIBRARIES 3_ 1293 00558 491 1 l LIBRARY Michigan State University w This is to certify that the thesis entitled TRACING THE ERA OF THE HIGH-CONCEPT FILM: A STUDY OF CINEMATIC TRENDS IN POPULAR MOTION PICTURE PRODUCTION presented by Douglas Clark Osman has been. accepted towards fulfillment of the requirements for Master of Arts degree in Telecommunication ML, l Major professor [hue August 12, 1988 0-7639 MSU is an Affirmative Action/Equal Opportunity Institution MSU LIBRARIES .—3——_ RETURNING MATERIALS: Place in book drop to remove this checkout from your record. FINES will be charged if book is returned after the date stamped below. TRACING THE ERA OF THE HIGH-CONCEPT FILM: A STUDY OF CINEMATIC TRENDS IN POPULAR MOTION PICTURE PRODUCTION By Douglas Clark Osman A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Telecommunication 1988 cl II i, ”my J" ' J J:"'"“ . . in..." [I Hui” "‘ .t‘ M”:r7 ,1 I" I! r" .- ,.4’ 4. MI ABSTRACT TRACING THE ERA OF THE HIGH-CONCEPT FILM: A STUDY OF CINEMATIC TRENDS IN POPULAR MOTION PICTURE PRODUCTION By Douglas Clark Osman This thesis examined the existence of thematic cycles in motion picture history and their relationship to audience and economic variables. The aim of this research was to trace the history of these trends up to the current film industry, then make a prediction for the next upcoming trend. Finally, a feature-length screenplay which embraces the characteristic elements of this next trend was written by the author. The author distinguished four previous, completed filmmaking cycles--early spectacles, musicals, epics, and introspective films of the 19703. There is also an analysis of the current outgoing cycle , called high-concept, lavish, fantasy-oriented productions popularized by filmmakers Steven Spielberg and George Lucas. The author predicts the next trend to be low-concept biographical films, initiated by the successes of Amadeus and Out of'Afriqa. Copyright by DOUGLAS CLARK OSMAN 1988 DEDICATION For my mother and father, Marilyn and Albert. None of this was ever possible without you. iv ACKNOWLEDGEMENTS The arduous task of escorting this thesis to completion was accomplished with much assistance. The author wishes to thank those to whom he is indebted: Bob Albers and Carrie Heeter, my advisors, whose constructive reactions, suggestions, and comments were greatly appreciated; Ann Spalding, who gave up part of her summer for me, spending it instead in front of a cathode ray tube so this work could find its way onto paper; Maureen Lindsey, for car rides, phone conversations, and loon calls; Charlotte Petersen, for her energy and her emotion, and for helping me know Katherine; Linda and "Demps," who, without knowing what any of this was about, helped inspire its completion; and last, most important, my family -- my mom and dad, and my sisters, Debbie and Diane -- for their unending support during this little adventure of mine. TABLE OF CONTENTS Page LIST OF FIGURES ................................................... viii CHAPTER I. INTRODUCTION ............................................ l High-Concept and the Idea of Filmmaking Trends .......... 1 The Production Thesis ................................... 2 II. REVIEW OF THE LITERATURE ................................ 5 Chapter II--Endnotes .................................... 12 III. AN HISTORICAL PERSPECTIVE ON THE DEVELOPMENT OF AMERICAN FILMMAKING ................................... 14 The Notion of Motion Picture Trends ..................... 14 The Formative Years ..................................... 15 The First Cycle: The Early Spectacles .................. 16 The Musicals ............................................ 17 The Epics ............................................... 18 The Seventies ........................................... 20 The High-Concept Era .................................... 23 Analysis of Audience and Production Data ................ 23 IV. THE ORIGIN OF HIGH—CONCEPT .............................. 27 Origins of the Cycle .................................... 29 The Definition of High Concept .......................... 29 Simplicity ........................................ 29 Fantasy ........................................... 31 Special Effect .................................... 31 The Proliferation of High-Concept ....................... 32 The Evolution of High-Concept ........................... 34 1978 .................................................... 35 1979 .................................................... 36 1980 .................................................... 37 1981 .................................................... 38 1982 .................................................... 38 1983 .................................................... 39 vi TABLE OF CONTENTS (continued) CHAPTER IV (continued) 1984 .................................................... 40 1985 .................................................... 41 1986 .................................................... 41 1987 .................................................... 42 Emergence of Low-Concept ................................ 43 The Next Cycle .......................................... 45 Chapter IV--Endnotes .................................... 48 V. THE LOW-CONCEPT SCREENPLAY .............................. 49 "The Crystal River" by Douglas Osman .................... 50 VI. ANALYSIS AND CONCLUSION ................................. 172 The Low-Concept Character ............................... 172 Theme ................................................... 174 Texture ................................................. 174 Chapter VI--Endnotes .................................... 177 BIBLIOGRAPHY ....................................................... 178 APPENDIX A ANNUAL TOP MONEY MAKING FILMS .......................... 180 APPENDIX B AVERAGE WEEKLY U.S. MOTION PICTURE THEATRE ATTENDANCE .......................................... 195 APPENDIX C ALL-TIME TOP 50 CROSSING FILMS ......................... 197 APPENDIX D AVERAGE MOTION PICTURE PRODUCTION COSTS ................ 198 APPENDIX E DOMESTIC FILM PRODUCTION ............................... 199 vii LIST OF FIGURES Page FIGURE 1. The Musical Cycle in Motion Picture History ................ 19 2. The Epic Cycle in Motion Picture History ................... 21 3. The Early 19703 Cycle in Motion Picture History ............ 25 4. Overlay Comparison: Film Trends Against Average Weekly Attendance ........................................ 26 5. The High-Concept Cycle in Motion Picture History ........... 3O viii CHAPTER I INTRODUCTION High-concept and the Idea of Filmmaking Trends The business of making motion pictures is an enterprise that, historically, has often been viewed with contempt. The American filmmaking industry is the bastard artform in contemporary culture, trapped between critic appraisal and box-office expectations. Producers and directors are constantly faced with the types of decisions that test professionalism and integrity: should a film be artistic or commercial?; original or copied?; mainstream or revolutionary? Because Hollywood is an industry of profit, these decisions are rarely pondered upon for very long. When we keep in mind the pecuniary interests of the American filmmaking trade, it is not difficult to ascertain specific trends, or cycles, in the types of films that were made during the last 75 years. Among a motion picture producer's primary functions is to insuring profit, so when he sees a certain genre of film succeed, his instinct is understandable: if the audience paid to see it once, they will pay to see more of the same. More often than not, the conclusion is correct. Whatever the reasons might be, audiences seem to popularize movies in waves. During the 1930's the American public fell in love with the Hollywood musical, and for nearly 30 years, this was the genre of film that dominated our theatres. In the 19705, the "disaster" film and movies analyzing the fabric of society prevailed. During two distinctly different periods in American history--the 19205 and the 19605--motion picture spectaculars, or epics, commanded the majority of the profits at our box-offices. Today, following the introspective, and sometimes depressing cycle of the early 19705, a much lighter, more frivolous trend has taken form: the high—concept film. High—concept films introduced the term "blockbuster" in cinematic terminology by uniting simple storylines with glossy special effects and flagrant budgets. The cycle began in 1975 and prospered until 1985, when its demise gave birth to the newest model in filmmaking, called low-concept. By purposely counter-programming against the extravagant high-concept formula, producers with smaller movies and smaller budgets are making respectable profits with more intelligent, complicated films. Low-concept motion pictures like §l_ Norte, Kiss of the Spiderwoman, and Places in the Heart are attracting older audiences by telling stories about people, not fantasy. Their box-office successes suggest that audiences are losing interest in the tired formulas of high-concept and are ready to cast their attentions on an entirely new cycle of films. The Production Thesis This research examines the cyclical nature of popular motion picture production in the United States. The study will rely on available financial data -- production costs and box-office revenues - - in order to identify tendencies in the types of films produced during the last 90 years. The research will attempt to look beyond the surface of these trends in an effort to determine catalysts, elements both within (such as economic decisions) and outside (such factors as audience preferences) the industry which help to initiate these cycles. The aforementioned study serves as a foundation for Chapter IV of this thesis. The ultimate goals of the conducted historical research are to better understand the nature of the highoconcept cycle, the most recent (and, in an increasingly diminishing sense, current) trend in popular, commercial filmmaking. Because the cycle is gradually being supplanted by its heir apparent, the low-concept film, the situation represents a unique opportunity for study. The objectives of this research are threefold. First, the initial historical research will serve to illustrate the commercial evolution of the filmmaking industry; that is, the elements from within and outside the business which helped propel its success. The second objective is to utilize our understanding of motion picture history as an approach to comprehending the mechanics of the business today. This analysis will highlight the origins of high-concept, the successes which fueled its popularity, and, ultimately, the reasons for its decline. Finally, the last objective is to execute a feature- length screenplay which attempts to exhibit the burgeoning low-concept style. Chapter II of this research is a review of literature probing the nature and industry interpretations of high concept. Chapter III is an historical perspective on the development of American filmmaking as a cyclical industry. Chapter IV will investigate the era of high- concept, its origin, proliferation, and decline. This chapter will conclude by making predictions for the types of films which will populate the upcoming low-concept era. Chapter V is a script demonstrating the low-concept style of film. Chapter VI will include an analysis of the script and author conclusions. CHAPTER II REVIEW OF LITERATURE Though it seems no formal research has ever been conducted on the high-concept phenomenon, many authors have included personal observations as peripheral material in their related work. Numerous comments devoted to the origins and criticism of the high-concept era exist in recent literature, but there remains a dearth of substantive writing on the evolution and future implications of the model. Indeed, even the accepted label, high-concept, rarely appears in print. In his 1983 discourse on the motion picture industry, screenwriter William Goldman speculated on the decision-making process of producers, and the types of films that, more often, seem to get made: There's a whole world of subject matter that will never be touched by the major studios. Because the executives know the sort of film that may work. Just like the bright boys in Detroit knew, a while back, that what the American public really wanted was a great big glossy gas-guzzling car. And all that interest that was starting in Japanese cars? Just another nonrecurring phenomenon. Goldman's philosophy of nonrecurring phenomenon suggests a rationalization for the illogical successes in the industry. "What it means, of course, is this: It was a freak, a fluke, a once-in-a- lifetime occurrence."2 The author poses the film The Four Seasons as an example. "Fbur Seasons had nothing going for it--no movie stars, no violence, it wasn’t even all that funny. It was just this lovely movie about--about friendships, for Chrissakes. So it's success both depresses and frightens studio people."3 The unpredictable nature of motion picture production, Goldman suggests, makes the industry’s important decision-making process unclear. How do producers decide what to produce when they are not always certain what audiences want to see? Rebello investigated a number of his favorite, unproduced screenplays in Hollywood (most have been optioned but remain unproduced) and reveals a distinction between those and what is making it to theatres instead. Much of what is successful today is . . . 4 commerc1al and "...all too often high-concept junk." A Vice-President for New World Pictures concurs on the issue: "Perhaps, unlike novelists, in recent years screenwriters have become more concerned with writing high-concept or obviously commercial material which has resulted in a decline in quality."5 Much of the recent literature concerning high concept has been critical of the formula's shortcomings. Cagin and Bray defined the hit films from the late 19705 as defiant escapism and happy, introspective movies, then illustrated a recent scenario: "How different things had been earlier in the decade, when an epic political metaphor, The Godfather held sway and an escapist blockbuster like Love Story was blasted for its insipidness."6 That analogy, the authors maintain, was a paradox of the Hollywood mentality that would later preside: "By the late seventies, Hollywood was holding onto its audience with movies that exhausted every means at their disposal (dramatic and technical) to say as little as possible. It was only by deliberately avoiding strong viewpoints, by devaluing their work, that filmmakers could erect a tent large enough to embrace an audience big enough to pay for it."7 Cook lauds the founding efforts of George Lucas and Star wars, with its unprecedented use of computer-generated special effects, but he criticizes the film and its creator for manipulation of the audience's perception. "There is no room for interpretation or speculation in Star wars: everyone who sees it has precisely the same experience. The same might be said of Steven Spielberg's Jaws (1975) and Close Encounters of the Third Kind (1977), both technically polished to a degree but so calculated in terms of effect that they have all the predictability of a Big Mac hamburger."8 In the late 19705, when America clearly seemed in a state of transition,9 Hollywood felt the impulse to change, as well. Cagin and Bray see the metathesis as the result of the competition of message: "Once again, Hollywood met a transitional crisis by offering the public what television, cable and video could not: with sex and violence abundant on the small screen, Hollywood turned to technological razzle-dazzle and large-screen spectacle conspicuously devoid of the "taboo" subjects and social problems which had become television's bread and butter."10 The authors seem to acknowledge that the escapist high-concept movies have only two purposes: to not demand much of their audience's intelligence, and to simply amuse for a few hours. The reasons for the perpetuation of high-concept motion pictures seem abundant. Pirie cites the tremendous pressure put upon producers and directors by their agents, and the studios, who urge filmmakers to strive for the blockbuster productions.11 Business Week claims that summer successes like Friday the 13th, which grossed $40 million in 1980, simply encourage studios to churn out more of the same.12 The author indicates the growing industry conservatism, the impulse to follow safe, established trends, as the excuse.13 New York Times critic Vincent Canby, in Mark Litwak's Reel Power, concurs: "The trends are all dictated by economics. The films that make money get . . 14 made again and again." Actress Jane Fonda, in the same source, describes motion picture executives as "...a herd of turtles. If one particular genre becomes successful [they all emulate it]. When Easy Rider... made a lot of money, everybody who came in with long hair and looked like Dennis Hopper and my brother got hired to do a film."15 Shales suggests that, although much of the dilemma is financial in nature, there seem to be other factors at work. The author offers six possibilities: (l) the narrow-minded urge of movie stars to appear in "hits"; (2) the corporate takeovers of the motion picture studios; (3) the recent lack of inventiveness and style that directors seem to have; (4) the failure of critics to educate their readers of the potential that films can have; (5) the lack of sensuality (as opposed to teenaged sex) in today's films; and (6) the vanishing maverick directors of the 19605 and 19705.16 Shales mentions the recent corporate bent in the industry as a strong influence on the origination of high-concept. Ironically, in her 1950 study of the Hollywood film industry, anthropologist Hortense Powdermaker seemed to prophesize the current state: Behind the lack of faith in their own judgement about doing something different from the hackneyed rules, may be the fact that most of the top executives seem to be men without real understanding of what makes a good movie. When they have an unexpected success or failure, they appear unable to analyze the reasons for either, but attribute it to the public or to luck. In other businesses, successful designers of clothes, hats, jewelry and architecture launch new styles and take chances on their success. Theatre and publishing, which are taking on more and more characteristics of big business, still constantly take chances with new ideas. But the motion picture industry rarely has this courage, and its system of production discourages originality. This is not only detrimental to the artists who work in Hollywood, but also bad business . l7 practice. In a surprising comment, high-concept producer, Steven Spielberg agrees: "There is a paranoia today. People are afraid. People in high places are unable to say "okay" or "not okay," they’re afraid to take the big gamble. They're looking for the odds-on-favorite. And that's....very very hard when you’re making movies. All motion pictures are a gamble. Anything having to do with creating something that nobody's seen before, and showing it, and counting on 10 or 20 million people, individuals, to go into the theatre to make or break that film--that's a gamble. And I just think in the old days, in the golden age of Hollywood, gambling was just taken for granted.18 Denby seems to believe that the problem lies not only with the big business moguls of today's industry, but with the marketing men who push contemporary films into our theatre. "At the moment, the only thing the system does well is market. But that's a very sinister development, for the marketing strategies not only determine how the pictures are presented to the public, they determine which movies get made and which don't, what the movies are about, and sometimes which . 19 . . . actors a ear in them." Corliss Oints out that the avera e motion PP P 8 picture budget today is somewhere near $10 million, with another $6 million used to market the film. The situation, understandably, 10 convinces producers and studios to recoup their investment as quickly as possible; hence, the inclination to "recycle the familiar into the surefire."20 High-concept filmmaking suggests a broad financial potential. As well as cashing-in record box-office receipts, high-concept movies often inspire expensive high-tech toys, such as robots, videogames, electronic games and toy guns. Wasko indicates that motion picture financing of current films can depend largely on these high-concept spin-off consumer producers, including children's toys, cereal, lunch boxes, and clothing.21 Kael takes the issue one step further: films that are large-scale adventures, or have big-name talent, can command network licensing fees between $15 million and $25 million. Guarantees of this size can often come in at double the film’s budget.22 American Film solicited comments from professionals closely associated with the film industry regarding past influences and future projections for the business. The article gathered a number of interesting reactions. Screenwriter Ring Lardner criticized the megahit producers for subordinating content to technique: Their superhits, when screened by future scholars, will suggest that among the great issues of our day, were the malevolent forays of the great white shark, the imperialist assaults of an alien galaxy, the international struggle for possession of a biblical scroll booby-trapped with deathrays, the unfriendly occupation of innocent buildings and children's bodies by ghostly, intruders, and the continuing conflict of attitudes about social relations with interplanetary visitors. More optimistically, Choy suggested that the high-concept trend signals a revitalization period for "minority artists" who offer 11 filmgoers something other than the status quo."24 While the mass audience throngs to see the sequels to Star wars and gays, Choy believes a smaller, eclectic, more often cultured and educated audience will seek out more intelligent films to watch. Schrader attributes the high-concept style of filmmaking partially to MTV (the heavy use of rock music, special effects, rapid editing), but acknowledges that the future will be a reemergence of the kinds of film technique that MTV cannot provide: narrative, character, and theme--the basic elements of low-concept. Despite the lack of investigation into the high-concept phenomenon, references and observations in other sources do shed some light on the subject. From this literature review, it appears as if: (1) the motion picture industry is definitely moving away from the high-concept movie and more towards the quieter, more intelligent low-concept film; and (2) that the high-concept era has become in many instances, nothing more than a financial bonanza for ill-informed executives who know little about motion picture production. The observations seems encouraging, suggesting that this present transition of cycles will move Hollywood from an era of growing flagrance to one of intelligence in filmmaking. 12 CHAPTER II--ENDNOTES 1William Goldman, Adventures in the Screen Trade. New York: Warner Books, 1983, p. 52. 2Ibid., p. 50. 31bid. 4Stephen Rebello, "The Ten Best Unproduced Screenplays," America Film, April 1987, p. 31. 51bid. 6Seth Cagin and Philip Bray, Hollywood Films of the Seventies: Sex and Drugs. Biolence. Rock 'n' Roll. & Politics. New York: Harper & Row, 1984, p. xiv. 71bid. 8David A. Cook, A History of Narrative Film, New York: W.W. Norton & Co., 1981, p. 639. For example, it was in 1977 that the first post-Vietnam administration was elected, that the discovery of "punk rock" music and style gave many major cities the first anti-sixties culture. 10Cagin and Bray, p. 254. 11David Pirie, editor, Anatomy of the Movies. New York: MacMaillan, 1981, p. 131. CHAPTER II--ENDNOTES (continued) 12"15 Hollywood Making the Right Kind of Film?" Business Week, October 27, 1980, p. 62. 13Ibid. 14Mark Litwak, Reel Power. New York: Morrow, 1986, p. 110. 15Ibid., p. 109. 16Tom Shales, "Seen Any Good Movies Lately?" Esguire, July 1986, pp. 93-96. 7Hortense Powdermaker, Hollywood, The Dream Factory. London: Secker & Warburg, 1950, p. 91. 18Litmak, pp. 100-101. 19David Denby, "Can The Movies Be Saved?", New York, July 21, 1986, p. 26. 20Richard Corliss, "The New Hollywood: Dead or Alive?" time, March 30, 1981, p. 66. 21Janet Wasko, Movies and Money: Financing the American Film Industry Newport, New Jersey: ABLEX Publishing, 1982, p. 158. 22Pauline Kael, "Why are Movies So Bad? or, The Numbers," The New Yorker, June 23, 1980, p. 85. 23"TheBig Picture," American Film, June 1985, p. 80. 24Ibid., p. 87. 25 Ibid., p. 79. CHAPTER III AN HISTORICAL PERSPECTIVE ON THE DEVELOPMENT OF AMERICAN FILMMAKING Th9 Notion of Motion Picture Tragga Throughout the relatively brief history of the motion picture industry, cinematic scholars and historians have delineated certain cycles, or trends, in popular film genre. Unlike the pure artforms (dance, music, painting, poetry), movies perform in an economic arena; they rely entirely upon the capricious tastes of the film-going audience. Hence, as the public abandons one popular genre of film for another, so goes the industry. This idea of trends existing in motion picture production is nothing new to the industry. Hollywood has obviously acknowledged the existence of popular genres in its history, and has often drawn upon them to satisfy its audience. Yet, while identifying these cycles requires no significant effort, delineating and charting their courses does. We can begin our analysis of cinematic trends by assembling an annual list of the most successful domestic films (See Appendix A). This list inventories popular films beginning with 1930 (information prior to this date is incomplete and often inaccurate), and includes financial information after 1946. By scrutinizing this information, this author can distinguish five significant trends in film 14 15 production, cycles that were made popular over varying periods in motion picture history. Since trends are dictated by audience discrimination, it holds that significant drops in annual theatre attendance (measured by the industry on an annual, average weekly basis; See Appendix B) might signify the end of a cycle. Likewise, subsequent increases in attendance would suggest the beginning of a new trend, the proliferation of a new film genre that appeals to movie-goers. As will later become evident, this theory seems to bear substance. The Formative Yaaga It took Hollywood roughly 20 years to outgrow its infancy. Between the late-18005, when the medium was introduced commercially, and 1915, motion pictures were in the throes of an experimental period. Directors like Edwin S. Porter and Georges Melies toyed with strikingly divergent styles of filmmaking and storytelling, and discovered that the movie-going public would pay to see just about anything imaginative. Early melodramas and comedies entertained audiences in nickelodeon galleries with productions like Uncle Tom's cabin (1903), The Great Train Robbagy (1903), Bronpho Billv'§_ Adventure (1911), Faust (1908), Carmen (1908), The Stage Rustler (1908), The Life of Moses (1908), In the Days of the Thundering Herd (1910), and The Bearded Bandit (1912). Film styles and techniques were understandably crude, but this didn't seem to bother audiences of the time. Cinema was an exciting new medium that captured attentions, and as long as Hollywood had something new to show, the public was willing to pay to see almost anything. 16 The First Cycle: The Early Spectacles Although it seemed, at times, as if this new medium could never fail, audiences were quickly becoming more sophisticated. After 20 years, the novelty of motion pictures was finally ending. Theatre attendance in many cities was beginning to drop dramatically, and, more often, producers were losing money. The public was becoming a discerning audience, demanding something new and different for its money. As a result, the premiere of Birth of a Nation (1915), and the successful establishment of its director, D.W. Griffith, launched the first cycle in motion picture history that was a direct response to sagging ticket sales: the early spectacle. Public response to Birth of a Nation was overwhelming. By 1939, the film had grossed $18,000,000 and netted $5,000,000 in profits. With the release of the film, Griffith had accomplished two important feats for Hollywood. First, he introduced a successful new film genre, the spectacle, that audiences would popularize until the late 19205 (and later again, during the 19505 and 605). And second, he was among the first in Hollywood to unite the talents of great directors with excellent talent. Indeed, the era introduced the public to the first Hollywood movie stars: Douglas Fairbanks, John Gilbert, Mary Pickford, Chaplin, et al., and some of the industry's finest directors: DeMille, Eisenstein, Chaplin. Between the years 1915 and 1927, audiences attended spectacles like The Three Musketeers (1921), ThaiConnecticut Yankee in King Author's Court (1923), The Four Horseman of Tha Apocalypag (1921), Cecille B. DeMille's The Ten Commandments (1923), The Thief of Bagdad (1924), The Big Parade (1926), Ben Hur (1926), Old Ironside (1926), Wings (1927), and The King of Kings (1927). 17 Curiously, industry reaction to successful trends is always the same: bigger is better. Movie studios and producers seem to harbor suicidal delusions of grandeur, always assuming that success is eternal and that popular trends will last forever. Not surprisingly, the biggest financial failures always signal the end of a cycle. Just when movie budgets soar to the astronomical realm, audiences seem to lose interest in the trend. The results, naturally, are multi-million dollar losses and the end of that cycle in film history. This, coupled with the introduction of the talking motion picture, served as the segue for the next cycle in popular filmmaking, the musicals. The Musicals Beginning in 1927, with the release of The Jazz Singer, talking motion pictures seemed able to offer something unique enough to coax audiences back into movie theatres. Though, initially, they all didn't contain feature-length dialogue, sound-on-film productions spotlighting musical sequences were undeniably the most popular. After grossing $3.5 million on the The Jazz Singer, A1 Jolson went on to star in the less critically-acclaimed The Singing F001 (1928). Critical aspersions notwithstanding, the film grossed $5 million and became the box-office champ of all time. By 1943, the height of the musical cycle, 40 percent of Hollywood film production was devoted to musicals. Films which followed the established musical formula flourished. According to Variety and International Motion Pictura_ Almanac, some of the most popular productions of the era included: City Lights (1931), 42nd Street (1933), Gold Diggers of 1933 (1933), Follow tha Flea; (1936), The Great Ziegfeld (1936), The Golgyyp Follies (1938), Happy Landing (1938), Babes in Arms (1939), Road to 18 __g_p__Sin a ore (1940). Meals—Girl (1941). W (1942), Irish Eyes Are Smiling (1944), Music for Millions (1944), A_ Song to Remember (1945), The Harvey Girls (1946), Ziagfald Foliag of 1246 (1946), Tha Jolaon Story (1947), Easter Parade (1948), Jolson Sings Again.(1949), WOrds and Music (1949), Take Me Out to the Ballgame (1949), Annie Get Ybur Gun (1950), On the Town (1950), Showboat (1951), An American in Paris (1951), Singin' in the Rain (1952), Stars and Stripes Forever (1952), White Christmas (1954), Ihg_ glann Millar Story (1954), Sayan Bridaa for Sayan Brothagg (1954), Brigadoon (1954), Guys and Dolls (1956), The King and I (1956), and South Pacific (1958). Musicals became one of the most durable and profitable cycles in cinematic history; they formed a trend that began slowly, ended rather abruptly, and lasted nearly 30 years. (See Figure 1.) Naturally, during this same time period, other shorter cycles flourished briefly: the "reaction" films to World War I; the horror films, exploited more notably by Universal and RKO; and the war dramas of World War II. The Epics In 1950, near the last years of the musical era, Hollywood seemed to sense the approaching end of the cycle. Studios began producing fewer of the musical films, which were grossing less money each year, and recast their attentions on the big budget epics which prospered during the 19205. Following the example of DeMille and his peers, Hollywood soon discovered that bigger profits could be had with bigger-budgeted films. Included among the hits, a curious number of which were drawn from the Bible, were (NOTE: figures in parentheses represent theatre rental revenues, and the year of the film's 19 .mnOumfim upqufim coauoz :fl oaozo Havana: may Hmm< omm— ovm— ommw .H muamwm mummmouo smegma: ON ape an pafifla no monasz 20 release): Samson and Delilah ($11 million; 1950), David and Bathsheba ($7 million; 1951), The Greatest Show on Eaggh ($12 million; 1952), on Vadis ($10.5 million; 1952), Ivanhoe ($7 million; 1952), The Robe ($20-30 million; 1953), The Egyptian ($6 million; 1954), Battlecgy ($8 million; 1955), 20,000 Leagpes Under the Sea ($8 million; 1955), Ea;_ and Peace ($6.25 million; 1956), The Ten Commandments ($18.5 million; 1957), Around the WOrld in 80 Dayg ($16.2 million; 1957), The Bridge on the River Kwai ($18 million; 1958), The Vikings ($7 million; 1958), Ben Hur ($17.3 million; 1960), Egpgpa ($7.35 million; 1961), Spartacus ($13.5 million; 1962), King of Kings ($7.5 million; 1962), The Longest Day ($12.75 million; 1963), and Lawrence of Arabia ($9 million; 1963). Budgets for the epics continued to escalate annually but ticket revenues, it seemed, would go no higher. Apparently there was still an audience for the monumental spectacles, but prohibitive production costs forced an end to the cycle. (See Figure 2.) Cleopatra, among the last of the epics, is still considered the most expensive motion picture ever produced in Hollywood. With a budget of $45 million, the film grossed only $15.7 million in its short theatrical run. The same film today would cost $110 million to produce. The Seventies At first glance, it might seem that the end of the epic era was not met by the beginning of another trend, but the types of films that formed the popular cycles of the late-19605 and early-19705 were simply more elusive in definition. Besides occupying trends that were much shorter and less populated, some of the films of the 19705 defied the traditional classifications of genre. During this time frame in American history, the public conscience was entering an introspective 21 .zuouwwm sunbeam coauoz :a macho QHQM m£H .N munwfim wummwouo “magmas om ape an madam wo Hmnfinz 22 and politically-conscious era. Spurred by the Vietnam War, economic turmoil, political scandal and concern for the future, American ideology matured. The adult American public seemed to realize, especially with the discovery of the bomb, that everything in life was not as simple and carefree as the movies depicted. Naturally, this change in philosophy was soon mirrored in Hollywood. With representation from nearly every genre that Hollywood had ever offered, films reflecting society and its inherent paranoia formed the most important cycle of the time. Beginning in 1966, the success of films like Who's Afraid of Virginia Welf? ($10.3 million 1966), The Graduate ($39 million; 1968), and Guess Who's Coming to Dinner? ($25 million; 1968) suggested that not only was the viewing public willing to forego the superficiality of the musical production, it was willing to endure a depressing storyline if it could better understand itself. The trend continued onto and into the 19705 with Rosemagy's Baby ($7.2 million; 1969), Easy Rider ($7.2 million; 1969), Midnight Cowboy ($11 million; 1969), Catch-22 ($9.25 million; 1970), A_ Clockgork Orapga ($2 million; 1972), The Trial of Billy Jagk ($15 million; 1974), Lappy ($11 million; 1975), and QpaAFIaw Over the Cuckoo's Nest ($56.5 million; 1976). Despite the extent of its introspection, however, the American public has never been able to tolerate depressing movies for lengthy periods. The cycle was inspired by the social turmoil of the time, but after a while audiences grew tired of dwelling on its problems and issues. Daily broadcasts brought news of the Vietnam War and Watergate, and this seemed to sate the public interest. Almost as quickly and quietly as it had begun, the most important cycle of 23 filmmaking in the 19705 ended, and the next was about to begin. (See Figure 3.) The High-Concept Era Although many insiders first considered it just another offering in one of the minor cycles of the 19705, Steven Spielberg's disaster film, gaga (1975) was actually much more than that. The film blended a simple storyline with state-of-the-art, high tech effects to produce one of the most disturbing films to ever reach the movie-going public. In its first release alone, gaya netted $102,650,000 at the box office and became the highest grossing film in movie history. With the premiere of the movie, the industry gave birth to its first true "megahit" and Hollywood entered the era of high-concept. We assume that audience tastes in motion pictures dictated the nature of these trends, and, consequently, influenced the production decisions of that time. Apalysis of Audience and Production Data We assume that audience taste in motion pictures dictated the nature of these trends, naturally, and influenced the production decisions of that time. Three important modes of analysis collectively lend credence to the theory of cycles in motion picture production. First, graphic data which demonstrates the existence of cyclical production; second, data concerning audience attendance; and lastly, overlay comparisons of the aforementioned data, which offer evidence that audience fluctuations closely match the beginnings and endings of cinematic cycles. 24 While Figures 1-3 do demonstrate that distinct film trends seem to exist, a more indepth analysis can compare these cycles against audience data. Figure 4 represents an overlay comparison of theatre attendance data (reduced by constant) in shade against film cycles in dark. The results, obvious on the graphs, are striking correlations between the two sets of information. The musical overlay exhibits similar peaks on both graphs for the important pinnacle years 1937 and 1945. For epics, a similar phenomenon occurs in 1963. The pinnacle years of 1971 and 1976 in the seventies trend of motion pictures also correlates with the audience fluctuation. The conclusion drawn from this, naturally, is that the existence of these cycles is a phenomenon of audience, trends that are dictated by viewers' tastes and changing interests in motion picture fare. \m“- . 25 xu0uofi: ouauofim cowuoz :a macho nemmfi AHHMm ocw .m muswfim How? come omm_ osm— come omme ovm_ oma_ _ p O -N 1v muwwmouu uppawum . ON ace .p as mafiua mo uwnfisz up 26 OH an waH>Hv mH wommvcmuum haxwms mwmuw>m .mmwomusm o>HumummEoo afizamuw moms “macho EHHM n woum xumvv «Awoampcmuum zfixmos ammuw>w u «mum wwvmnwv .mocmmcouu< haxmo3 ammum>< umcfimw< wvcpr EHHm ”COmemmEoo hmem>O .q wuzwflm have” . 30> can; cam: 02.: 003 on: 0.3— omg own: one one owm. omm— — . o . O “ . .V. x x 2 .x\\\\. . \\‘\\‘v 8,.“ mt...— nos o— 003. cu 30> comp owm— osm— owo— omo— cvm— 0mm— 33.2.E CHAPTER IV THE ORIGIN OF HIGH CONCEPT Origins of the Cycle In 1975, near the end of the short 19705 introspective cycle in motion picture history, a young director named Steven Spielberg precipitated the beginning of the next dominant trend. With the release of his film gaya, a contemporary horror film involving the attacks of a maneating great white shark, a stylish formula for successful storytelling was discovered. The film united simple, exciting storytelling with excessive special effects and healthy financial backing. The film garnered domestic rentals of $102,650,000 in 1975, and another $16,077,000 in its 1976 re-release. In addition, after its multi-million dollar sale to broadcast network television, Jaya reaped enormous "after the fact" profits from the videocassette retail and rental market. In all, the film boasts net revenues of $129,961,081 to date, and is ranked at number five on the list of financially successful motion pictures. (See Appendix C.) It took most Hollywood insiders a few years to understand the significance to the industry that Jaya represented. At about the same time that the film was packing theatres across the country, another young director named George Lucas (not yet an acquaintance of Spielberg's) was preparing his next feature for motion picture audiences, a splashy, special effects space opera called Star Wars. 27 28 Despite the filmmaking talent which he demonstrated on his previous film, American Graffiti, Lucas had some minor difficulty in locating a studio to finance and distribute his film. §§a3_flaga was picked up by a cautious Twentieth Century Fox, however, and opened in May 1977. From the outset, it was obvious the film would make box-office history. Star Wars wasted little time in surpassing the records set by Jaga. Lucas' film netted $127 million in domestic rentals for 1977 and remained in many theatres for well over a year. It dropped into the top spot as the most successful film in history, and remained there until 1982. Star Wars also became the first movie in recent motion picture history to thoroughly capitalize on the "tie-in" markets; additional profits in the millions of dollars were made through the sale of the Star Wars name and logo for use on clothing and other children's items. Immediately after the release of Star Wars, Spielberg followed up his earlier success with Cloae Enpountaga of the Third Kind. The film was the second major release of the year that featured both outer space and a big budget. Though it told its story in a more realistic setting, Close Encounters found strong audience favor. The Columbia Pictures production generated $77 million in domestic rentals, was re- released in a "special edition" (which included some new and previously edited footage) a few years later, and now stands at number eleven on the top ten list of financial successes. Collectively, the three films established the foundation and formula for the cinematic cycle that was about to begin. A single successful film will often generate a few imitations of its kind, but a trio of similarly styled hit movies invariably signals the birth of a trend. As appears to be the case with all of the cycles identified 29 in motion picture history, the trend begins with a scattered number of hits, followed within a few years by a plethora of similarly constructed films. (See Figure 5). The initial delay that seems to occur is apparently the production time that exists between the recognition of a successful trend and the studio response it initiates. So it was with the release of three films--a11 top ten hits, released within a two-year period—-that the notion of "high-concept" began. Though no one seems to recall exactly where the label of high- concept originated, the principle was accepted, and is still referred to in Hollywood today. The Definition of High Concept Simplicity. There are several characteristics inherent to the definition of a high-concept film that distinguish it from all other genres. First, the premise of the film must be as simple as possible. At the zenith of his megahit success as both producer and director, Steven Spielberg was widely quoted as saying, "If a person can tell me the idea in 25 words or less, it's going to make a pretty good movie. I like ideas, especially movie ideas, that you can hold in your hand."1 As ingenuous as it may seem, the filmmaker's quote offers an interesting understanding of how high-concept might function: If a viewer enjoys a film which he can "hold in his hand"--describe in a sentence or two--it becomes that much easier to describe the film to friends, making the picture's potential for success that much more realistic. 30 mm cw .muOumflm ousuowm coauox CH caozo udoocoolsmflm use .m madman use» mm mm Hm ow mm mm mm mumme%ocoz 1 1 cm ape cw mEHHm mo “onssz 31 Fantasy. High-concept films tend to employ fantastic, or larger- than-life, elements in their stories. Patterned strikingly similar to the cliffhanger serials of the 19305 and 19405 (Buck Rogers, Flash Gordon,...) the contemporary plots of high-concept usually involve: (1) extraterrestrial characters in their own settings (Star Wars); (2) extraterrestrial characters visiting earth (ET: Tha Extra Terrestrial: Close Encounters of the Third Kind: Cocoon); (3) Human characters visiting extra-terrestrial settings (Flash Gordon' Star Trak: Tha_ Mption Picture); or (4) some other type of fantasy element occurring in a contemporary realistic setting (The GoonieS' Raiders of the Lost Ark; Gremlins). Special Effects. Finally, as a direct result of the cycle's propensity for fantasy, high-concept films depend heavily upon special effects in their productions. The inclusion of dazzling visual effects in these films seems to have supplanted any need for either characters of any real depth, or any degree of intellectual level to the film. Yet, since children represent the dominant demographic goal in the high—concept audience, the presence of these visuals comes as little surprise. Needless to say, the technology with which these effects are created has made remarkable advances during the last decade. 32 The Proliferation of High-Concept Perhaps the most important aspect in understanding the nature of cinematic trends is distinguishing how a cycle perpetuates. When the series of early high-concept films proved to be successful, what factors existed that allowed the trend to continue? Essentially, two components accomplished this. One element that appears to have fueled the high-concept era is demographics. What Spielberg and Lucas tapped into, apparently, was the pulse of American youth, a large and financially healthy age bracket (12-25) that was eager to watch exciting movies. Much of high-concept's success has been attributed to the demographic's habit of paying to see an appealing film over and over again. Some youngsters at the time boasted of having seen Star Wars in excess of one hundred times. Another strong perpetuator of high-concept was the new administration that began working in Hollywood studios just before the cycle began. Though Spielberg is saddled with most of the blame for "infantilizing" the film industry,2 the perpetuity of high-concept was most likely an unavoidable consequence of the influx of network television executives and advertising men into studio production slots. After a series of corporate buyouts and takeovers by a veritable Who's Who of Fortune 5005, executives who previously were. administrators to the production of soda pop and sitcoms were now overseeing studios whose existence depended upon the success of roughly a dozen films annually. These new executives, for the most part, had little understanding of the budgetary complexities in 33 filmmaking and even less of what it took to make a good film. This lack of knowledge has led to a disturbing trend in escalated motion picture budgets and, as a result, a series of alarming box-office failures. Between the years of 1979 and 1985, the average film budget increased from $4 million to $12 million, a growth of 300 percent. (See Appendix D.) Like all of the cycles in cinematic history, the high—concept era was imbued with an intrinsic notion of perpetuity. These cycles are given birth to because the industry is both cost-intensive and extremely profit-dependent. Unlike many American industries, Hollywood has trouble working with economies of scale. Each film is a product in and of itself; the product is designed, created, marketed, then distributed to the public. When a production is completed, that product is no longer manufactured on a continuing basis, like newspapers or magazines. Some production personnel are kept on, while others are laid off. Certain pieces of equipment are reused in other films, but little else promotes an economy of scale in the industry. Because of this, and because the average studio today produces only 10 to 12 movies annually, the individual success of each film produced is critical. History has demonstrated to Hollywood that not every film it makes will succeed. Therefore, it makes better sense to the moguls, especially given the recent inflation in production expenses, that making 'safer' films is a better strategy to follow. Hence, much of what is produced during these filmatic trends, and most notably during the high-concept era, is sequels, prequels, remakes, and blatant ripoffs of previously successful pictures. This habit continues, and 34 sometimes even crosses over into television programming,3 until the industry is churning out copies of its own copies. Films that attempted to capitalize on the Star Wars phenomenon--including Laserblast, Battle Beyond the Stars, and Message From Space--and Japa- -including Piranha, Piranha II, Tentacles, and Q;pa--fai1ed to satisfy audiences and performed miserably in theatres. In defense of the studio tactics, however, it seems important to emphasize that high-concept isn't necessarily the "force feeding" of a fatuous movie-going public. Like all of the trends we have witnessed in the evolution of cinema, high-concept resulted from the direct response of an audience to a particular type of film. For one reason or another, audiences either gleaned or purged an emotion from viewing Jaya, Star Wars, and Close Encounters of the Third Kind. At the time, psychologists suggested that the audience's affection for these fantasy films was an escapist reaction to a troubled economy and a turbulent political atmosphere in the country. The public needed an escape from its problems and merely sought a cathartic outlet. Given the theory, it seems difficult to fault an industry for responding to a demand that is recognized in its own marketplace. The Evolution of High Concept The evolutionary patterns that the high-concept cycle followed were, generally, reflections that were identified in earlier trends. The enormous financial successes of the first films in this cycle were necessary to initiate the trend. These films demonstrated that, more than any other influence, financial elements in motion picture 35 production acted as catalysts in the industry, and erected the foundation for the high-concept films that followed. 1978 Following the initial successes of Jaws, Star Wars, and Close Encounters of the Third Kind, 1978 delivered the first set of films that followed the established high-concept formula. Jaws 2 reproduced the look and emotional impact of its original, and grossed $49,299,000 in domestic rental receipts. The film ranked as the fourth top money- maker for the year. Heaven Can.Wait a remake of the classic fantasy, Here Comes Mr. Jordan, took in a total rental of $42,517,000 and ranked as the fifth top moneymaker for 1978. Pete's Dragon, a Disney production that mixed animation with live-action footage, made $16,100,000 for the year and finished out its theatrical run in sixteenth place. A reissue of Star Wars and the continuing run from 1977 of Close Encounters of the Third Kind complete the list of high-concept films among the year's top twenty grossers. Nineteen seventy-eight represented an important year in understanding how the evolution of high-concept might develop. Rather than risk a multi-million dollar budget on an original, yet unproven, script, studios appeared to be more interested in opting for safe alternatives. Besides the inventive production of Pete's Dragon from the Disney Studios, 1978 offered movie audiences a sequel, a remake, and a reissue of an already successful film. A strong agenda was being set for Hollywood's near future,and as long as audiences would pay to see the rehashed entertainment, the industry would oblige us by producing it. 36 1979 Nineteen seventy-nine offered a bit more promise. The year's biggest hit was the expensive US/UK production of Sppappap. Though the film borrowed characters that had already been popularized in comic books and on television, it brought its story to the screen in a realistic and original manner. The film grossed $81 million in domestic rentals, and almost as much overseas. Sgperman was the year's biggest moneymaker in the United States. Aligp, the story of a metamorphosing alien lifeform set loose on a spaceship, came within $3 million of 1979's third place hit, Rocky II. Aliap garnered rentals of $40,086,573, and spawned a myriad of cheap imitations, many of which made minor profits. Spar Trek: Tha Motion Picture, despite a long-winded storyline and disappointing direction, earned $35 million and a tie for fifth place that year. While it was an expensive production, the film still made money, and the movie's fourth sequel, Star Trek V, is currently in pre-production. Traits of the high-concept formula even spilled over into other genres that year. The James Bond production originally slated for 1979 was For YOur Evea Onlv, but because of the influence of high- concept, the series' producers made a last minute change. Instead, Bond tackled the outer space fortress of Hugo Drax in Moonraker, and cashed in a sizeable $33,934,074, more than any other in the series' history. 37 1980 An important year in the history of the cycle, 1980 seemed to suggest the potential-~even inevitable—~scope of the high-concept formula. Five of the year's top 20 moneymakers fell into the definition of high-concept; one of these was an alarming failure. The year’s biggest moneymaker-~50 percent bigger than 1978's or 1979's--was George Lucas' much anticipated The Egpire Strikes Back. The movie was the first sequel to Star Wars, and garnered $120 million in domestic rentals, twice that of the year's second place hit, Kramer vs. Kramer. If nothing else, the film fueled the sequel philosophy that would continue to prevail in the industry. Fourth place on the year's list was Aigplane, a high-concept comedy that produced revenues of $38 million. The Shining came in at tenth place with $28,456,000, followed closely at twelfth place by Tha_ Black Hole, a Disney science fantasy that made $25 million. The most unsettling news in Hollywood that year was the major financial failure of the Steven Spielberg-directed comedy, lflgl. Though not considered science fiction or fantasy, the film is technically still high—concept due to its larger-than-life storyline and immense special effects budget. The film earned $23,400,000 in domestic rentals, but because its budget--an estimated $35 million-- 12$; lost a staggering amount of capital for Universal. If nothing else, 1251 proved two important things to filmmakers: first, that there would be a budgetary ceiling which would have to be respected by the industry, and second, that audiences wouldn't pay to see just anything. 38 1281 Eight high-concept films penetrated the year’s top twenty moneymakers, and only those with the most flagrant budgets failed to make money. Nineteen eighty-one's biggest hit was an industry coup de grace, Raider’s of the Lost Ark. The film marked the first professional union of Steven Spielberg (as director) and George Lucas (as producer) and earned a healthy $90,434,000 in U.S. rentals. Unlike so many of its high-concept predecessors, Raiders owed its success to an original storyline and a slick directorial style and pace. The film was rereleased in 1981, when it garnered another $21,566,000. Other high—concept productions during 1981 included: Superman II ($64 million; 2), Excalibur ($17 million; 14); Flash Gordon ($16.1 million); Time Bandits ($16 million; 16); Iha Great Muppetygapa; ($16 million; 16); Tarzan, the Ape Man ($15,642,396; 18); and Clash of the Titans ($15,632,341; 19). 1982 May 1982 presented audiences with another Spielberg production that would eventually become Hollywood's biggest grossing film of all time. ET: The Extraterestrial was one of seven high-concept movies that would break into the top twenty that year, though excessive budgets would force a few to claim minor losses. Spar Trak II: Tha_ Wrath of Khan boasted revenues of $40 million at seventh place, and was followed closely by another Spielberg production, Poltergeist, which garnered receipts of $36,175,949 at eighth place. Two other new releases, Firefox and Conan the Barbarian, totaled revenues of $24 39 million and $23 million, respectively, while Time Bandits continued its run from 1981 with additional revenues of $17,950,000. Perhaps the most important mention regarding 1982 is the flurry of smaller budgeted high-concept productions that were in evidence. The top fifty grossing films from that year boasted no less than nineteen, high-concept formulas, representing 38 percent of the list. Though high-concept had not yet reached its zenith, producers were becoming both more comfortable with the formula, and willing to wager the budget dollars to prove it. Productions like Tron ($15.2 million), Blade Runner ($14.5 million), Sword and the Sorcerer ($11 million), The Road.Warrior ($10.5 million), The Dark Crystal ($10 million), and lapped ($6.6 million) demonstrated, with varying degrees of success, the range in story and budget that high-concept could embrace. Igpp and Blade Runner displayed intelligent stories within stylishly beautiful productions, yet failed to attract sizeable audiences. Sword and the Sorcerer, The Dark Cryapa1, and The Road.Warrior were simplier, more adventurous stories that succeeded in theatres, while the sophomoric Zapped attained marginal profits. 1281 Curiously, 1983 represented a minor slump in the burgeoning high- concept phenonemon. Fewer films fitting the definition were produced that year (only 11 of the top 50 grossers), and even fewer made profits. The only big hit of the year was the third Star Wars installment, gagurn of the Jagi, which grossed $165.5 million in domestic rentals. Wargames ($36,595,975) took fourth place for 1983, followed at fifth place by Superman III ($36.4 million), fourteenth place by Jaws 3-D ($26,439,000), and nineteenth place by The Dark 4O ngstal ($23,375,000) which continued its 1982 theatrical run. Excessive budgets, created by both inflation and foolhardy administrative decisions, reached all-time highs, and precluded the possibility of break-even for most of these productions. 1984 Nineteen eighty-four represented the pinnacle of the high-concept era. The industry released sixteen high-concept movies that placed in the top fifty grossers of the year. Additionally, bigger average revenues and more realistic budgets made profitability a more realistic possibility for filmmakers. Five of the top ten films of 1984 were in the high—concept image. Ghostbusters ranked at number one for the year with domestic rentals totaling $127 million. Second place was the Raiders of the Lost Ark sequel, entitled Indiana Jones and the Tegple of Doom, which garnered rentals of $109 million. Third place was another Spielberg production, Gremlins, which totaled $78.5 million in rentals. S;ar_ Trek III: The Search for Spock ($39 million; 7), Romancing the Stone ($36 million; 9), Splash ($36 million; 12), Greystoke: The Legend of Iagaan. Lord of tha Apea ($23 million; 16), and 2919 ($19,630,000; 18) finished out the top twenty. The most telling aspect of these films was the fact that most were sequels to previously proven hit movies. At the peak of the high- concept era's success, filmmakers cashed in more dollars by copying their earlier hits, as well as those of others. Of the sixteen high- concept films in the 1984 top fifty list, seven were original stories, five were sequels, one was a remake, and at least three owe their style and storylines to other successful films. Nineteen eighty-four 41 was the year of both the remake and the palely disguised rip-off. This fact, perhaps more than any other, explains why this was the pinnacle year for high-concept success. 1985 The total number of high-concept films produced by Hollywood declined in 1985. In the year's top fifty list, twelve movies bearing the signature of high-concept were released, most notably Back to the FUture ($94 million; 1), Cocoon ($40 million; 5), The Goonies ($29.9 million; 6), and The Jewel of the Nile ($20 million; 14). The others bottomed out the list with significantly smaller earnings and, more importantly, bigger budgets. The common tendencies among these films were important: 1) production budgets continued to escalate; 2) profits by successful films were decreasing on the average; and 3) losses by the unsuccessful films were growing by 1985, the average budget for a motion picture had grown to $12,000,000 (See Appendix D). The total revenues and the number of high-concept films produced in 1986 continued to drop. Only five of the top twenty theatrical rentals of the year were high-concept, and only eight more populated the top fifty list. The revenues of the top rental, Crocodile Dundee (3), only reached $51 million in 1987), while Star Trek IV: The Voyage Home ($45 million; 4), a11ap§ ($42.5 million; 5), The Golden §h11g ($41 million; 8), and Poltergeist II ($20,327,000; 20) performed reasonably slower business. The important issue was not the relative success of these films-—they all did make money--but that their overall rentals were markedly smaller. The suggestion here was that 42 either high-concept had reached its saturation point (resulting, perhaps, in a stable number of movie-goers viewing a growing number of films), or that the overall audience size was decreasing. In either instance, the result was the same: high-concept revenues were plummeting. Furthermore, more of the high-concept formulas released that year were tremendous box-office disappointments, including one devastating fiasco, Howard the Duck, a George Lucas production which reportedly cost in excess of $30 million and only earned back $10 million. 1987 Nineteen eighty-seven proved to be even worse for high-concept. Only three films fitting the formula made it into the top twenty that year, The Witchaa of Eaatwick ($31.8 million; 6), Predator ($31 million; 7), and Robocop ($23,571,784; 14), while the eleven others filling out the top fifty were almost all unanimous failures. The most notable box-office disappointments during 1987 were probably the biggest surprises, as well. Three of these, Innerspace, Batteriea Not Included, and flarrvaand the Henderappa, were either produced or presented by Steven Spielberg. Many of those associated with the productions attributed the lack of performance to Spielberg's television anthology Amazing Stories. According to Innerspace screenwriter, Jeffrey Boam, "Amazing Stories, which was not that amazing, took some of the luster off Spielberg's name as a presenter."4 The television series' inability to maintain sufficient ratings probably undermined the novelty of high-concept in two different ways: 43 first, by making the formula available to interested viewers on a weekly basis; and second, by disappointing audiences with weak stories and scripts. The anthology's cancellation was yet another indication that the industry might be spurning the high-concept idea. Emergence of Low—Concept The mounting failures of the dominant cycle signalled another period of transition in Hollywood. With fewer and fewer big-budgeted high-concept films succeeding at the box-office, wary studios and independent filmmakers began to rediscover an interest in smaller movies that featured lower budgets and indepth plots. Once again, a growing number of motion pictures were emphasizing stories that employed complicated characters and issue-oriented themes. The style of production resulted as a response to the budgetary imprudence of high-concept, so, logically, it was dubbed "low-concept" by Hollywood insiders. Films like The Goda Must Ba Craay ($11.4 million; 25), El Norte, Ki§§70f tha Spiderwoaap, and Stop Making Sense (all placing out of the top 50) were making profits while many high-concept fantasies were not. The secret behind the change in philosophy is a simple one: demographics are changing, audiences are growing up, so the tastes in popular film are maturing. If a film with virtually no expensive special effects can be produced with a reasonable budget--a few million dollars, perhaps--then profit potential becomes realistic. Inexpensive, well-produced films featuring strong story and characters could attract medium-sized audiences and prosper at the box-office. 44 The popularity of these types of film suggested what the next cycle might be, and continued to prosper during the next few years. The demarcations of low-concept, because of their authenticity, seem easier to grasp. "A low-concept movie...is one whose premise can't be expressed in a single sentence. It presents a realistic world and stresses character, dialogue, and texture. Dirgy Dancing is the low-concept version of Flashdance. The response to Dirgy Dancing is "That was so real, I thought I was there," while the response to Flashdance is, "Wow, what a movie!"5 By blending realistic story elements with realistic financial backing, filmmakers have brought popular motion pictures back down to eye level. The success of 1987s low—concept productions suggests that the transition could work. Nineteen eighty-seven offered maturing movie-goers an unprecedented quantity and quality of low-concept films, including: Raising Arizona, a quirky black comedy; Tin Men, another black comedy from director Barry Levinson, who gave us the low-concept Qipag; HEES. a Barbra Streisand vehicle; Cay Freedom, which featured two plots interwoven into one movie; Hope and Glory, two separate stories with an indistinguishable plot; Ironweed, with its indiscernible plot; Wallstreet, a reality-based moral film; Broadcast News, another reality-based motion picture that plays a twist on the traditional "boy-gets-girl" story; Hoosiers, a very small story with only one box- office star; and Good Morning. Vietman, a film that told its story with a curious blend of comedy and tragedy. 45 The Next Cycle When we are able to sense that the end of a film cycle has been triggered, the indication is that the subsequent has already begun. There is always a gray area that exists between endings and beginnings of cycles in this theory, short overlapping periods of time when films representing both trends are being produced. It is because of this phenomenon that precise delineations of cycles are often difficult to ascertain. The next popular trend in motion picture filmmaking was actually inspired in 1983, with the successful release of a Richard Attenborough film, Gandhi. The production offered an intelligent alternative for audiences not interested in the high-concept fantasy, and proved this by garnering domestic rentals of $24,364,472 and capturing the Academy Award for best picture. The film borrowed an established formula from the 19305, the biographical film, and updated it. The genre once provided an option to the 19305 musicals with productions of Disraeli (1929), Old English (1930), Cardinal Richelieu (1935), Rasputin and the Empress (1932), Viva Villa (1934), The Story of Louis Pasteur (1935), The Life of Emile Zola (1937), and Juarez (1939), and appears as if it might succeed again. Following the success of Gandhi was a year without a single biographical film. Then, in 1984, Amadeus was released and it, too, received the academy award. Amadeus continued its run into 1985, where it was joined by the much heralded Sydney Pollack production of Out of Africa. This motion picture earned domestic rentals of $42 million (a conservative estimate) and also received the Best Picture —q_77 .1 .- ,1: 46 Award. More than any other, it was this film that signalled the parameters of the next trend. Presently, the imminent cycle of low-concept biographical dramas seems perched for success. According to Carter in Premiere Magazine, "Hollywood is so enamored of the so-called biopic that it currently has at least 30 in various stages of production. Five singers, two composers, a violinist, a sculptor, a painter, a doctor, a racecar driver, a train robber, an aviator, an anthropologist, a journalist, a resistance fighter, a photographer, an heiress, an inventor, a mass murderer, and a saint or two are among those likely to be immortalized on celluloid in the next year."6 Specifically: --Bette Midler will portray German singer Lotte Leny, who fled Berlin with her husband to avoid Nazi persecution. --Barbra Streisand will play Margaret Bourke-White, a photojournalist of World War 11 whose work apepared in the pages of III—few --Phil Collins makes his feature film debut in Buster, the story of British train robber/folk hero Buster Edwards. --Marsha Mason will star as Linda Ellerbee in a production of the TV journalist’s best seller, And So It Goes. --Isabelle Adjani will portray Camille Claudel in a film depicting the woman's ill-fated love affair with Auguste Rodin. --Donald Sutherland (who recently played another painter, Paul Gauguin) will star as the revolutionary physician Dr. Norman Bethune. --Mickey Rourke, in a film entitled Francesco, will portray St. Francis of Assisi. \ ,a. 47 --Jane Alexander portrays renowned painter Georgia O'Keefe in a production focusing on the years of her marriage to photographer Alfred Stieglitz. Maximillian Schell costars and directs. -—Sigourney Wearer will star as Dian Fossey in Gorillas in the Mist, depicting the fifteen years the scientist spent among the gorillas of Rwanda, Africa. --Natasha Richardson will portray kidnapped heiress Patty Hearst. --Jeff Bridges stars in the August 1988 release of Tucker directed by Francis Coppola and produced by George Lucas. The film depicts the entrepeneurial efforts of would-be auto mogul Preston Tucker. --Klaus Maria Brandauer will play German composer Ludwig van Beethoven. --C. Thomas Howell will portray Italian conducter Arturo Toscanini. --Klaus Kinski directs and stars in a film depicting the reckless violin virtuoso and composer, Nicolo Paganini. --Placido Domingo is being sought to portray operatic composer, Giacomo Puccini. Other propsoed projects which currently lack starring talent include a film portraying the exploits of Charles Manson, aviator/author Beryl Markham, and Claus von Bulow. 48 CHAPTER IV--ENDNOTES lPeter Piskind, "Low Concept," Premiere, February 1988, p. 74. 2See articles by Biskind, Kael, and Corliss, for example. 3For example, ABC's Battlestar Galactia, which was embroiled in copywright infringement litigation with LucasFilm; Mork and Mindy, with Robin Williams; NBC's current hit series, ALF. 4 . . Biskind, p. 76. 5Ibid. 6Zoe F. Carter, "Biopic Bonanza: One Life to Live," Premiere, June 1988, p. 15. —i—_~'Tctvi ' 49 CHAPTER V THE LOW-CONCEPT SCREENPLAY The original screenplay which follows in this chapter is the author's example of the type of low-concept film that will dominate the upcoming cycle. Though not the blueprint for a true biograpical film, the script attempts to demonstrate the complexities of character and plot inherent in the traditional low—concept production. These characteristics, as well as the screenplay’s efforts to suggest the proper texture and style for the film, will be discussed in the author’s analysis and conclusion in Chapter 6. THE CRYSTAL RIVER By Douglas Clark Osman 50 FADE UP: BLACK SCREEN Faintly. the VOICES OF A CHOIR. distant and sad: then. the sound of WATER RUNNING AGAINST ROCKS. Peaceful. soothing. The sounds blend together seemlessly, a harmony. And slowly. the SCREEN BRIGHTENS INTO RIVER — SUNRISE Flowing through an emerald Jungle. Gentle and shimmering. A faint mist has settled across the water. where it bends and twists with the current. There is a feeling of deep reverie in this place. solitude. tranquility. We‘d stay here forever if we could. SOUNDS of the river and MUSIC PERSIST. ANOTHER ANGLE Enormous cypress and banyan trees tower above us like giants bending over to touch the water. _ong streamers of spanlsh moss drape like tresses 1n the air. KATHRYN (V.O.) It’s taken all this time. but I think I know now. (beat) We were people who believed in God. and that Is what made us common. That was our magnet during that brief Winter. That was what brought us all together. INT. CHURCH — DAY An old woman sits by herself in the enormous. darkened sanctuary of a church. There are OTHERS here, scattered, alone, praying In silence. The old woman looks up from her prayer. THE RIVER A clear. shallow tributary trickles through the undergrowth and topples into the river. A large animal SPLASHES agalnst the water not far away. 51 KATHRYN (V.O.> But it’s been so long. I’m not sure anymore. Perhaps it was God that made us so different. A satiny white egret soars above us like an emperor surveying his kingdom. ~The bird descends upon the river and clutches a small fish. then propels Itself back into the sky. KATHRYN (V.O.J I suppose the river is still there. though. After all this time. still flowing. Searching for the sea. For someplace to go. A small alligator that has been basking on the shore quietly slips into the river and disappears beneath it. KATHRYN (V.O.> When I listen for it. sometimes at night, I can still hear the water. So I know it must still be there. INT. CHURCH - ALTAR - DAY The old woman approaches the altar. kneels. genuflects. She looks up to the face of Christ and studies it. KATHRYN Before he left the river. Abner said there were two truths each of us must face before we could die: that everything changes. and nothing lasts forever. I said he was a pessimist. But he only laughed and said there was nothing optimistic about death. (long beat) He was right. of course. I see that now. (beat) But then. I suppose I’ve always 11' I: own . 52 INT. ROOM — NEW YORK CITY - DUSK CLOSE on a vitrola that is playing Shostakov1ch. This is a sparsely furnished room: a small bed. a single reading chair. a small desk where the old woman sits. writing. She is in silhouette against the window. the fading sunlight. KATHRYN And the mermaids. who are born without their souls. they still come back to that river in the winter. Like we did. EXT. RIVER - DUSK Another animal SPLASHES against the surface of the water. closer this time. and soon we see DARK SHAPES GLIDING AND ROLLING underwater. KATHRYN (V.O.> Because someone told them this was where God lived. And they believed. Like we did. INT. ROOM The old woman looks up. out her window. as if she’s heard someone calling her. EXT. NEW YORK BROWNSTONE - DAY (1927) A grey watercolor morning on a busy street in upper Manhattan. It’s Autumn and a gusty wind is brushing the last of the October leaves from the trees. PEOPLE rush along the street. wrapped in heavy overcoats and carrying umbrellas. INT. BROWNSTONE Spacious, warmly decorated. the kind of place where anyone would feel at home. The furniture is carved oak and walnut. the cushioned chairs are deep and inviting. Every wall. it seems. is covered with family photographs. 53 UPSTAIRS KATHRYN. a pretty woman in her early 303. is sitting alone in a hallway chair: her hands are busy in movement. accomplishing nothing. She is staring blankly out a wimdow. POV - KATHRYN on the Autumn morning outside--the billowing leaves. the umbrellaed people. A small CHILD is standing alone on the sidewalk when her MOTHER approaches. scoops her up in a big hug. kisses her. ON KATHRYN who watches all of this with hypnotized fascination. ANGLE ON DOORWAY at the and 0f the hallway. A DOCTOR emerges from a room and motions to Kate. DOCTOR (somber) She 8 very tired. (beat) There 8 nothing more we can do. Kate nods her head. sadly DOCTOR Do you understand? Again. she nods. KATE What does she know? DOCTOR What she needs to. 54 BEDROOM The door opens and Kate enters. She moves to the bed where her sister. MARIE. a small. frail- looking woman. is sleeping. Kathryn s1ts beSide her. strokes her hair. The woman 100ks up. forces a weak smile. KATE Hello. Marie... Marie holds Kate 8 hand. touches her cheek. Every movement she makes is weak and strained. MARIE When Mama died I promised her I wouldn’t let you forget her. Do you remember? Kate shakes her head. KATE I try to. Sometimes I think I dream about her. MARIE She 5 been gone a long time now. hasn“t she? Kate nods. She shifts her gaze to the photographs on the walls. KATE (sadly) I don’t remember what she looks like anymore. Marie considers this. admiring her Sister with a very sad. very faraway smile. KATE All these photographs and not one of her. MARIE You were Just a baby. 55 A moment. then: MARIE (a whisper) Katie... KATE Yes? MARIE When did the baby die? KATE (a whisper) During the night. -MARIE I thought i wake last night. But it was a dream. I heard the baby crying. And Mother was sitting here. reekine her back te sleep. She said it was a boy. Marie looks up. Her face is old and tired. but a child is looking out from behind her eyes. MARIE It was. wasn’t it? All Kate can do is nod. MARIE (after a moment) Why does He take the little ones? A long pause. Then: MARIE Mama said the mermaids would be coming back to the river soon. and that she would take the baby to see them. Marie looks at Kate. 56 MARIE Do you remember? CLOSE on Kate A puzzled expression. clouded memories. Then a small nod. KATE Yes. I don’t remember being a little girl. But I remember the mermaids. She looks to Marie for a confirmation. KATE There were mermaids in a river... Marie nods. MARIE I remember. But it“s been so long. It almost seems silly. Another pause. Kate wrestles with her thoughts. MARIE (a whisper) Read me something. Katie. Kate takes down a book from a shelf and opens it. (NOTE: The poem she reads is William Carlos Williams’ "Willow Poem"). KATE It is a willow when summer is over. a willow by the river from which no leaf has fallen nor bitten by the sun turned orange or crimson. The leaves cling and grow paler. swing and grow paler over the swirling waters of the river (MORE) 57 KATHRYN (V.O.) (continued) as if loath to let go. they are so cool. so drunk with the swirl of the wind and of the river—- oblivious to winter. the last to let go and fall into the water and on the ground. And as Kate reads from the book. we slowly PAN across the room. out the window. to where more leaves are carried aloft by the Autumn wind. DISSOLVE TO: EXT. CEMETERY - FUNERAL — DAY More .eavcu falling to the ground in cold. restless clouds. A SMALL GROUP OF PEOPLE are gathering at a gravesite. Kate is among them. alone. off to one side of the grave. A group of PALLBEARERS move to the graveSite. When the they arrive. a MINISTER moves to the head of the casket and blesses it with a Silent prayer. EXT. GRAVE - FUNERAL - DAY The coffin in the ground. Kathryn is nearest to the grave. the others a short distance away. MINISTER --to Join in that room within the house of the Lord. to be at His side. to be with Him always. Kathryn looks up to see a young man arrive to the funeral. This is DAVID. 30. a handsome. boyish-looking man who knows that he”s late. He stares at Kathryn apologetically. ANGLE ON KATHRYN But she looks unconcerned. distant. She turns suddenly to look up into the trees and the falling leaves. For the first time since the funeral began. she cries. 58 EXT. FUNERAL - KATE AND DAVID - LATER Kate moves slowly to her auto. David is behind her. She stops to look back at the gravesite. then looks to David. .Her gaze holds his. KATE She said there were mermaids. David. In a river. DAVID She was sick. Katie. The doctor had her on medication. Kate has no answer. DAVID She didn’t know what she was saying. A moment. then: KATE Then why do I remember? She stares at David for a moment. then moves off. EXT. BUSINESS DISTRICT — KATE — DAY Early morning in the bustling heart of a City. She arrives at the law offices of : Cramer & Rogerth. Attorneys at Law. INT. LAW OFFICE - SAME Kate pores over financial records with her lawyer. a balding. not unfriendly-looking man named ROGERTH. ROGERTH I’m sorry for you that Marie felt compelled to handle all of this by herself. This must be intimidating for you. 59 KATE (smiling) Which explains why Marie saw to it. ROGERTH Most of your financial matters hav already being seen to...the stocks. bonds, that sort of thing. I’m afraid there isn’t much left. KATE I was afraid of that. Marie never discussed these things with me. ROGERTH All told. there’s enough to support you for a year or so. Beyond that... He shrugs. not knowing what to say. KATE Beyond that I’m desperate. Rogerth picks another paper from the small staCk and hands it to Kate. ROGERTH Then there’s this. KATE What is it? ROGERTH It’s a land title and the deed to a house. It’s been in your family for some time. Kate eyes the paper curiously. ROGERTH (continued) There’ve been a number of purchase offers over the years. But Marie - (MORE) 6O ROGERTH (continued) Just never seemed interested. (beat) I could look into it if you want. KATE Where is it? ROGERTH The house? It’s in Florida. I think. He takes the deed back from Kate. inspects it. ROGERTH (continued) A small town along the Gulf. Crystal River. Kate collects the papers. gathers her things. stands. ROGERTH (continued) Would you like me to check into the sale. Kate? KATE No. Albert. I think we 11 hold onto the property a little longer. MONTAGE - MUSIC UNDER A. KATE’S HOME. Alone. quiet. She moves through the place like the spectator in a museum. CITY SIDEWALK. Walking by herself. a few small packages in hand. Leaves continue dropping from the skeletal trees overhead. KATE’S BEDROOM - NIGHT. In her bed. alone. Staring ahead. her eyes riveted on nothing in particular. EXT. TRAIN PLATFORM - KATE - DAY She moves through a busy CROWD until she comes to a train waiting at the tracks. David. behind her. offers her luggage to the porter. who takes it 61 away. David turns to face her. He looks cold. distant. DAVID Am I supposed to pretend to understand this? KATE - (not unkindly) I didn’t expect you to. DAVID You think you can change things by doing this. Finding the answers to questions that were asked almost thirty years ago. KATE De I have a eheiee? David doesn’t answer her. DAVID I’ll wait for you here until aerina. Then I’ll be gone. He turns. and Kate watches as he leaves the platform. EXT. MOUNTAINOUS REGION - THE TRAIN Small against the landscape. The train lumbers through the mountain passes with a trail of steam behind it. EXT. RIVER BRIDGE - THE TRAIN - DAY The train crosses over the span of a wide. rapid river. Two small BOYS fishing near the bridge wave at the passengers in the windows. EXT. WIDE PLAIN - SUNSET Different terrain. Scattered grassy hills and trees. An occasional palm. The train passes low in the frame against the orange setting sun. 62 EXT. FOREST - NIGHT The train moves purposefully between towering trees on either side. THE SOUND OF THUNDER. EXT. TRAIN STATION - LATE AFTERNOON As it rolls into the outskirts of a small town. The palm trees and majestic oaks which should be standing tall beside the tracks. are caught in the throes of an oncoming storm. The sky is littered with rolling, watercolor clouds. A light curtain of rain is falling. INT. TRAIN CLOSE ON Kate. who is concentrating on the town and the gathering storm overhead. The expreSSion on her face is a curious blend of eager anticipation and concern. She’s not entirely sure she wants to be here. EXT. TRAIN As the lumbering locomotive GRINDS to a slow halt. belching greasy clouds of steam. Kate. along with a few dozen other PASSENGERS. disembarks. She searches the platform for a face. doesn’t seem to find it. then heads for a nearby ticket counter. TICKET WINDOW The TELLER behind the window. a small spectacled man in his 405. is eagerly closing the place down. He barely glances up at Kate in his rush. KATE (polite but anxious) Excuse me. The teller ignores Kate. seals up his window then moves on to the next. Kate patiently. but obviously peeved. follows. 63 KATE (a bit more direct) Excuse me! TELLER Sorry ma’am. Closed for the day. Hurricane’s coming. Next train in in the morning. The teller locks up the window and moves away. KATE A hurricane? Kate grabs her things and steps from the platform onto the muddy street. The wind clutches at her umbrella. inverts it. whisks it away into the stormy night. Within a heartbeat Kate is completely drenched. The handle of a suitcase breaks and the bag drops to the mud. The case breaks open. Clothes are strewn about the mud. Kate retrieves them in desperation. Suddenly, a voice from behind her: RICHARD Not what I’d call a particularly pleasant evening for a stroll. Kate spins around. surprised. ANGLE ON RICHARD It’s difficult to make out much of this man through the storm. but the face beneath the brim of his rainsoaked hat is strong and rugged. He looks like a tough man. but something in his eyes seems warm and sensitive. His name is RICHARD HANSON. Behind him. with a spare horse in tow. is a tall black man named BOOKER. KATE What? 64 RICHARD If you’d really like to make it a memorable night, wait around a few hours. Things should be really interesting by then. KATE Are you often in the habit of making fun of other people 3 misfortunes? RICHARD Is that what I’m doing? KATE (irritated) Yes. RICHARD Then I apologize. Richard steps from his horse and helps Kate with her things. KATE The least you could do is offer me a ride to the river. It would be the decent thing to do. RICHARD And the insane thing. Making it out there isn’t the trick. Spending the night is. Richard smiles. stares up into the night storm. He stares at RICHARD My grandmother used to say that if you found a woman out in a hurricane. she was either mentally suffering-— Kate. RICHARD —-or she’d make one hell of a wife. He smiles. Richard nods 65 RICHARD Which one you are? KATE (long beat) Are all the men in this town unbearable? RICHARD I hope not. KATE I need a ride to the river. Mr. --? RICHARD Hanson. But you ll call me Richard. KATE I need a ride to the river. Mr. Hanson. Do you know where I might find one? RICHARD (smiles) You are determined. KATE (nods) RICHARD I’m expected somewhere else. But I could ask Booker to take you. at the black man on the horse. RICHARD He’s a good man. He’ll get you wherever you need to go. Richard climbs back onto his horse. 66 EXT. ROAD -- NIGHT Kate and Booker plod along through the gathering storm. The road they follow is really nothing more than a narrow trail of mud. bordered by a thick wall of palm and swamp maple. When the wagon’s wheels become buried in mud. Booker hoists himself from the board. down into the knee-high muck. He grabs the mule/s halter and leads the animal on. KATE My name is Kathryn LiVingston. Booker. still trudging through the mud. turns to face his passenger. He tips his rain-soaked hat. BOOKER Pleased to meetcha . KATE What is your name? BOOKER Peoples Jes calls me Booker. KATE (almost to herself) It’s a pleasure to meet you. Booker. BOOKER Same here. Ma am. DISSOLVE TO: EXT. FARMHOUSE - KATE AND BOOKER - NIGHT The carriage arrives at a small wooden farmhouse in the forest. Although it’s dark and raining. we can see there isn’t much to the place. The roof looks thin and swayed. and the porch pillars are bowed and split. The yard. what little there is. is thick with weeds and garbage. In all. not a favorable first impression. 67 ANGLE ON KATE as she stares up at the battered farmhouse. She remembers this place. BOOKER What’sa matter? This ain’t the right place? CLOSE ON KATE Still lost in her memories. KATE Yes. this is it. Booker takes down Kate’s bags. carries them to the porch. But Kate lags behind: she approaches the house slowly. unaffected by the rain and the wind. She steps onto the porch. touches the railing. KATE How long has it been empty? BOOKER Long back as I can remember. People say a couple white folks lived here. You know 'em? A moment. then: KATE No. BOOKER Peoples don’t come out this way much. Least no white peoples. anyway. Kate reaches into her purse. KATE I have things stored at the train station. Do you think you can deliver them when the storm passes? 68 BOOKER Yes’m. KATE Thank you. Booker. BOOKER Welcome. Pensive for a moment. she conSiders this next thought before she asks. KATE Booker. do you work for Mr. Hanson? BOOKER When he needs me. I do. KATE I’ll need help here. I don’t know how long I’ll be staying... (beat) Maybe I’ll need some help. BOOKER Be happy to oblige you. Ma'am. Back on his horse. the big black man tips his hat. shakes the horse“s reins. As Kate watches him leave. he disappears somewhere down the dark road. INT. HOUSE - SAME Kate enters the front door. groping for a light switch. She finds one and turns it...but nothing happens. Before she has time to search any further. there is a loud EXPLOSION from somewhere across the room. and a fist-sized hole is punched through the door. Kate stifles a scream. Across the room. the terrified face of a young (mid 208) black girl moves into the moonlight. Her name is DESSIE and she’s carrying a shotgun. 69 Who is ye? Kate. terrified. says nothning. DESSIE (loud) I asked. who is ye? Kate is practically speechless. but she musters up enough courage to speak. KATE I...own this house. DESSIE That’s a lie! No one lived in this house far as I “member. I been the first one here since I’s a baby. KATE I was born here. I own the house now. DESSIE If that so. how comes I never seen ya here ’fore? You a haunt? KATE What? DESSIE A haunt! Are you a haunt? KATE Not at the moment. She smiles. amused. KATE And if you’ll put the gun down. you won’t have to worry about me becoming one. Cautiously, Dessie lowers the gun. She eyes Kate suspiciously. 7O DESSIE Why you come back here if it been all this time? Kate relaxes. She sets her things down. KATE To see the farm. And to see if there’s any hope of selling it. DESSIE Been long time Since anyone lived here. Place come to be a mess. Suddenly, a thought: DESSIE (the saleswoman) You gonna need help! I ain't got nothin’ else. You keep me on and I could help you sell it. KATE (unsure) I don’t have much money. I don’t know what I could pay you. DESSIE (seizing her chance) Alls I needs is a place to be. No Jobs for black folks. anyway. The money don’t matter. A moment. then Kate nods. There is an immediate trust she senses in the black woman. something she can rely on. Determination. KATE Okay. The black woman smiles. then laughs. Kate laughs with her. DISSOLVE TO: 71 DREAM SEQUENCE — THE RIVER - NIGHT ...the gentle tumbling of a river: its veice is placid. tranquil, almost hypnotic. In her dream. Kate is swimming alone. her head Just above the water. It’s night-time. but a powder yellow moon Shines through the treetops overhead. casting the water with faint Spears of rippling light. A thin mist turns and glides with the current. (NOTE: The poem Kathryn recites in V.O. throughout the film is T. S. Eliot’s "The Love Song of J. Alfred Prufrock"). KATE (VO) I grow old...I grow old... I Shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers. and walk upon the beach. Dark. indistinguishable bodies glide in the water beside Kate - enormous bodies. yet gentle and graceful. sliding away with a turn of a flipper. KATE (V0) I have heard the mermaids Singing. each to each. I do not think they will Sing to me. The shapes mingle playfully. barrelroll against each other... KATE (V0) I have seen them riding seaward on the waves. ...and nuzzle close to Kate. until... KATE (V0) Combing the white hair of the waves blown back. When the wind blows the water white and black. 72 ...the last of what we think are mermaids swims past and disappears into the depths. DISSOLVE TO: INT - KATE’S HOUSE - KATE - DAWN The next morning as Kate opens her eyes. Sunlight is streaming in through an open Window. For the first time. we have a chance to see what the place really looks like. VARIOUS ANGLES as Kate looks around the room. discouraged,unimpressed. The walls are covered with ragged. peeling strips of wallpaper and large sections of the floorboards are missing. Most of the windows are gone: what little glass there is. is cracked and Shattered. A few Sparse pieces of Simple furniture are strewn about the room. Kate looks beside her. sees a battered patchwork doll left by Dessie. and looks around for the girl. KITCHEN Towards the back of the house. Kate enters and looks around. The kitchen is in even more disarray that the front room. if this is at all possible. Garbage and debris are strewn everywhere: the rusted stove has been pulled away from the wall. as if someone has tried to move it. The walls are covered with dust. dirt. and cobwebs. Kate moves to the window and looks out. POV The area behind the house is a sprawling, neglected orange grove. 73 EXT. ORANGE GROVE - KATE - LATER Kate is walking between towering rows of maJestic orange trees, their limbs bursting with buds. Although most of the trees appear healthy. there is a neglect to them -- here and there we see a dead tree or brown limbs fallen to the ground: kneehioh weeds and grass grow everywhere. making it difficult to move through the grove. THE HOUSE as Kate approaches from the grove. DESSIE Best watch out for rattlesnakes in there. They likes the orange grove f’some reason. KATE I looked for you when I woke up. DESSIE I’S down t’river. KATE How long have you been staying in the house? DESSIE ’Bout six months. now. Ever since Ezel died. Kate sits down beside Dessie on the porch. KATE How did you get by? There’s nothing here. DESSIE Don’t need much. I got the river for water and fish. Got me a roof. KATE Where’s your family? 74 Dessie considers this for a moment. sadly. DESSIE No family. My Pa died of ’fluenza a ways back. Brothers run up North to work in the factories. (beat) Then Ezel left. Dessie smiles. but finds it difficult to keep the tears from her eyes. DESSIE But he gived me this ’fore he died. 80’s I wouldn’t hafta be alone. (beat) Said he thought God was aimin’ to make it a boy. With big brown eyes and strong hands. (beat) God gonna make him look Just .like Ezel. Kate isn’t quite sure how to react. She touches Dessie on the shoulder. first. then takes the teary—eyed girl by the Shoulders and hugs her. INT. HOUSE - DAY The house is somewhat cleaner than we saw it last -- the walls have been stripped clean of the peeling wallpaper and the floors swept of the dust and dirt. Kate is on her hands and knees. scrubbing a section of the floorboards. when she hears a horse and carriage approaching. She looks up. PORCH as Kate exits. She is covered from head to toe in grime. ANGLE 0N ROAD The carriage approaches the house and stOps. The man at the reins iS ABNER MCGINTY. a dignified. friendly-looking man in his late 60s. Abner is adJutant in appearance. a tall. thin. mustached. 75 swarthy Briton. He steps down from his carriage. walks over to the house. ABNER (calling) Greetings to the house! Good morning! Kate is caught somewhat offguard by her appearance and the man’s enthusiasm. KATE Thank you. May I invite you in for coffee or tea? I’m afraid I haven’t got any ice. yet. ABNER No time. Thank you. Just the same. I only stopped by to offer my welcome and an invitation. There’s a gathering at the Dixon Dixon House this evening. We’d be pleased if you’d attend. Kate isn’t sure what to say. ABNER I do know it’s short notice. but it would mean everything to us. KATE (smiling) Tell them I accept. ABNER Splendid. Abner climbs back up onto his carriage and tips his hat. ABNER We’ll expect you at seven. then. KATE I’ll be there. ABNER I’ll consider it a date. then. 76 Miss Livingston... (he nods) ...a pleasure. The Abner directs the horse back onto the path and towards the gravel road. As he departs: KATE Abner. how did you know my name? ABNER (calling back) You live in a small town now. Miss Livingston. Sometimes I think it’s a miracle of God the way word gets around. He laughs. continues on his way. DISSOLVE TO: MONTAGE - MUSIC UNDER A. KATE’S HOUSE. Kate has her clothes strung about as she organizes her things. B. THE RIVER. She swims and bathes in the fading light. This is the river we saw earlier in the film. C. KATE’S BEDROOM. Sparse. but swept and scrubbed clean. As she puts on the finishing touches, Dessie doteS on Kate like a handmaid--brushing her hair. smoothing the wrinkles in her dress. EXT. DIXON HOUSE - KATE - NIGHT A quietly elegant southern mansion that’s been transformed into a hotel. Tudor pillars. a white porch stretching around the house. an enormous oak tree filled with Spanish moss. Kate arrives outside the house and stares up at the sprawling white palace. 77 INT. DIXON HOUSE Inside. the hotel is abuzz with people. Despite the fact that we’re in a small. southern town. most of these people are dressed respectably. in quietly appropriate fashion. Kate slips unnoticed through the front door and begins touring the room. searching for one of the few faces she ll recognize. Then. from behind her: ABNER Time at last for formal introductions. Kate turns around. It’s Abner. looking even more dashing than he did this morning. KATE Hello. Abner. Abner takes Kate’s hand and. always the gentleman. kisses it. / ABNER Shall we meet your neighbors? He leads her OUT OF THE SHOT. INT. DIXON HOUSE - ABNER AND KATE - SAME Moving through the crowd. making introductions. idle conversation. ABNER Addie heard of your arrival. She’s eager to meet you. KATE Who is Addie? They come upon a small group gathered on the veranda of the house. BESWICK. the town’s mayor. engages a group of TOWNSPEOPLE in debate. Abner and Kate observe. 78 BESWICK- The president never claimed the solution would be that Simple, gentlemen. Averting depression isn’t something you want to take lightly. TOWNSMAN Taking any action at all wouldn’t be too extreme. Beswick. Hoover hasn’t done a damn thing. Laughter. Then: MRS. SIERS Such an easy matter to laugh at gentlemen. From behind the group. escorted by an Indian servant. is MRS. SIERS (ADDIE). 70 years old. She is blind. but manages to navigate the group diligently. MRS. SIERS A chicken in every pot has become a Joke to some of/the poor fools on the river. For God’s sake. when the fishing is bad they turn to eating the tortOises. The group is Silenced. humbled. MRS. SIERS (continued) So laugh while you can. You might as well now. ABNER (to Kate) Addie. 79 EXT. DIXON HOUSE - ABNER. ADDIE. KATE - NIGHT Walking peacefully through the bouganvilea. the lilac. Soft lights backlight the scene. MRS. SIERS I wonder sometimes whether there are answers to the problems we create for our— selves. Human beings are never quite so imaginative as when we dig our own graves. ABNER (to Kate) You’ll have to forgive Addie. She isn’t usually this cheerful. ADDIE I forget my manners sometimes. Kathryn. Forgive me. How long have you come to stay with us at the river? KATE I’m not sure. I have some family buSineSS to settle. Addie nods. ADDIE I see. EXT. KATE’S HOUSE - DAWN The first light of dawn shines through the trees as Kate readies to leave the place. At the road She meets Booker. who is in the process of transporting her things from the rail station. She stops to greet him. KATE Good morning. Booker. 80 BOOKER Morning. Ma’am. KATE You may leave these things in the front room. DeSSie will Show you where. BOOKER Thank you. Ma’am. Kate continues on. Booker directs his mule to the house. FRONT PORCH where Dessie is now standing, watching as Booker pulls to a stop. BOOKER The Missus ast me t’put these up th’ house. ANGLE 0N DESSIE , who looks hopelessly in love. She twists and tugs at her hair like a little girl. DESSIE (faraway) In here. Booker grabs an enormous crate. hOists it from the carriage bed and heads for the front door. INT. HOUSE Booker enters, straining under the weight of the crate. DESSIE Name’s Dessie. Who’s you? BOOKER Name’s Booker. 81 DESSIE Ain’t never seen ya around. BOOKER Keeps t’myself mostly. Lives down on Miller Creek. Wheres you want this? DESSIE (not moving her eyes from him) There’s fine. Booker drops the crate and is out the front door. Dessie is right behind him. FRONT PORCH DESSIE Can I gets ya somethin‘ cool t’drink? Some lemonade? Booker stops. wipes the sweat from his brow. turns. BOOKER, (smiling) That’d be fine. In a flash DeSSie is gone. The flimsy screen door SLAMS behind her as She races to the kitchen. EXT. MRS SIERS HOUSE - SAME as Kate stops her carriage in the drive. The place is magnificent-—tudor columns. ivy—covered walls. blossoming lilac. The house sits on a small hill overlooking a gentle bend in the river: not far upstream is the spring, the source of the river. A nOisy CHORUS OF DOGS greet Kate. An indian servant named KINJU, dressed in a Spotless white uniform. hurries from the house to chase the dogs off. 82 EXT. HOUSE - LATER Kate and the venerable Mrs. Siers follow a narrow. cobbled pathway to the river. The landscaped grounds around them are breathtaking--enormous bouganvilleas, towering oak trees. Spanish moss Sifts from the branches overhead like sand through fingertips. MRS. SIERS His name is KinJu. Nine years ago he showed up at the platform looking for work. He had absolutely no qualifications to Speak of. KATE Why did you hire him? MRS. SIERS (beat) I asked him what it was that should want me to keep him on. Do you know what he said? Kate shakes her head. MRS. SIERS He said he would teach me the one thing in life I hadn’t learned. How to die. The old woman smiles. They continue along the path until they come to... THE RIVER SPRING A wide. whispering pool protected by a canopy of palm. This is the source of the river. the Spring, where the water seeps up from hidden caverns. bubbling up into turquoise pools. A magic place. Everywhere you look there’s color--purple and white hyacinths. blue waterlilies. moon vines, spiderlilies. wild asters. Butterflies are everywhere. There is a feeling of deep, rural repose here: solitude. reverie. peace. God. An inviting place. 83 Mrs. Siers is Sitting at the edge of the Spring, while Kate Swims in the pool. MRS. SIERS Mr. Hanson tells me you lived on the river once before. KATE Once. It was a very long time ago. MRS. SIERS Strange I don’t remember you. When James was still alive we kept to ourselves mostly. He didn’t have much patience for people. I’m afraid. KATE When did he die? MRS. SIERS (Shaking her head) A lifetime ago. KATE What happened? The old woman Shakes her head. unable to answer. it seems. Then: KATE (suddenly embarrassed) I’m sorry. I didn’t -- MRS. SIERS No. you don’t understand. Mrs. Siers pauses a moment. collects her memories. MRS. SIERS I don’t know what happened to him. The old woman shrugs. 84 MRS. SIERS James loved to fish. He had a small boat that he fashioned from trees growing along the riverbank. He was so proud of that boat. He would get into it here, at the spring, and Just let the current carry him away. I would sit here and listen to him until he disappeared arounc the bend. And sometimes I would Just Sit here. waiting. until I heard him returning. She smiles. and it’s a long, sad. faraway smile. MRS. SIERS I suppose James drowned. Mr. Applegate said they found his boat trapped on a sandbar. where the river flows into the ocean. But James was gone. KATE / (a whisper) God. I’m sorry. MRS. SIERS His boat was Just Sitting there. As if it were waiting for him... A long pause. MRS. SIERS Lord. I haven’t thought about him in... The thought fades. MRS. SIERS For years after that. I would wake in the middle of the night. and I could still feel him. As if he was right there. Beside me. I thought I might wake in the morning and hear him downstairs. Or out by the river. 85 She thinks a moment. Then: MRS. SIERS We expect so much. 86 MONTAGE - MUSIC UNDER A. ORANGE GROVE. Gnarled and overgrown with weeds. B. ORANGE GROVE. Kate. Dessie. Booker work the grove: pulling weeds. cutting limbs. uprooting dead trees. BOOKER Miz Livingston. You want this tree taken down? It is an old tree. gnarled and dying. KATE Will it bear oranges? BOOKER (shaking his head. no) Too old. Kate eyes the old tree. KATE It’s been here long enough. It deserves to stay. C. HOUSE. Booker strips the peeling paint. Kate and Dessie apply a new coat. D. RIVER. Kate swims at dusk. Dessie watches from the Shore. KATE (V.O.) Time is the strongest of nature 3 tools. It makes us forget. The days passed on the river. and New York became distant to me. Unreal. The river was my home now. because I could feel it when I swam in it. Because I could hear it at night. E. ORANGE GROVE. Where dead trees have been uprooted. rich, brown earth is filled in. New trees are planted. 87 F. RIVER. Rain. G. ORANGE TREES. Blossoms. DISSOLVE TO: INT. HOUSE - KATE - DAY She looks up, sees Richard approaching on horseback. EXT. HOUSE Kate emerges and watches Richard as he arrives. RICHARD Good morning. EXT. RIVER - RICHARD AND KATE — LATER A grassy verge overlooking a bend in the river. KATE --So when Marie died...there was no one else. (correcting herself) David. but... / She shakes her head. She’d rather not go on. RICHARD You have trouble talking about her. A Slight nod, almost imperceptible. RICHARD If you loved her that’s alright. AS long as you remember. KATE That’s what I thought. Richard nods. RICHARD What is this I hear about you growing oranges? 88 KATE IS it such a foolish idea? RICHARD Not foolish. But brave. Oranges have a history of failing this far north. KATE It’s been done before. Besides. the grove is here. I see no harm. Richard smiles. amused by Kate’s daring. RICHARD Isn’t there anything you won't try to change? EXT. THE RIVER - RICHARD AND KATE - LATER Swimming. A narrow bend in the river that forms a secluded cove. Willows and palm arch overhead. KATE / Nothing feels as good as fresh water. RICHARD AS long as you don’t mind sharing it with alligators. KATE Alligators? Richard laughs. RICHARD Don’t worry. Attacks are rare in the winter. KATE (sarcastic) Rare. Richard submerges. swims toward Kate underwater. He rises directly in front of her. He holds her. 89 A moment. then: KATE Is this why you brought me here? RICHARD No. Consider this an afterthought. He moves away, smiling. KATE (a whisper) There were mermaids in this river when I was a child. RICHARD I know. A questioning look on Kate 3 face. RICHARD (continuing) Addie Siers told me. That’s why I brought you here today. A curious look. KATE ’ Why? But before he can answer. Kate squeals, then gets pulled underwater. Richard laughs. then goes down after her. UNDERWATER A large. brown animal has wrapped its flippers around Kate and rolls with her. ON THE SURFACE Kate breaks the water in a panic, screaming. She rushes a few feet to the Shore. KATE (terrified) Was it an alligator? 90 Richard. still in the water. moves toward her. He is laughing. RICHARD No. Not an alligator. (then) Don’t you recognize your mermaids? KATE Mermaids? RICHARD They were upriver when we got here. They heard us swimming. KATE But.. RICHARD Manatees. Columbus thought they were mermaids. too. He wrote home to say that reports of their beauty were greatly exaggerated. I hope they weren’t offended. KATE , Why do they come here? RICHARD The water is warmer here. We only see them in the winter. He extends his hand to Kate. inViting her baCK into the water. RICHARD They might not be handsome. but they don’t bite. They only want to play. And to say hello. Wary at first. Kate takes Richard’s hand and moves back into the water. HIGH ANGLE ~ RIVER - SAME As Kate moves back into the water. we see the large herd of 20 to 30 manatees that have come to 91 play. Most of them are large. 6 to 8 feet long, and look like fat. overstuffed sofas. Kate wades Slowly into the water. about knee deep. and is greeted by the curious muzzle of a manatee. She pets the animal’s snout. and it slips away quietly into the water. She smiles. She has been accepted. KATE Sometimes our memories never fail us. DISSOLVE TO: EXT. MAIN STREET - TOWN SQUARE CLOCK - DAY HOLD for a beat as the clock chimes the hour. It is early morning. EXT. BANK - KATE AND DESSIE - SAME The business day is Just beginning. Kate and Dessie approach in a noisy motorcar and stop Just outside the bank. INT. BANK ON THE DOOR as Kate and Dessie enter. looking around. Kate Spots who she came to see. KATE’S POV on CARSON WEXLER. a craggy old banker in his late 603. He commmands his business from a wheelchair. The old man looks up with an expreSSion of ice when he sees the women enter. ON KATE AND DESSIE Both look overwhelmed and out of place. KATE (to Dessie) Wait here. Kate goes off to confront Wexler. 92 ANGLE 0N WEXLER as Kate approaches. The old man is smiling to himself. KATE I wasn’t aware that you owned the bank, Mr. Wexler. WEXLER (with a Shrug) It didn’t seem important to our conversation. Besides. my interest in your land was personal. It had nothing to do with the bank. KATE Well. my interests are personal. as well. That farm belonged to my parents. WEXLER So I’ve been told. Have you learned anything, yet? KATE , No. but I’ve decided to stay. I’d like to apply for a loan. Mr. Wexler. Wexler smiles. then glances over Kate’s shoulder where he sees... WEXLER’S POV ...Dessie standing nervously by the doorway of the bank. ANGLE ON WEXLER His attention is back to Kate. WEXLER You haven’t done much business in Crystal River. have you. Miss Livingston? 93 KATE Why do you ask? WEXLER Well... He motions in Dessie’s direction. WEXLER (continued) ...we don’t do business with them. You’ll have to ask your nigra to wait outside. A pause. Kate turns back. looks at DeSSie. standing alone. KATE Why is that. Mr. Wexler? WEXLER (condescending) Tradition. I imagine. First Crystal has been doing business for over 50 years without serving a single nigra in this town. I see no reason to break with precedent now, do you? Wexler Spins his wheelchair around and starts to maneuver towards his desk. KATE (louder than before) You’re doing business with me. Mr. Wexler. I asked her to JOin me. ON DESSIE She understands what’s happening. BACK ON WEXLER The old man stops. but doesn’t turn around to face Kate. 94 WEXLER We’re not doing buSiness yet. Miss Livingston. (beat) And I asked her to leave. A long. uncomfortable moment of silence passes between the two. Everyone in the bank is nervously watching the confrontation. until... KATE Good day. Mr. Wexler. WEXLER Good day. Miss Livingston. She turns and exits the bank. EXT. BANK - SAME Kate plows toward her auto like a mad elephant. DeSSie flits behind her like a little bird. DESSIE (out of breath) Miss Livingston. 'Please! You need that money for the house. I can wait outside. Dessie catches up with Kate and stops her. CLOSE ON KATE Two small tears well up in her eyes. She wipes them away with the Sleeve of her coat. DESSIE Miss Livingston, you know you need that money. I don’t mind. I kin wait out th’ car. Really. I don’t mind. KATE (quiet) Get in the car. Dessie. 95 DESSIE It’s happen before. I kin wait. KATE (a little louder) Dessie, get in! DESSIE I don’t mind. t’all. I waited ’fore. Lots o’times. Just the way things is. KATE (suddenly loud) Dessie, get in the car! Silence. A moment. then: DESSIE (suddenly obedient.quiet) Yes’m. The two step into the automobile without another word and disappear down the road in a cloud of dust and blue exhaust. , ANGLE ON BANK WINDOW where a beaming Carson Wexler watches them depart. EXT. ROAD — BOOKER — EARLY DUSK Booker is walking his mule along a gravel road that cuts through a field of red and orange asters. He’s humming an old blues tune that we can’t quite identify. When man and beast climb a low incline in the road, they find their path blocked. Waiting on horseback in the middle of the road are Walker and his MEN. Booker suddenly feels in his place. BOOKER Evenin’ Mr. Walker. How's you tonight, Suh? WALKER Drunk. 96 And so are his friends. The group is so drunk. in fact, they can barely sit up. let alone stay on their horses. BOOKER There be anything I do for you, Mr. Walker? Walker considers this. WALKER As a matter of fact. nigra, there is. I hear tell you been acting a bit too neigh- borly lately. That so? BOOKER No suh. I Just do as I be told. I don’t do no more’n told to. suh. Walker moves his horse closer. WALKER I’d sure hate to find out that weren’t so. nigger. (laughs) Cause if I did... Walker suddenly lashes out with his foot and kicks Booker squarely in the stomach. Booker drops to his knees, doubled over, groaning. WALKER ...I’d have to do something about it. Now. wouldn’t I? BOOKER (weakly) Yes, suh. WALKER How’s that. nigger? Booker raises his head. but avoids Walker’s eyes. BOOKER Yes suh. 97 Walker places the toe of his boot under Booker s chin and raises the black man’s head. Booker’s eyes are dark and cold. They cut through Walker. WALKER Don’t look at me like that. nigra. I don’t like what I’m seein’ in your eyes. Walker pumps another swift kick across Booker’s face, sending the black man to the ground in pain. Booker looks up from the ground as the drunken men leave. EXT. GROVE - KATE — DAY Kate moves along one of the rows, admiring the progress. She stops beneath a towering tree. full in blossom. She lays down beneath it. She stares up at the sky. POV - KATE A horizon of blue above the treetops. A perfect day. Kate turns over in the grass and comes face—to-face with an enormous and agitated rattlesnake. The reptile 5 tail is erect and BUZZING: its head is drawn back, poised, ready to strike. ANGLE ON KATE Her face is taut with fear, but she knows better than to scream. Beads of perspiration mist her face. Before she can react, there is a thundering EXPLOSION. The rattler is thrown from the grass. Kate yells. ANGLE 0N DESSIE who is standing at the edge of the clearing, equally terrified. She drops her aim on the shotgun that she’s holding. 98 DESSIE My daddy always tell me that if the serpent cain’t have his apple tree nearby, orange tree suit him Just fine. Dessie reaches down and picks up the reptile S limp body. . DESSIE You ever eat rattler before? They both laugh. EXT. KATE’S PLACE - KATE — DAY It is early morning as Kate is hanging out wash to dry. WIDER SHOT - THE ROAD - NANA MAE An enormous black woman storms up the road like an elephant gone mad, stirring up a storm of dust behind her. The black woman turns up the path to Kate’s with a determined gait, then stops about ten feet from the clothesline. Her name is NANA MAE. She looks mean. NANA You Miz Livingston? KATE (wary) And if I was? NANA Folks in town tells you gots my li’l girl out wit you. That so? KATE Do you mean Dessie? NANA That’s the one. Fetch her! KATE May I ask what this is about? 99 NANA None of you damn business is what this ’bout. Fetch her! DESSIE (O.S.) I’s here. Ma. Dessie appears at the porch door. She pushes open the screen and steps out. Nana Mae eyes the girl up and down. It’s obvious she hasn’t seen Dessie in some time. NANA (after a moment) Still carrying that nigger s bastard. I see. DESSIE (humble) Yes’m. NANA Too late t’do anythin’ ’bout that now. Serve ya right. I s’pose. / (beat) How you gettin’ by? DESSIE I manages. NANA Well, I needs you back at the place. Git up you things an’ head back. DESSIE YeS’m. Without a word to Kate. the black woman vanishes in another cloud of dust. huffing and puffing her way back down the path. Kate is dumbfounded. She drops her laundry and chases after Nana Mae. 100 KATE Who are you? Did you think you’d Just storm onto some- body’s property and make demands? Nana Mae stops, glaring at Kate like a demon. KATE (less sure of herself) Dessie is old enough to make decisions for herself. NANA Not as long as I her Mama. she ain’t. People said enough of her having that baby without a husband to hep raise it. I ain’t lettin’ people say She gettin’ charity from no white woman with my back turned at her. . Kate slaps Nana Mae across the face. Nana Mae Slaps Kate back, unbafancing the smaller woman with the force of the blow. The black woman turns on her heels and marches away smartly. head high and chest out. She’s accomplished her mission. INT. HOUSE - DESSIE - SAME Dessie is shoving her things-—a few ragged dresses. some worn photographs--into a burlap sack. Her eyes are red with tears. swollen. Kate appears at the doorway to the room. KATE You told me your mother was dead. DESSIE She is...mos’ th’ time. 101 KATE (beat) Doesn’t she love you anymore? Dessie Shakes her head sadly. DESSIE Not so much. KATE Why? Dessie smiles from behind her tears. It’s the saddest smile in the world. DESSIE Oh...don’t know. really. Me an’ her never seen eye-t-eye a’ things. Not since Pa die. anyway. Kate reaches for Dessie. takes her by the shoulder. DESSIE; Ain’t fit for a baby to be born without its pa. Time’s hard ’nough as is. I s’pose. The Silence that passes between these two is empty and sad. Dessie picks up her things, moves to the doorway... DESSIE I’ll be back if I can. ..and leaves. EXT. RIVERBANK - KATE AND MRS. SIERS - NIGHT The river outside Mrs. Siers house. A magical place at night. A thin lace of crystal moonlight ripples across the black velvet water. The first drafts of a fog finger across the spring. Kate nods. She smiles. 102 MRS. SIERS There’s a fog coming in. isn’t there? KATE Yes. MRS. SIERS I can feel it. I asked my father once what made the fog? He said it was the struggle between the cold air and the warm earth. MRS. SIERS He could make the simplest things seem so romantic. He was always good at that. KATE Was he a writer? MRS. SIERS No. But I think he always fanCied himself one. He would have liked that. KATE Why wasn’t he? MRS. SIERS Because writing wasn’t an honest profession for a young man. Decent men sweated for their keep. (beat) 80 he did. KATE Something happened here twenty years ago, Addie. It tore my family apart. She looks out over the water. 103 KATE (continued) And it feels as if it doesn't want to be found out. MRS. SIERS They say that when we are willing and brave, Kathryn. the Gods Join in. (beat). Give them the chance, and they will. EXT. LUMBER MILL - KATE - DAY She arrives at the mill amidst a flurry of activity. MEN working the saws. enormous cypress trees unloaded from wagons and fed into the lumber chutes. Kate wanders through the scene obserVing everything. RICHARD (O.S.) Here’s a rare Sight. Most women make an effort to avoid this place. Richard emerges from one of the buildings. covered with sawdust and dirt. / KATE The reputation of its proprietor. no doubt. RICHARD Maybe. KATE I came looking for Booker. Dessie’s mother took her away yesterday. RICHARD (his mood changes) Don’t get yourself too involved. Kate. Rules are different for them. Kate stares at Richard for a silent moment. 104 KATE That doesn’t mean they should be treated any differently. EXT. ROAD - KATE - DAY A narrow dirt pathway that bends and winds through the overgrowth. Kate walks along this road carrying a hefty basket in her arms, until... EXT. NANA MAE’S HOUSE - SAME she finds herself at Nana Mae’s. The yard is wild and unkempt. the house looks like a disaster about to take place. ANGLE ON PORCH where Nana Mae is observing her Visitor’s approach. A young (7 years) half—naked boy named GEEZER peers from behind the woman’s bulk. NANA MAE (defensive) Dessie ain’t here. / Kate stops a few feet from the porch. KATE I didn’t come to see Dessie.. NANA MAE What then? Geezer pokes his head out from behind Nana Mae and smiles at Kate with a big. toothy grin. KATE I want to strike a bargain with you. I’d like to hire Dessie to work for me. I can’t pay much. I’ll give her two dollars a week and I’ll have two dollars sent to you every week. She’ll stay with me. Nana Mae ponders this for a moment. 105 NANA MAE She big, ya know. KATE I know. When the time comes. I’ll take care of her. I’ll see to it that her baby is fed and clothed. NANA MAE You still pay her? KATE If that’s what you want. Again. Nana Mae considers this. NANA MAE I’ll have to think on this. Come back in the morning. Kate nods. KATE Here. These are for you. / Kate sets the basket of fruits and vegetables onto the porch. Like a little monkey. Geezer is instantly on the basket. investigating. NANA MAE Geezer! Get outta there! Get yousef in the house. With an apple in hand. Geezer darts into the house. Kate is already halfway across the yard. She turns back and faces Nana Mae. KATE She’s done nothing to hurt you. Don’t punish her for being human. Kate turns and leaves. 106 EXT. ROAD - KATE - SAME The trip home. From somewhere behind her. far down the road. she hears a voice: DESSIE Miz Livingston! Miz Livingston! Dessie, with her belongings in tow, is racing madly down the road after Kate. When the two finally meet, they embrace in an enormous hug. Inseparable. MONTAGE - MUSIC UNDER A. EXT. HOUSE - DAY. Geezer approaches Kate with his hands cupped, trapping something within. He opens his hands for Kate. and we find a small toad resting on his palm. GEEZER Lookee! I caught me a leel ol’ hoppytoad. Gots big 01' eyes Jes like a lee] baby. B. THE RIVER. Kate and Dessie teach Geezer to swim. But he isn’t interested. Instead. the child climbs onto the back of a manatee for a ride. C. INT. HOUSE - KATE AND GEEZER - NIGHT. Night is beginning to fall. and Kate is reading to Geezer from a book. Dessie. Just as attentive, listens from a nearby doorway. (NOTE: SHE IS READING AN EXCERPT FROM SAINT EXUPERY’S ’THE LITTLE PRINCE.’) KATE (reading to Geezer) The night had fallen. I had let my tools drop from my hands. Of what moment now was my hammer. my bolt. or thirst, or death? On one star. one planet, my planet, the Earth. there was a little prince to be comforted. I took him in my arms. and rocked him. 107 D. FIELD. A wide. endless field of the deepest red flowers. Kate walks with Geezer while Dessie reads from the same book. She has some trouble with the words. but She gets through it. DESSIE (continuing from above V.O.) I said to him: “The flower that you love is not in danger. I will draw you a muzzle for your sheep. I will draw you a railing to put around your flower. I will--" I did not know what to say to him. I felt awkward and blundering. E. EXT. HILL. High above the river. DeSSie continues reading: DESSIE (continued) I did not know how I could reach him, where I could overtake him and go on hand and hand with him once more. It is such a secret place. the land of tears. / INT. KATE’S - GEEZER AND ABNER - EARLY MORNING Geezer peeks from around the corner of a big, overstuffed chair in the corner of the sitting room. He’s staring at Abner. who is Sitting in the room, smoking a cigarette. The two never take their eyes from each other. KATE (OS) You’re sure you don’t mind watching Geezer. Abner? ABNER Not at all. Kate descends the stairs. fixing her hair. She’s wearing a quiet pastel dress. KATE And you’re sure we’re not keeping you from church. 108 Abner smiles. ABNER The Lord and I have come to an agreement in recent years. He’ll understand. Dessie emerges from the kitchen. She is dressed in her Sunday best. DESSIE Geezer. now you mind Mr. Abner. He gon’ take care f’you till we get back. GEEZER He look like a monster. Abner smiles. turns to Kate. ABNER That’s exactly what my former wife said. EXT. NEGRO BAPTIST CHURCH-DAY A dilapidated. sullen-looking building that's definitely seen its better days. Windows are broken, paint and Shingles are peeling. and the Sign posted out front can barely be read. The place is small compared to the noise issuing from it. INT. CHURCH A carnival of religious chaos. PEOPLE are everywhere. craning their necks to see the MAN who is preaching to them. ANGLE ON MINISTER who glows with the energy of his preaching. He holds his congregation magnetized. PREACHER All this time we talk we talk about the Lord in heaven... (MORE) 109 PREACHER (continued) like some passerby admiring the fish in a river. That aint so. Brothers and Sisters! That aint the way He sees things his’self. The congregation eats every word of this. They cheer and encourage the preacher on. ANGLE 0N DESSIE Ouieter than the rest. She has her eyes on someone else. POV-DESSIE Sitting on the other Side of the room. half-interested in the sermon and about three quarters interested in DeSSie. is Booker. He’s summoned the courage to attend the sermon. but not to sit beside Dessie. BACK ON DESSIE She smiles. EXT. METHODIST CHURCH—SAME We’re outside the town’s white Methodist church now. Much bigger than its Baptist counterpart. much newer and cleaner. INT. CHURCH More ornate, shiny. And the people are quieter. more subdued than the blacks. but Just as attentive. When the choir finishes the last notes of a hymn. Reverend Fletcher nods and takes over before his congregation. REVEREND FLETCHER I think we must be fools sometimes. the way we call on God and beg him (MORE) 110 REVEREND FLETCHER (continued) to hear us out. We demand His atten- tion...but sometimes I wonder if we ever listen to Him. (beat) There’s a story written by Mark Twain about a small town. much like ours. There was a war in progress somewhere in the world and the time came for this town to send its young men off to battle. So they gathered in the church. before God. on the eve of departure for these young men. And the people prayed. They prayed for all kinds of things. I imagine...but mostly they prayed for the ObViOUS. They asked God to protect their sons. To let them do battle and to win. To let them live and to come home unhurt. Now. a stranger stood up... somehow the townspeople had never seen before. Someone from outside the town. He stood among them. and he asked the people who prayed: "Do you know what it is you ask for? Do you really know? Because, you see. by asking God to let your son live. you’re asking Him to let someone else S son die.“ Not a sound in the church. Like the Baptist preacher. Reverend Fletcher has his congregation by their ears. REVEREND We’re all like that sometimes. the way we blindly go about our lives. We feed ourselves. We breathe. We close our eyes at night. And we come upon times in our lives when we can’t seem to do things by ourselves. Then we turn to God. Sometimes I think God must need someone to listen. too. 111 INT. BAPTIST CHURCH REVEREND God is here. Brothers and Sisters! God is in here with uS right now! God is with the widow Amison. The Reverend points to an old, tired woman sitting in the congregation. REVEREND God is here with Joe an’ Nell Jessup. He points to a newlywed couple sitting towards the front of the group. REVEREND By God. He’s even in that little bottle tucked in Floyd Drusser S back pocket. The congregation hoots and hollers at this. FLOYD DRUSSER Damn! I sure it were empty. More laughter. REVEREND (suddenly subdued. serious) And the Lord God is here, Brothers and Sisters... The Reverend reaches down to a woman in the congregation, takes a small baby from her. and cradles the infant in his arms. REVEREND He is right here, my friends. This is His future. While we been lookin’ up to Heaven and worrying about today. He’s been down here with us all the time. We Just didn’t know. 112 The reverend looks to his choir and nods. The choir stands and begins a rousing. Spirited chorus of "Shall We Gather At The River.“ INT. METHODIST CHURCH - SAME The Methodist choir is Singing a more subdued version of the same song. but as we cut between the two churches, the voices of blacks and whites blend together effortlessly. EXT. METHODIST CHURCH-LATER The service has ended and people are politely streaming from the church. exchanging greetings and idle conversation. Kate breaks from the group and moves toward her auto. She finds Richard waiting there. Kate isn’t surprised. KATE I must admit. Mr. Hanson. that I’ve never felt completely comfor- table believing in God. but seeing you in church this morning was something akin to a miracle. RICHARD (amused) I don’t strike you as the church- going type. Miss Livingston? KATE Let’s Just say I’m surprised that the building hasn’t burned to the ground. Kate moves to step up into the auto but Richard blocks her entry with an arm. The two are in a half-embrace. RICHARD I’m going downriver this afternoon to look at some new cypress terri— tory. Could I interest you in Joining me? Kate considers this. Richard leans closer. 113 KATE (nervous) I have things to do. RICHARD What things? KATE Just...things. Around the house. RICHARD (in control) They can wait. Can’t they? But before Kate can respond, an old. noisy motorcar RUMBLES up beside them and a middle—aged MAN and his WIFE say hello. MAN Morning Miss Livingston. (nodS) Richard...surprised t see you in church this morning. Been a few years. hasn’t it? Richard Shrugs sheepishly and nods. Kate Spots her chance escape and climbs into her auto. RICHARD Well. you know how it is. Cer— tainly can’t harm a man like me. MAN Not at all. Think I could have that order of lumber ready by noon tomorrow? We’ll be setting in the new foundation in the morning and I’d like to get building soon’s possible. RICHARD Have it for you by noon. MAN Good. Pleasant day to you. Miss Livingston. (nods) Richard. By now, Kate has her auto fired up and ready to go. 114 RICHARD (smiling) You are a very fortunate and lucky woman, Miss Livingston. This isn’t how this encounter was intended to end. KATE God works in wondrous ways. Mr. Hanson. Doesn’t He? RICHARD I guess He does. Shall I pick you up around 2 O'clock? One last smile from Kate. a hesitating moment before She departs. KATE 2 o’clock would be fine. Mr. Hanson. And she’s gone. EXT. BAPTIST CHURCH-SAME Blacks are gathered around the church’s lawn in small groups, overlooking the river. To one side. a long white sheet has been draped between two trees. A group of unseen women have decorated their toes with ribbons and bows and are poking their feet out from beneath the Sheet. The Single black men-young and old- are bidding on the pairs of feet. Floyd Drusser, the man with the bottle in his back pocket, is at the front of the group. FLOYD I gots two dollar says that there’s m’wlfe. Aint no ribbon been made can cover up her ugly feets. The crowd howls with laughter. ANOTHER ANGLE In a different part of the gathering, tables are covered with colorfully decorated boxes containing 115 food. Again, the men are bidding. A withered old coot named JIZZUM is acting as auctioneer. JIZZUM Got forty cent for this here box. But I’m lookin’ for 50. Who give me 50 cent for this box. From somewhere in the crowd. a man makes an offer: MAN 50 Cents! JIZZUM 50 cents he say! Who give me 55? Booker, obviously caught up in the exCitement. takes a bite. BOOKER 55! JIZZUM 55 cent! Can we go for 60? The man from the crowd Jumps on it. MAN 60 cents! And before lezum can respond... BOOKER 75 cents! JIZZUM 75 cents! Do we gots a higher bid? No response. JIZZUM 75 cent going once. twice. sold to the young man for 75 cent. 116 ANGLE ON RIVER - BOOKER AND DESSIE - LATER Booker and Dessie settle down on a grassy verge overlooking the river. The decorated box that Booker won in the auction is on the ground between them. Booker nods. Ezel. BOOKER Prob’ly nothin in here but rocks. Hear they do that sometime. DESSIE (smiling) Uh huh. BOOKER You come t’these much? DESSIE Naw. No one t’go with. Not since Ezel die. He knows how much Dessie misses BOOKER I met him once. Didn’t know him much. But he seemed like a good man. DESSIE Best one I ever knew. I Just sorry he never got to see his baby. A silent moment. BOOKER Maybe he will someday. Dessie looks up at Booker, nods. smiles. BOOKER Hey, what say we eats what’s in this box. No matter if it rocks or not. I could eat anything! 117 Dessie can barely contain her laughter. She covers her mouth with a big hand. DESSIE It’s not rocks. BOOKER How you know that? More laughter. DESSIE Cuz I made it. And Booker laughs, too. EXT. KATE’S HOUSE - KATE - DAY She returns from church in her motorcar. INT. HOUSE - SAME She steps into the house and stops. smiling. ANGLE ON ABNER AND GEEZER / Asleep in the stuffed chair. Geezer on Abner s lap. An open storybook nearby. EXT. RIVER - BOAT - RICHARD AND KATE - DAY A part of the river we haven’t seen yet. Wider and more maJestic. Enormous cypress stand guard in the water at the river’s edge. where white heron and egrets preen themselves and take flight like enormous prehistoric birds. Islands of hydrilla and hyacinth tossle in the current. An alligator basking on the shore is startled and glides effortlessly into the water. We’re away from the town here, away from the people. and all we can hear is silence. RICHARD This is what religion is about. KATE So you do believe in God? 118 RICHARD (matter—of—factly) Of course I do. I Just don’t have any use for the condensed version they practice in town. He looks around the river. surveys the scene. RICHARD (continued) That isn’t what God meant. I don’t think. Silence. RIVER SOUNDS. ANIMALS 0.8. Then: RICHARD (continued) Did you know that the Bible was edited? Kathryn shakes her head. no. RICHARD (continued) (nodding) By a group of men who decided it was their task to censor the word of God. Because they thought that’s what He’d have wanted. He laughs, Shaking his head, quiet disbelief. RICHARD (continued) That’s why I don’t believe in their religion. It’s too easy. Kate thinks about this for a moment. KATE I’m not sure what I believe in anymore. When I was a little girl my stepparents taught me everything they wanted me to know. How to tie my shoes...how to be polite. (long beat) They told me how things would be when I grew up. RICHARD Things change, though. don’t they? 119 Kate nods. KATE Always. I think. RICHARD That’s what it’s all about, I suppose. Change. And what we learn from it. KATE Maybe what we don’t. RICHARD That isn’t the only reason you came back. is it? To find your parents? She considers this, not sure what the answer is. perhaps. KATE I don’t know why I came back. A moment of thought. They stare at each other. Then Richard leans forward, quietly. not a word. and kisses Kate. She doesn’t move. He kisses her again. and this time. she accepts him. And as the boat floats along: DISSOLVE TO: 120 EXT. KATE’S HOUSE - RIVER - BOOKER - DAY He emerges from the oranges, sweaty, covered with dirt, and heads toward the river to wash. He finds Dessie here. alone. washing her clothes. She is sobbing quietly. BOOKER What you crying for? She looks up, surprised, tries to cover her tears. DESSIE Ain’t crying. Trying to finish the wash. (the actress) Seems to grow all by itself when you leave it set. Booker nods. kneels beside the river, Splashes his face in the water. He sees right through DeSSie. BOOKER Uh huh. A moment, then: BOOKER Feelin’ sorry for youself? Dessie looks up, annoyed. DESSIE (angry, near tears again) Now why you say that? What I got make me feel sorrier than anyone else? No response. DESSIE (continued) Huh? Tell me! BOOKER (a pathetic smile) Keep saying it long enough. maybe you believe it. too. 121 Booker rises and walks off. DeSSie throws her laundry onto the ground and chases after him. EXT. HOUSE Dessie wheels in front of Booker and blocks his path. The big man Just keeps walking. DESSIE You sayin’ I vain? Huh? Is you? BOOKER I sayin’ you got more important things to be worrying about right now. No time to be cryin’ in the river. DESSIE You sayin’ I vain. I ain’t got no respect for anyone but myself. IS that it? Is it? Booker stops. He holds the small black woman with his harsh. cold eyes. She doesn’t move. / A long. silent pause. BOOKER Ain’t nothing a person can’t do if they sets their mind to it. You hear me? Nothing. Dessie looks terrified standing under this enormous man. BOOKER (continued) When you offs by youself in the woods and you comes across a panther. whats you do? DESSIE (barely a whisper) Shoots it. BOOKER You shoots it. And if you ain’t got a gun? 122 Dessie doesn’t know. She shakes her head. almost imperceptibly. BOOKER If you ain’t got a gun. only thing you can do is stares it down. Be at it a long time. maybe. but sooner or later, ones of you gots to give down. (beat) If it ain’t you. at least you tried. He steps around the small. black woman and leaves. She doesn’t watch him go. EXT. ROAD - DAY Early morning along the dirt road leading to Nana Mae’s. Dessie and Geezer are walking hand in hand. Dessie is teaching Geezer a song. EXT. NANA MAE’S The two approach. Everything about the house suddenly seems too dark and quiet. We can tell by Dessie’s face that she knows something is wrong. DESSIE Geezer. y’all go play. GEEZER But I wanna see Nana. DESSIE You see Nana later. Go on. Git! A scrawny mongrel crawls out from beneath the porch, flapping its tail, and bounds up to Geezer. GEEZER C’mon hound. The boy and his dog run off into the trees as Dessie walks to the porch. 123 INT. HOUSE Dark and Silent inside. as well. DESSIE (hushed) Mama? N0 answer. She presses on. BEDROOM Dessie Slowly pushes open the door and peers into the gloomy room. The thin light from a bedside candle plays with the Shadows on Dessie’s face as she enters. ANGLE ON ROCKING CHAIR where Nana Mae sits. Her eyes are open. but the old woman is motionless. staring. She is holding a rifle. DESSIE Mama? NANA What you want? DESSIE Mama, you alright? Nana Mae’s eyes are cold, penetrating. NANA Thought I tell you never come round here’s no more. Dessie realizes that Nana Mae is delirious with fever. DESSIE You never say that. Mama. 124 NANA Your Daddy been huntin’ up an’ down the creek lookin’ fo’ you. Whatsa matter? Don’t you pay him no mind no more? DESSIE Mama... NANA I tol’ him you run off with that no good nigger again. Gettin’ youself a baby. I s’pose. DESSIE Mama...you’re not feeling good. NANA I tell him you never listen to what you told. DESSIE Mama... NANA (screaming) Don’t call me your Mama! Nana Mae raises the rifle in the air and BLASTS a in the ceiling above her. EXT. HOUSE - SAME Geezer stops dead in his tracks when he hears the BACK TO HOUSE CLOSE ON NANA MAE A constellation of sweat beads across her face. NANA Now who the hell are you? An where’s Pa? 125 Dessie walks over to her mother and takes the rifle easily from her hands. She sets the rifle on the floor. kneels beside Nana Mae. and hugs her mother by the waist. DESSIE (quietly) My name Dessie. Mama. And I am your little girl. (pause) And Daddy is dead, Mama. Been gone a long time. now. Too long. Nana Mae seems to remember. She takes Dessie by the head, gently hugs her to her breast. strokes her hair. ANGLE ON SCREEN DOOR where Geezer. hands and face pressed against the screen, is watching everything. EXT. TOWN HALL - DAY A very small, very old building along the city’s main street. The place could use both a good paint Job and a new roof. ’ INT. TOWN HALL as Kate enters. There are several PEOPLE inSide being helped by the CLERKS. Kate walks up to the only available window. KATE Good afternoon. I’d like some information. MONTAGE - KATE - MUSIC UNDER A. TOWN HALL OFFICE. Searching through stacks of paper, old photographs, title deeds. We can tell by her expression that She’s not finding what she wants. A clerk brings in another stack of material. B. TOWN NEWSPAPER OFFICE. More photographs, stacks of old. yellow newspapers. More photographs. 126 C. LAWYERS OFFICE. More papers. but nothing seems to supply Kate with what she’s looking for. EXT. CHURCHYARD — DAY A small. but neatly kept cemetery to one Side of the church. A clean. white picket fence runs the perimeter of the place and a garden of azalea and wild aster Spreads across the grounds. Kate wanders between the rows, moving from headstone to headstone. She’s looking for something, but isn’t finding it. INT. CHURCH — LATER The place is empty and Kate sits alone in one of the polished. hardwOOd pews. Everything is much as we saw it before. but without all of congregation, the place seems less bright. more somber. Reverend Fletcher moves down the center aisle and slides in beside Kate. They both stare forward without looking at each other. After a moment of comfortable silence: REVEREND I Just realized something this morning. I’ve been preaching to this town for ten years. Ten years this Sunday. The thought seems to amaze him. The Reverend looks up, inspecting the walls, the ceiling, the stained glass. He Shakes his head with a half smile. REVEREND Funny... how we forget things. (a long beat) I remember...a young boy died here. The first week that I ministered to these people. Couldn’t have been more than 22. 23 years old. He had only been (MORE) ~ ‘.v——‘: 127 REVEREND (continued) in town for a few weeks. Nobody knew where he came from or if he had any family. Nobody knew his name. He was Just one of those people who settles down somewhere without making too much noise. Another long moment as a couple of tears well up in the Reverend’s eyes. REVEREND I had to bury that boy without knowing who he was. And the tragedy was that there was no one to watch me do it. You can’t imagine how that feels. Kate looks at Reverend Fletcher. REVEREND (a pause) I spent time that year trying to find out who that boy was. Where he came from. I wrote everywhere. The Bishop, other priests. (beat) But I never found out. And a day never passes when I don’t stop to ask myself if it isn’t too late to keep looking. He looks up. REVEREND Ten years is a very long time. EXT. THE RIVER SPRING - MRS. SIERS - DAY She sits at the edge of the spring while Richard puts the finishing touches on a small dock. The sun is bright, warm. A light breeze. The manatees nuzzle curiously at the edge of the dock. MRS. SIERS Did you know that mermaids mated for life? 128 RICHARD No. I didn’t. MRS. SIERS They spend most of their lives apart. Along the rivers. Or in the ocean. But I suspect they must grow lonely, don’t you think? Remembering what it was like to be in love. And near someone who loved them back. RICHARD They’re lucky that way. Addie nods. EXT. MRS. SIERS’ HOME — DAY Kate and Mrs. Siers are beneath the shade of a broad and towering weeping willow, over100king a shallow bend in the river. The branchtips of the tree sway in the breeze and Sweep across the water, casting designs in the current. Enormous brown shadows - the manatees — glide and barrelroll in the water below. MRS. SIERS I’m sorry you didn’t find your parents. KATE Why does everything tragic seem to need company? If we don’t get rain soon, I’ll lose the grove. MRS. SIERS Well...maybe they left. People do that sometimes. Like boats. I suppose. When they lose their anchors they float away. (beat) If I had no choice but to give up my children, maybe...maybe I would move away. Start over somewhere else. sum-z w ~‘-v-w—-—. " 129 KATE I don’t understand how somedays I can feel them inside. and it Just seems like I can’t remember them. And other days it’s Just the opposite. It doesn’t seem right. Mrs. Siers nods. She understands. With a smile, MRS. SIERS James used to tell me that once you left your home. or part of your life, you could never go back. But I think he was wrong. AS long you keep those doors unlocked behind you, and as long as you can withstand the pain, there’s no reason you can’t go back. Sometimes we need to. You understand. KATE I think so. the old woman wraps an arm around Kate and pulls her close in a warm hug. Together. they look out on the river as a manatee flips its tail and breaks the water. The manatees for air. MRS. SIERS The old indians who used to live here had a legend. They said the mermaids were born without souls. so one returns here every winter, looking for God. gently break the surface of the water MRS. SIERS (continued) She asks for legs, so she can walk on the land with us. and she asks for her soul, so She can be with God one day. But in the end, she gets neither. 130 The wind whispers through the treetOps overhead. Everything here feels like a dream. MRS. SIERS The mermaids are getting restless. They feel the sun across the water again. (beat) I suppose they’ll be leaving us soon. EXT. THE RIVER - BOOKER AND KATE - DAY Booker toils with an old, rusting watering sluice. The contraption is badly in disrepair. It’s obvious that their intentions won’t fix it. KATE (standing) Leave it. Booker. If God wants to take these oranges, He’ll Just find another way. She walks away. EXT. TOWN - BOOKER - NIGHT Not too many people around, a few outSide the saloon, a few shop owners clOSing for the night. Booker takes his horse from the town stable and moves on. SEVERAL MEN from the town eye him suspiciously as he leaves. Booker notices this with concern. EXT. TOWN - BOOKER - LATER Alone, he rides his horse from town, humming a slow tune. He stops, looks over his shoulder, when he HEARS the sound of a horse somewhere behind him. But he sees nothing there. He continues on, wary. EXT. GRASSY PASTURE - BOOKER - LATER A wide open grazing field, nowhere to hide. Booker senses the danger of this place and urges his horse on. He HEARS another horse behind him, 131 running this time. and he kicks his horse into a gallop. Suddenly, the SOUNDS of horses are all around him. No escape. Booker pulls his animal to a stop as a dozen men dressed in white appear from the trees, the darkness. DESSIE Oh my God! KLANSMAN #1 Git down from your horse, nigra! Booker is frozen to his saddle. KLANSMAN #1 (angrier) I said git down! Slowly, like a man who knows what’s about to happen. Booker Slides from the horse. DESSIE Please don’t do this. One of the Klansmen turns to her. KLANSMAN #2 Shutup negress! You keep out of this or we’ll deal with you next. KLANSMAN #3 (with a laugh) Mebbe we will anyway. The Klansmen laugh. BOOKER Git outta here. Dess. This don’t concern you any. DESSIE What do you mean -- BOOKER (screaming) Git outta here! 132 She moves her horse away, not far. She hears what happens 0.8.. but She can’t bear to watch it. The sounds the Klansmen make as they beat Booker within an inch of his life. All Dess can do is cry. EXT. ROAD TO KATE’S - BOOKER AND DESS - LATER Dessie leads Booker’s horse as fast as she can along the darkened road. The black man. once tall and strong. is slumped against the horse like a scarecrow. empty and lifeless. His face is bloody and swollen. EXT. KATE’S HOUSE - SAME Dessie leads the horses to the porch of the house. She pulls Booker from his horse as if he were a sack of potatoes. He barely has the energy to stand. DESSIE You be all right. now. We get you cleaned up an’ I’ll put you to bed. BOOKER It’s no use, Dess. Won’t be long. That bunch be back to finish it off. DESSIE (desperate) They ’fraid, now, Booker. They ain’t gon’ make no more trouble. They ’fraid now cause I know who they iS. Booker smiles, and the expreSSion his swollen face makes is nightmarish. BOOKER They ain’t ’fraid nothin’, Dess. Not you or me, ’specially. DESSIE Wait here. I’ll get something for your cuts. 133 She turns and rushes into the house. INT. HOUSE - SAME Dessie races along a hallway and throws open a closet door. She grabs a package of bandages and first aid supplies. EXT. HOUSE - SAME She emerges from the house. Booker is gone. A moment of panic, then she sees the doorway to the barn is open. THE BARN Booker is in the barns saddling up a horse when Dessie steps in from the dark. She is surprised. confused to see him here doing this. DESSIE What’cha doin’? Where’s ya goin’, Booker? Booker is in a hurry. He doesn:t even bother to look at her. BOOKER None your business. woman. Git back in the house. DESSIE That be’s Miz Livingston’s horse. You can’t be takin’ that. Booker. BOOKER (embarrassed) I’m Jus’ borrowin’ it. Dessie steps into the light of the barn. DESSIE They’ll come lookin’ for you. Booker. She’ll send them after if you gos takin’ what’s hers. 134 BOOKER Then I’ll pay her for it. Only needs it for a Short time. anyway. Booker finishes bridling the horse and leads it to the doorway of the barn. He starts stows the bridlebags with gear. DESSIE (getting desperate) What about your Job? Miz Livingston needs you here. And besides, work’s hard to come by these days. BOOKER Finds me a Job somewhere else. Done it before. DESSIE What ’bout Miz Livingston? She needs you here to help out. You can’t walk out on her now. BOOKER She’ll find someones else. Lots of folks looking for work. Booker mounts the horse. walks it out of the barn. and slips into the shadows outside. Dessie follows in vain. Then, in desperation: DESSIE (tearful) What about me? Booker stops the horse, but is too embarrassed to face Dessie. DESSIE How can you Just leave me? I need you. BOOKER Gots no choice. They ain’t after you. But they kill me if I stay. 135 Dessie collapses to the ground in tears. DESSIE (angry) And you were the one said I gotta face up to my own problems. You said I had to meet ’em head on. didn’t you? Booker has no answer. DESSIE (screams) Didn’t you? BOOKER It’s different. You 5 a woman. DESSIE (screams) It’s not different! Being a woman or a man got nothing to do with it. You don’t know! You Just don’t know cause you’re a stupid. selfish nigger who ain’t worth the Spit God used to put you together. Booker doesn’t answer. He still can’t face Dessie, so he keeps his eyes rivetted to the ground. DESSIE Go on! Get on out of here you stupid nigger! Take your selfish, worthless life and get on out of here! Dessie picks up handfuls of stones and dirt and hurls them at Booker. Booker lets the debris hit him at first, but then he shakes the horse’s reins and disappears into the Shadows along the road. LONG DISSOLVE TO: 136 INT. ADDIE’S HOUSE - ADDIE - NIGHT She is sitting alone. The night blows into the room, stirs the curtains, her hair. Far off. a faint FLASH OF LIGHTENING, the quiet RUMBLE OF THUNDER. EXT. EXT. VERANDA - NIGHT Addie comes out, stands as if She were looking out over the lawn. The breeze that rushes before the storm plays with her hair. Again. far off. the shimmer of LIGHTNING. OUIET THUNDER. The storm is moving closer. Behind her, KinJu approaches out of the darkness. The two stand in Silence for a beat. MRS. SIERS Sometimes I think time has been kind to us. KinJu. But only because I cannot see. (pause) We have grown old. my friend. KINJU There is no other way. This is I think how it was always intended for us. Addie considers this, then nods. MRS. SIERS Yes. Yes. it was. A moment of silence. KINJU I think the rains can come to us now, Mum. EXT. CYPRESS MILL — NIGHT Still no storm yet, but THUNDER AND LIGHTENING ravage the night. A single bolt of lightening strikes the tallest level of the mill. and a small fire erupts. 137 INT. KATE’S HOUSE - KATE - NIGHT Distracted by a distant NOISE -— the sound of a faraway crowd -- She approaches a window. looks out. In the distance, an eerie orange glow illuminates the night. She stares for a moment. then runs for the door. EXT. CYPRESS MILL - KATE - NIGHT - LATER She arrives at the mill. The fire engulfs the entire structure. A crowd of volunteer firefighters -- people from the town, perhaps —- do what they can to contain it. But their efforts are hopeless, it seems. To one Side of the crowd. covered with grime and soot. is Richard. Kate walks to him. ON RICHARD He looks vacant, detached. He’s given up hope this night. Kate walks up beside him, gazes. but he won’t return the look. They remain silent. Suddenly, it begins to rain. A torrential downpour blankets the spectators. scatters them. Richard looks up into the Sky. RICHARD His timing’s off a little. tonight. He turns and leaves. EXT. TOWN - KATE - NIGHT Alone, she moves along the storefronts. She stops near the bank when Mr. Wexler emerges. WEXLER Good evening, Miss Livingston. KATE (nodding) Mr. Wexler. 138 WEXLER You haven’t changed your mind about your property? I might still be interested. KATE I’m not. Mr. Wexler. Kater moves off. Wexler watches her go. WEXLER Have you learned about your parents yet? Kate stops, turns around. WEXLER You haven’t asked everyone about them, you know. KATE What are you saying? Wexler says nothing. Kate moves toward him. angry. KATE What is it you know? WEXLER (enJoying this) I seem to recall something about an affair. (beat) Yes. Your mother. I think. She had an affair with one of the men in town. KATE Who? Wexler smiles. WEXLER Maybe you should have asked Richard that. 139 Silence. WEXLER (continued) It was his father. Wexler turns away, wheels into the bank. Shuts the door. The lights inside are extinguished. Kate stands in the darkness, stunned. EXT. ROAD - RICHARD - NIGHT On horseback, he is riding alone along a long, desolate strip. Kate approaches from the opposite direction in her motorcar. She stops. climbs from the automobile. KATE (angry) Why didn’t you tellme? Richard realizes what She is talking about. He casts his eyes downward. avoiding Kate’s. RICHARD It wasn’t the sort of thing I thought you’d want to find out. KATE How can you say that? I Spent all my life wondering what happened here. Richard nods. embarrassed, understanding. RICHARD Who told you? KATE Wexler. RICHARD I didn’t think anyone else knew. KATE You knew. That’s all that matters. 140 She turns, moves to her car. RICHARD We weren’t meant to know every— thing, Kate. Some things are better when they’re left unknown. KATE Not this. RICHARD If God had wanted us to think with our hearts. He wouldn’t have given us brains. It’s as simple aS that. Kate storms back to confront him. KATE (angry) It’s so easy for you because it was your father. RICHARD (defensive) And your mother. KATE Don’t defend a dead man! RICHARD I am not my father! (beat) And if it means anything, he left my mother. too. Kate looks as if she’s been struck. RICHARD (continued) It didn’t mean anything to me then. I was too young to under— stand. (beat) I’m not sure I ever did. 141 EXT. RIVER - TWILIGHT Looking much older than before, sadder, Dessie wanders down to the river’s edge and settles herself on the stump of a tree. CLOSE 0N DESSIE Her eyes full of pain, the smile gone from her face. she doesn’t come close to resembling the child we knew before. ANOTHER ANGLE as Dessie looks out onto the river and up into the night sky. The waters reflect the fragments of moonlight that pass through the treetops. The sky is filled with a thousand winking stars. Dessie starts to hum a sad. faraway tune. ANGLE ON RIVER A manatee’s tail breaks the surface of the water with a gentle SPLASH. A whiskered snout reaches up for air. ANGLE ON DESSIE DESSIE What you doin’ way down here? Dessie walks to the edge of the river and stops beside the baby manatee. She reaches down and rubs the infant’s back, bobbing Just below the surface. DESSIE Where your Mama at? Bet she don’t know you runnin’ off on her. Go on, now. Git. ’Fore She come lookin’ for ya. Dessie nudges at the manatee, encouraging it to leave. With a flick of its tall, the baby is gone. ‘ 142 DeSSie stands and looks up. The branches of the trees shiver in the cold night wind. EXT. MRS. SIERS - SAME The wind outside the dark house seems harsher here, colder, more persistent. INT. BEDROOM - SAME Mrs. Siers stirs restlessly in her Sleep. Bad dreams. She wakes with a start. AT THE WINDOW With her cane in hand, Mrs. Siers blindly peers out into the cold night. POV Swaying trees, cold moonlight, frosted windows. ON MRS. SIERS She touches the windowpane, but quickly withdraws her hand with a quiet whimper. Cold. She accidently sends an old, glass—framed photograph crashing to the floor. ' EXT. KATE’S HOUSE Dessie struggles Slowly through the undergrowth towards the house. She stops suddenly and drops to her knees with an agonized scream. She clutches her abdomen, but manages to get herself back on her feet. EXT. HOUSE Dessie supports herself against one of the porch’s pillars, catches her breath. then looks back towards the river. POV - DESSIE Like a silver eye, the moon hovers beyond the river, watching through the treetops. 143 ON DESSIE She turns back and enters the dark house. INT. HOUSE Dessie Just manages to get inside the door before she collapses to the floor. She looks up Just as Kate appears from another room. ANGLE ON DESSIE Her face is a map of pain and fear. She doesn’t know what’s happening to her. and she’s terrified. DESSIE (weak) Help me. EXT. MRS. SIERS HOUSE The old woman. now wrapped in a heavy coat and Slippers, blindly feels her way to the river. She stumbles, she runs into saplings and bushes. but She presses on. ANGLE ON HOUSE where, from a small, upstairs window, KinJu watches from a candlelit window. He seems strangely unconcerned by what is happening here. THE RIVER Mrs. Siers is kneeling beside the river. listening for the manatees. She looks frail and weak out here by herself. CLOSE ON HER HAND She reaches to the water and touches it. The small snout of a manatee breaks the water and nudges her. MRS. SIERS Little one. Where is your mother? 144 The baby manatee slips beneath the water. Mrs. Siers walks to the end of the narrow. wooden dock and kneels. She feels for the water until... ANGLE ON WATER ...She touches the body of a manatee. floating beside the dock. Mrs. Siers whimpers and quickly withdraws her hand. ~ Mrs. Siers reaches for the animal again, but this time the manatee rolls to its side. dead. Mrs. Siers screams and we cut to: INT. KATE’S HOUSE - SAME where Dessie is laying in bed. screaming in pain. Her thin bedclothes are drenched with sweat and her face is a mask of agony. Kate is at her Side when BOOKER rushes into the room. BOOKER What’s happenin’? KATE I don’t know. I think she S having her baby. BOOKER I thought She weren’t s posed to be havin’ her baby for a month? KATE She’s not. I don’t know. Something’s happened. Dessie arches her back, throws back her head. and screams in agony. She looks like a woman being tortured. KATE You’ll have to go into town for the doctor. 145 But Booker realizes it’s too late for that now. He pulls off his Jacket. grabs the lantern from the table. then kneels beside Dessie. BOOKER (to Kate) Fetch some water an’ some clean blankets. An’ if you got any ice. fetch that, too. But Kate isn’t so sure. KATE What are you going to do? BOOKER Gon’ deliver a baby. KATE Have you ever done this before? BOOKER No ma’am. But I watched my Mama do this a hunret times back up in the scrub. I used to take her out in the cart when She get called out at night. Kate stands, moves to the doorway. then stops there. She seems hesitant. KATE Booker...I don’t know. I think we need to get the doctor. Booker stops in mid—action. stares down at the delirious Dessie, then quietly, patiently looks up to Kate. He shakes his head. BOOKER She’d be dead by the time he got here. We gonna have to do this one ourselves. A moment. Kate considers this. BOOKER (continued) You gon’ hafta trust me on this. 146 Something in Booker’s eyes tells her that this is the way it has to be. KATE I’ll get the things. And she hurries from the room. INT. MRS. SIERS BEDROOM — SAME The room is dark and ominous. the only light coming from the moon-wet sill and a Single candle at the bedside. Mrs. Siers is sitting in a deep. motionless rocking chair near the window. Her head rests against her chest. ANGLE ON DOOR The door is aJar. KinJu opens it, enters the room, and approaches Mrs. Siers. He walks around to face the old woman. ANGLE 0N MRS. SIERS Her eyes are open, unfocused. Her mouth hangs half-opened. Mrs. Siers is dead. KinJu looks to the floor at the Shattered glass and the photograph. He picks the picture up. ANGLE 0N PHOTOGRAPH A very old photograph of a woman in a full-length dress. She is standing in a garden. surrounded by cascades of flowers and greenery. A man stands beside her, handsome, well-dressed... BACK ON KINJU KINJU (a whisper) This one has been waiting for you, Mrs. He brushes the broken glass from the photo and places the picture in Mrs. Siers’ hands. 147 KINJU (a whisper) Go to him now. KinJu cups his hand around the candle’S flame and extinguishes it. EXT. DESSIE’ ROOM - LATER The wind outside the place is mild now, but persistent. It HOWLS through the trees like an icy current in a river, grabs onto the branches and Shakes them. For now. all we can hear is the wind... ...until a baby’s cries break through the storm. INT. DESSIE’ ROOM - SAME Dessie holds the baby, now swaddled in white linen, in her arms. She is sound asleep. but the baby nurses from his mother, anyway. KATE What made you deCide to come back? Booker shakes his head, there’s no answer to this question. Then he looks up. BOOKER I headed home. Two days from here, back to the Ocali scrub. Left there when I was a little boy. Ouiet. Kate watches him, his face, his expression. BOOKER Got all that way and you know what I found? Kate shakes her head no. 148 BOOKER (quiet) Nothin’. Not a soul. House gone, family gone. (beat) Nothin’. Booker hunches back down beside DeSSie. His gaze holds her. BOOKER All that way. Silence. He looks at Kate for the first time since She asked the question. BOOKER Don’t matter what happen to me now. This’S all I got. 149 EXT. KATE’S HOUSE-DAY Early morning beside the river, where Kate is sitting alone, listening to the tranquility of water. From behind her: RICHARD Hello Kathryn. Kate turns around and finds Richard standing there. Her heart skips a beat. but she stays where she’s at and doesn’t say a word. RICHARD How are you? KATE I’m alright. How are you? RICHARD I’m fine. Thank you. KATE I thought you were gone. RICHARD I was. I got back yesterday. KATE (nodding) Oh. RICHARD (making conversation) I had some business to settle in Tampa. Kate nods. The conversation is awkward and hollow. Something is wrong. and Kate feels it. After a moment: KATE What is it, Richard? Why did you come here? Uneasiness. This is awkward. RICHARD It’s Addie. She died last night. the 150 ANGLE ON KATE Her mouth moves, but the words won’t come. RICHARD It was a heart attack. She was outside. KATE (weak) Oh. She stands, walks to the edge of the river. but doesn’t face Richard. KATE Who found her? RICHARD KinJu. Kate nods. Richard tries to move closer to her. but it seems as if a wall has been built there between them. KATE Tess had her baby last night. RICHARD I heard. How is She? KATE Alright. Kate’s eyes are filled with tears. She looks to the west. where the river flows. A wall of dark. ominous clouds are there, moving towards us. KATE There’s another storm coming. EXT. HILLSIDE - FUNERAL - MORNING A small Hillside overlooking a bend in the river. The grass and flowers grown wild. An open grave. forty or so townspeople, a few blacks at a distance. 151 A minister says the last blessing, closes his bible. Abner steps to the grave. He looks pale. gaunt. ABNER We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us. and we drown. Abner looks at Kathryn. His eyes are Silent, solemn. His gaze holds her. AS they disperse, Kathryn passes KinJu, stops. KinJu stares ahead, his emotions settled. KATE Is she with God now? KinJu looks out to the river. KINJU She will follow the river first. She has never seen where it meets the ocean. KinJu looks back at Kate. KINJU Then she will be with God. Kate nods. moves on. EXT. MRS. SIERS HOUSE - ABNER - DUSK Warm, velvet dusk ripples across the Spring. where Abner is sitting, looking out on the river. He is holding a cigarette, but seems to have forgotten it: all that is left is a long, smouldering ash. Kate walks up from behind, quietly sits with him. says nothing. They Share the Silence. The peacefulness. KATE She loved you, too. Abner. 152 Abner nods. ABNER But She belonged only to herself. Addie belonged to no one else. Kate nods. rests her head against Abner’s shoulder. . ABNER We lost another friend during the night. Abner points to the baby manatee swimming alone in the spring, away from the others. ABNER The river carried her body back to the ocean. The little one tried to follow her... (beat) ...but the others wouldn’t let him go. Silence. Then: KATE Another orphan. Abner nods. ABNER It seems mermaids don’t live forever, either. MONTAGE - MUSIC UNDER A. KATE’S HOUSE. Lonely. Ouiet. She is reading, looks up. out the empty window. B. THE RIVER. She swims at dusk by herself. C. THE ORANGE GROVE. Along one of the long rows of orange trees. She inspects the trees. 153 EXT. HOUSE - KATE — DAY Returning home from a walk by herself. She finds Dessie waiting for her on the porch. DESSIE (awkward) You probably been wondering where I’S been. KATE Are you alright? DESSIE I’s okay. I been staying over with Booker at his place. (a look of concern) You ain’t mad? KATE You make your own decisions. DESSIE He be wantin’ to get married. But I don’t know... A long pause. Then: KATE Don’t be unfair to him. Dessie. He isn’t Ezel. You can’t expect that from him. A moment. A heavy Sigh. DESSIE (sadly) I know. Another moment. A few quiet tears. Nothing more. DESSIE I know. 154 KATE He’s a good man. And he loves you. (pause) That’s all you can hope for. DESSIE Will Ezel understand? KATE He already does. EXT. LUMBER MILL - NIGHT The old mill Sits like a charred skeleton. Ominous. Dark. White moonlight spills across the ruins. Kate’s car pulls to a stop nearby. She walks through the blackened rubble. stops. Then, a voice from behind her: RICHARD (0.8.) Did you think you’d try to change all this? Kate turns around. She isn’t surprised to find Richard here. KATE I might have. Once. She looks small standing here. overpowered. KATE I’m not sure anything can be changed anymore. RICHARD You don’t think you’re getting pessimistic, do you? KATE I think I must have always been. Richard wanders through the ruins. kicks at the rubble. Maybe he’s been drinking. He’s silent. 155 RICHARD It’s hard investing part of yourself into something. Once you’ve got it, it only gets taken away. KATE The best things do. Not everything. (silence) Is that what makes you so afraid? She stares at him. KATE (continuing) Abner says there’ll be another depression in a few years. Maybe it’s better this way. RICHARD Maybe. KATE What will you do now? RICHARD I haven’t decided. Go north. maybe. They have factories there. KATE You wouldn’t be happy. Silence. Then: RICHARD No. KATE (a note of hope) Richard, you could grow oranges with me. It’s a small crop. but it’s healthy. We could buy more land. 156 RICHARD And wait for the first frost? Then what? KATE Maybe it won’t. RICHARD It will. Something always comes. If it isn’t frost, it’ll be blight. If it isn’t blight, it’ll be a surplus. If it isn’t a surplus... (shakes his head. Silence) Something always comes. KATE Why is everything so Simple in your world? RICHARD That’s Just the way I found it. KATE I’ve learned something you haven’t. Richard. When you want something bad enough, you have to search for it. She holds his gaze. KATE (continuing) Fortune never finds you. Silence. RICHARD Then why does it seem we spend our lives looking for it? KATE Because we do. She moves away, disappears into the night. 157 EXT. NANA MAE’S - DAWN Booker and Dessie arrives at Nana Mae’s. She is carrying her baby, swathed in a white blanket. She looks unsure. EXT. NANA MAE’S - THE RIVER - SAME Behind the house, where they find Nana Mae. The old woman is washing clothes in the river. She looks up when She hears the two approach. Silence. Then: DESSIE Hello, Mama. NANA MAE That your baby? Dessie nods. NANA MAE It a boy? Dessie nods again. DESSIE Like Ezel said. NANA MAE Good. Boy’s hands be more help to ya’. Booker looks nervous. Out of place. He’d rather be somewhere else. NANA MAE (nodding at Booker) Who this? DESSIE This here Booker. Ma. We gonna be married. NANA MAE Be the right thing to do. 158 With his courage gathered. Booker steps forward. BOOKER (the son-in-law) Good morning. How are today Mrs... Mrs... He suddenly realizes he doesn’t know Dessie’s last name. DESSIE Simpson. BOOKER Simpson. They all stare at each other for a moment. then begin laughing. NANA MAE Hey there. Booker. How are you? Nana Mae reaches for the baby, takes it into her arms like an experienced mother. She smiles. admiring her new grandson. NANA MAE Oh my. Such a small one. DESSIE Gon’ be handsome young man, Ma. NANA MAE Yes he is. She hugs the small baby close to her. kisses it. NANA MAE Gonna be a hard life for you. little one. Gonna be a struggle waitin’ on you. The baby eyes his grandmother with a smile. 159 NANA MAE Time’s always been hard for black folks in small places. Test your faith in God sometimes, but you don’t give up. You hear me? You Just don’t give up. She holds the baby even closer. EXT. REVEREND HOUSE - REVEREND FLETCHER - MORNING The mailman arrives toting a heavy load of letters and parcels on his Shoulder. He stops, wipes his brow, and pores through his bag. The Reverend appears at his door. MAILMAN Morning. Reverend. REVEREND (polite as ever) Good morning, Ralph. Ralph carries his load up to the porch and rummages through his bag until he finds a handful of letters. He passes the mail to the Reverend. but hangs onto one of the letters and eyes it curiously. RALPH Now that’s funny... REVEREND (eyeing his mail) What’s that, Ralph? ANGLE ON LETTER The address and postage are nearly blotted out by a flurry of reroutes and forwarding addresses. The letter’s been in the mail for a very long time. RALPH Hope you wasn’t holding your breath on this one. Looks like it’s been in the mail for a spell. 160 The Reverend takes the letter from Ralph, puts his eyeglasses on, and inspects the envelope closer. EXT. KATE’S HOUSE - LATER When Kate arrives, Dessie runs from the house with a piece of paper in her hand. She gives it to Kate. - DESSIE Booker brung this from town. Kate reads the note and looks up. concerned. EXT. TRAIN STATION - LATER The small, but busy train station at the end of town. A collection of autos and carriages are gathered outside the building, and a few PASSENGERS are streaming in and out of the building. INT. TRAIN STATION A busy CROWD pushes between the ticket windows. the waiting areas, and the platform doorways. Kate cuts through the crowd and makes her way to the outdoor platform. where She finds Abner and KinJu. The Indian is standing alone to one side of the deck with a small. Single piece of baggage resting at his feet. Abner is beside the platform, smoking. He stares along the length of locomotive tracks that disappear into the distance. KATE Were you going to leave without saying anything? Abner turns when he hears Kate’s voice. ABNER It always seems easier that way. . KATE Is that what She believed? 161 ABNER She believed many things. Kate looks down the platform and sees KinJu standing there. Abner follows her gaze. He smiles. Abner laughs Abner nods. ABNER He says he can teach me something I’ve never learned. uneasily. ABNER I suppose I Should be concerned. KATE Even the weariest river. Winds safely to the sea. ABNER What’s that? KATE Nothing. Just something I heard once. KATE Where will you go. Abner? ABNER I don’t know. There’s nothing for me here, anymore. (pause) Maybe someplace else. Kate moves to Abner. embraces him. ABNER And what about you? What will you do? KATE I don’t know. David said he would wait until Spring. Maybe it isn’t too late. 162 Abner nods. ABNER Hmm. KATE It does feel like it’s time to go home, doesn’t it? ABNER I think it’s the weather. It makes the blood warm. Like the mermaid’s. They always leave for home in the spring. KATE Do you think they got their souls this year? Abner considers this. He looks towards the river as if an answer might be flowing there. ABNER No. I don’t believe they did. (beat) But who knows? If they come back next year, maybe God will see to them. The locomotive BELLOWS a cloud of steam and BLOWS its whistle. The CONDUCTOR’S VOICE calls out from 0.8. CONDUCTOR All aboard! Last call! All aboard! Kate hugs Abner for the last time, looks up at him. ABNER No. Don’t say anything. Abner picks up his luggage and moves to the train. He stops before boarding. turns back. 163 ABNER What was it She used to say? When we are willing and eager... KATE ...the Gods Join in. Abner considers this. nods. Then he disappears onto the train. Nearby, KinJu waits to say goodbye. Kate approaches him. KATE Has She found the ocean. KinJu? KINJU She has found the ocean. Mum. She has found James there. She is happy now. Kate nods sadly. KATE Take care of him. KinJu Singh. KinJu nods. KINJU God will take care. Mum. KinJu picks up his bag and moves to the train. AS he goes. STEAM FILLS THE FRAME. ON KATE Lightening. Thunder O.S. Drops of rain begin to fall, Slowly at first...and slowly, sadly, She looks up. Another chapter ends. EXT. CHURCH - KATE - LATER On her way back home. She looks up at the church. sees something. and stOpS her car. 164 EXT. CHURCH GROUNDS - KATE — SAME She works her way through the church cemetery and stops at a solitary grave where the Reverend is at work. He doesn’t look at her when She approaches. ON TOMBSTONE Once blank, the stone now bears an inscription: David Michael Johannesen Died June 27. 1916 REVEREND A letter came in the mail. From a pastor in Augusta. He said the boy had no family. They don’t know what brought him here. One day he was Just...gone. A few quiet tears in the Reverend’s eyes. KATE Why did it take so long for the pastor to write? REVEREND That’s the curious part. The letter was mailed nearly ten years ago. (a nervous laugh) Ten years... EXT. KATE’S HOUSE - DUSK The beginnings of another storm whip through the trees and tear at the house as Kate drives back from town. She hurries into the house. INT. HOUSE - THAT NIGHT Alone in bed, Kate lays awake. listening to the STORM. 165 KATE (V.O.) And this. and so much more?-- It is impossible to say Just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: EXT. RICHARD’S HOUSE - THE RIVER - NIGHT Richard. alone. stares out at the river. The torrential rain. KATE (V.O.) Would it have been worth while If one. settling a pillow or throwing off a Shawl. And turning toward the window. Should say: ’That is not it at all. That is not what I meant. at all. EXT. HOUSE - NEXT MORNING The tempest passes. The next morning is calm. the Skies soft blue. Kate emerges from the quiet house and inspects the damage. Once again. trees are strewn about the yard and debris is flung everywhere. The place is a mess and looks much like it did at first. Kate wanders to the center of it all. not far from the river, and her attention is attracted by something new. She looks down. KATE’S POV - ANGLE 0N GROUND An uprooted tree has been tossed aside and the weeds and bushes at its base are pulled away. Planted side by Side in the ground, once hidden by the undergrowth, are two small, very old tombstones. Kate takes a few steps, her eyes fixed on the stones as she is beginning to realize what it is she sees. 166 Without much surprise. She kneels beside the stones, pulls away the weeds. brushes aside the moss and dirt. ANGLE ON TOMBSTONES The inscriptions are Slowly revealed: Rebecca Livingston, Mother, 1871 - 1903: John Livingston, Father, 1869 - 1902. She rubs her hands over her mother’s stone. KATE (a whisper) So here you are. You did come back. (pause) My God. you were strong. EXT. THE HOUSE - KATHRYN - DAY Saying goodbye. A. The orange grove. The boughs are thick with fruit, ready for picking. Outside Mrs. Siers’ House. The doors are boarded up. The windows are shuttered. The house looks dead. The river Spring. Everything is quiet here. too. Besides the soft. bubbling water that churns at the center of the Spring. there is no sound. no movement. The manatees have left. The river. Quietly flowing along it in a canoe. Alone. Kate looks up after a while and sees something Spectacular: The mouth of the river empties out into the ocean. The orange sun is setting. DURING THE ABOVE WE HEAR: KATE (V.O.) And would it have been worth it. after all. After the cups, the marmalade. the (MORE) 167 KATE (V.O.) (continued) tea. Among the porcelain. among some talk of you and me. Would it have been worth while. To have bitten off the matter with a smile. To have squeezed the universe into a ball To roll it towards some overwhelming question, To say: ’I am Lazarus, come from the dead. Come back to tell you all, I shall tell you all’—— If one. settling a pillow by her head. Should say: ’That is not what I meant at all. That is not it, at all.’ INT. DIXON HOUSE - DAY Last instructions. KATE -—my things sent by rail on Monday next. Any finanCial matters can be directed to Mr. Rogerth in New York. DESK CLERK Yes, Ma’am. Kate nods, exits. EXT. STATION Kate moves to the gate. Booker and Dessie are with her. Dessie carries her baby. KATE The oranges are nearly ready for picking. It will support you if you care for it. When you can, plant the rest of the property along the river. 168 BOOKER Yes Ma’am. KATE (a moment) And take care of yourself, Booker. And Dessie. BOOKER I’ll do that. Booker takes Kate’s luggage and moves off toward the train. Kate shifts her gaze to Dessie. standing quietly there. The small black woman’s eyes look ready to cry. We see now how much these two women have meant to each other. DESSIE Maybe you was a haunt. after all. You sure come and goes like one. KATE I’m beginning to feel like one. Dessie has tried to keep her emotion inside. but the tears finally start to flow. DESSIE You helped me answer everything. (beat) But what am I gon’ do now? They hug, and it’s am embrace that no one could break. KATE You’ll be surprised. Dessie. Kate steps back, stares Dessie in the eyes. KATE (continued) You’ll be awfully surprised. And She moves OUT OF THE SHOT to the train platform. 169 INSIDE Bracing herself against the wall. She is alone here, and she breaks down. This is the first time we’ve seen her cry so openly. Then: TRAIN PLATFORM AS she moves along toward the train, someone steps onto the platform behind her. She stops. doesn’t turn around. She knows who this is. RICHARD Did you find what you came looking for? KATE Everything I needed... A moment. then: KATE ...or thought I did. RICHARD Everything else wasn’t necessary? KATE No. Just the things we’re not meant to understand. Richard nods, steps closer. RICHARD They’re talking of war in Europe. now. Things are happening over there. (beat) I don’t think we’ll ever know what it means to be satisfied. KATE That isn’t always such a bad thing. (beat) Have you decided what you’ll do? 170 RICHARD I got a good price for the land. Not a fortune, but enough to try again. Someplace else, maybe. Kate nods. She moves to Richard, embraces him. KATE I’m frightened, Richard. RICHARD I know. We all are. He steps back, admires Kathryn for one last moment... RICHARD That’s what makes it eaSier. ...and then he leaves. ON KATHRYN as She watches Richard disappear down the platform. Then we: SLOW DISSOLVE TO: EXT. TRAIN — WINDOW - KATE ~ DAY She is watching the Florida landscape pass by outside the train. She looks down at a river. flowing parallel to the tracks, when the train begins to Slow. EXT. TRAIN ENGINE The engineer and his second men hop from the engine as the train GRINDS to a halt. Just ahead of them on the tracks. a herd of very slow cattle saunters across. People emerge from the passenger cars to stretch their legs and investigate the delay. 171 ANGLE ON KATE who is more interested in the river than in the train. Something in the water catches her eye. and we... ANGLE ON RIVER where a large, lazy group of dark bodies curl and glide beneath the blue water. At the rear of the herd is a small Shape, a baby manatee, escorted on both Sides by protective adults. BACK ON KATE A faint smile. She looks content. Kate gazes down the length of the tracks. where the first glimpse of the ocean sits on the horizon. The sun Slips behind it and the orange light seems to make Kate glow. She looks beautiful. KATE (V.O.) There is a legend that the oldest of the river people tell, about a mermaid who wished for two things: She wished for a soul, so that she could be with God...and she wished for legs, so that she could be with man. She swam until She came upon a river... a crystal river, where it was said the waters flowed from heaven. And this she believed. SLOW DISSOLVE TO: THE RIVER and the manatees swimming there. returning home. and we: FADE TO BLACK CHAPTER VI ANALYSIS AND CONCLUSION Chapters I-IV of this thesis establish the emergence of low- concept filmmaking. These films are characterized by complex plots, strong thematic content, complicated characters, minimal special effects, and lower budgets. Screenwriters attempting to capitalize on the new cycle approach their projects with newfound concern for the subleties of their craft of writing for the screen. The screenplay for "The Crystal River" executes various attempts to fulfill what this author sees as the requirements of low-concept, including characterization, theme, and texture. The following is an analysis. The Low-Concept Character The most obvious quality of low-concept in "The Crystal River" is the screenplay's execution of character. All characters are, essentially, extensions of the stories they inhabit. Though pure drama is a portrayal of action and not character, it is the action of the drama's characters that distills the story's theme. Characters act, react, and are acted upon, and as a result of it all, the story and its theme evolve. The main characters of every successful screenplay must be written with this notion in mind. 172 173 "The Crystal River" uses one main character, Katherine, to help define its theme. As an "orphan," Katherine travels back to her childhood home to unravel unanswered questions, the solutions to which seem to exist there. The theme, which will be discussed in detail later, is represented in Katherine's character. Katherine's actions, her search for an identity, underlie the screenplay's basic notion of belonging, and the need felt by many people to have someone to belong to. Secondary characters include Addie, Abner, and Kinju, Addie's manservant. Both individually and inter-relatedly, these characters reiterate and develop the main theme that plays throughout the story. Traditionally, low-concept films feature a breadth of complex story characters whose interactions deeply affect each other. Often, as in films such as Ragtime and A Passage to India, numerous characters can populate a script when it seems they have no relationship to one another, or even serve any obvious purpose in the film. Other motion pictures, such as Out of Africa, feature seemingly minor, supporting characters who "shine" for only one or two brief scenes. Farah, in the aforementioned film, is an African house servant who serves as an "anchor" for the film's main character. While helping Meryl Streep's character comprehend her new life in Africa, Farah offers another point of view to the story, a background observer who often questions the changes in his developing homeland. In Network, Beatrice Straight, wife to William Holden's network executive, remains idly silent throughout most of the story. Then, when she learns of her husband's affairs with a female network executive, she erupts; she screams at him about faith and honesty. In 174 all, Straight had only one speaking scene in the entire film. Yet, the strength of that scene, thematic importance and Straight's acting, won the actress an academy award. Theme Though the notion of theme can be defined in almost any film's story, low-concept motion pictures emphasize it. Theme is "...the idea that unifies the structure of the story, and is represented by the actions of the characters as a whole dramatic piece."1 In "The Crystal River," a variety of different themes can be extracted, but that intended by the author is the idea of "belonging." To whom does each of us belong and what are our obligations? The notion seems to fit Katherine's sense of "abandonment," with her sister's loss, her parent's mysterious departure, and her problems with David and Richard. Additionally, the theme is embodied in the relationships between Addie and Abner, Addie and Kinju, and finally, Abner and Kinju. The theme is echoed in Reverend Fletcher's obsession with identifying the young boy who died ten years before, and in the subplot with the manatees, the animals that legend claims are searching for their souls. In traditional low-concept form, "The Crystal River" uses one main story to establish its theme, and a number of smaller subplots to develop it. The result, hopefully, is not a heavy-handed morality play, but a much subtler, quieter presentation. 175 Texture Rather than dress low-concept production with expensive special effects, filmmakers of this genre emphasize texture. A difficult notion to define, texture is a combination of cumulative elements in motion pictures, such as the "look" of the film, its voice and style, music, the uses of color (as opposed to black and white) film, and narrative. Together, these elements combine and interact to create a feeling that is sensed by viewers. Unlike the cold reactions that many audiences sometimes get from high-concept productions, low- concept films tend to instill a warmer feeling in movie-goers. The use of Katherine's monologues in the script serve as breaks in the story between acts and important plot points.2 The establishing monologue sets the tone for the entire film, giving it a feeling of memory and recollection, almost as if Katherine were looking back on her life. Music and the use of montages throughout the screenplay help to establish pace and momentum. By breaking up the script in important places, especially after moments of critical decisions and discoveries, montages help underscore the significance of the scenes, and give viewers an opportunity to breathe, to realize the weight of the moment. Additionally, montages offer filmmakers the opportunity to utilize the sort of beauty in photography often displayed in these sequences. Music has traditionally been considered an important element in the making of motion pictures. The use of music, especially instrumental, is a given inclusion in every contemporary film 176 produced, but seems to be vital to the establishment of style in low- concept motion pictures. Because low-concept films generally involve people-oriented plots, the use of music often displaces high speed action and special effects to maintain pace and mood. With the obvious exception of musical films, screenplays have historically avoided suggesting which of their scenes or sequences required music; these decisions were left to directors. With the emergence of low- concept films, however, more and more writers seem to be making this type of creative determination, using the opportunity to help suggest a film's texture and mood. Conventional screenplay exposition can convey these qualities to a director, but the inclusion of musical directions in a script can help assure the writer's intent will reach audiences. In many ways, high-concept films involved an abdication of the craft of screenwriting in their overrliance on effects, simplistic plots, one dimensional characters, and higher budgets. Low-concept films seem to mark a return to an abandoned style of motion picture production. By incorporating subtle, low-concept filmmaking elements such as characterization, narration, music, and strong thematic content into a screenplay, contemporary screenwriters can make conscious attempts to execute the low-concept formula into their work. Today's filmmakers can look at motion picture history to comprehend cycles in film production, and can capitalize on their knowledge by writing for either current or predicted trends in the cinema. By doing so, screenwriters can tap into the pulse of the American film- going public and, hopefully, guarantee any future efforts in the industry. 177 CHAPTER IV--ENDNOTES 1Irwin R. Blacker, The Elements of Screenwriting: A Guide for Film and Television Writing, New York: MacMillan Publishing Company, 1986, p. 5 2Plot points, as defined by Syd Field, a recognized teacher of screenwriting, are strategically placed moments in a script's action that propel the story in important, new directions. BI BLIOGRAPHY BIBLIOGRAPHY "The Big Picture." American Film, Vol. 10, June 1985, pp. 76-89. Biskind, Peter. "Low Concept." Premiere, February 1988, pp. 74-76, 102. Blackler, Irwin R. The Elements of Screenwriting: A Guide for Film and Television Writing. New York: MacMillan Publishing Company, 1986. Cagin, Seth and Philip Bray. Hollywood Films of the Seventies: Sex. Drugs Rock 'n' Roll, & Politics. New York: Harper & Row Publishers, 1984. Carter, Zoe F. "Biopic Bonanza: One Life to Live." Premiere, June 1988, p. 15. Cook, David A. A History of the Narrative Film. New York: W.W. Norton & Company, 1981. Corliss, Richard. "The New Hollywood: Dead or Alive?" Time, March 30, 1981, pp. 66-71. Denby, David. "Can The Movies Be Saved?" New York, July 21, 1986, pp. 24-35. Goldman, William. Adventures in the Screen Tragg. New York: Warner Books, 1983. "Is Hollywood Making the Right Kind of Film?" Business Week, October 27, 1980, p. 62. Kael, Pauline. "Why Are Movies So Bad?" or The Numbers." The New Yorker, October 23, 1980, pp. 84-93. Litwak, Mark. Reel Power: The Struggle for Influence and Success in The New Hollywood. New York: Wm. Morrow & Co., Inc., 1986. Pirie, David (ed.). Anatomy of the Movies. New York: MacMillan Publishing Company, 1981. Rebello, Stephen. "The Ten Best Unproduced Screenplays." American Film. April 1987, pp. 31-34. Powdermaker, Hortense. HollywoodiiThe Dream Factory. London: Secker & Warburg, 1950. 178 179 Bibliography (continued) Shales, Tom. "Seen Any Good Movies Lately?’ Esquire, July 1986, p. 93. Steinberg, Cobbett. Film Facts. New York: Facts on File, 1980. Wasko, Janet. Movies and Money: Financing the American Film Industry. Newport, New Jersey: Ablex Publishing, 1982. APPENDIX A 180 APPENDIX A 1930/31 1934 Animal Crackers Check and Double Check Cimarron City Lights A Connecticut Yankee Daddy Long Legs Hell's Angels Little Caesar The Man Who Came Back Min and Bill Morocco Politics Reducing Strangers May Kiss Trader Horn The Barretts of Wimpole Street Belle of the Nineties Chained It Happened One Night Judge Priest Kentucky Kernels The Lost Patrol One Night of Love Oueen Christina Riptide Roman Scandals She Loves Me Not Sons of Kong Sons of the Desert Wonder Bar ANNUAL TOP MONEY MAKING FILMS Rhythm on the Range Rose Marie San Francisco Show Boat The Story of Louis Pasteur A Tale of Two Cities Thanks a Million These Three 1936/37 1932 1935 Arrowsmith Bring 'Em Back Alive Business and Pleasure Delicious Dr. Jekyll and Mr. Hyde Emma Frankenstein Grand Hotel Hell Divers The Man Who Played God Mata Hari One Hour with You Shanghai Express Shopworn Tarzan the Ape Man China Seas David Copperfield Forsaking All Others Goin’ to Town Les Miserables Lives of a Bengal Lancer A Midsummer Night's Dream Mutiny on the Bounty Roberta She Married Her Boss Steamboat 'Round the Bend Top Hat 1935/36 1933 Animal Kingdom Be Mine Tonight Cavalcade 42nd Street Gold Diggers of 1933 I'm No Angel The Kid from Spain Little Women Rasputin and the Empress State Fair Tugboat Annie Anna Karenina The Bride Comes Home Broadway Melody of 1.936 Bullets or Ballots Captain Blood The Country Doctor The Crusades Follow the Fleet The Great Ziegfeld Green Pastures In Old Kentucky The King Steps Out The Littlest Rebel Magnificent Obsession Modern Times Mr. Deeds Goes to Town A Night at the Opera After the Thin Man Anthony Adverse Artists and Models The Big Broadcast of 1937 Born to Dance Captains Courageous The Charge of the Light Brigade College Holiday Come and Get It Dodsworth The Good Earth The Gorgeous Hussy Green Light I Met Him in Paris The Last of Mrs. Cheyney Libeled Lady Lloyds of London Lost Horizon Lo ve Is News Maytime Mountain Music My Man Godfrey One in a Million On the Avenue Pigskin Parade The Plainsman Rainbow on the River The Road Back Romeo and Juliet Shall We Dance Slave Ship A Star Is Born Swing High, Swing Low Swing Time Wake Up and Live Wee Willie Winkie You Can 't Have Everything 1937/38 The Adventures of Robin Hood APPENDIX A (continued) The Adventures of Tom Sawyer Alexander's Ragtime Band The Buccaneer The Firefly The Girl of the Golden West The Goldwyn Follies Happy Landing Holiday The Hurricane In Old Chicago Rosalie Snow White and the Seven Dwarfs Test Pilot Wells Fargo 181 North west Passage The Old Maid The Rains Came Rebecca Road to Singapore The Women 1940/41 1938/39' Angels with Dirty Faces Boys Town Dodge City Goodbye Mr. Chips Gunga Din The Hardys Ride High Jesse James Juarez Out West with the Hardys Pygma/ion Stagecoach Sweethearts That Certain Age Three Smart Girls Grow Up Union Pacific You Can 't Take It With You Aloma of the South Seas Blood and Sand Boom Town The Bride Came C.O.D. Caught in the Draft Charley's Aunt Dive Bomber The Great Dictator Hold That Ghost I Wanted Wings The Lady Eve Life Begins for Andy Hardy Meet John Doe North West Mounted Police The Philadelphia Story Road to Zanzibar The Sea Wolf Strawberry Blonde That Hamilton Woman This Thing Called Love The Ziegfeld Girl 1942/43 Air Force Behind the Rising Sun Casablanca Claudia Commandos Strike at Dawn Coney Island Dixie Heaven Can Wait Hello, Frisco, Hello Hers to Hold Hitler’s Children Immortal Sergeant In Which We Serve Keeper of the Flame Lucky Jordan The More the Merrier Now, Voyager Random Harvest Road to Morocco S o Proudly We Hail Stage Door Canteen Star Spangled Rhythm This Is the Army 1943/44 1941/42 1939/40 All This and Heaven Too Another Thin Man Babes in Arms Destry Rides Again Drums Along the Mohawk The Fighting 69th Gone With the Wind The Grapes of Wrath Gulliver's Travels Hollywood Cavalcade The Hunchback of Notre Dame Lillian Russell Mr. Smith Goes to Washington My Favorite Wife Ninotchka Ball of Fire Captains of the Clouds Eagle Squadron Holiday Inn Honky Tonk How Green Was My Valley In This Our Life Kings Row Louisiana Purchase The Man Who Came to Dinner Mrs. Miniver My Favorite Blond My Gal Sal Pride of the Yankees Reap the Wild Wind Sergeant York Somewhere I 7] Find You This Above All To the Shores of Tripoli Woman of the Year Yankee Doodle Dandy Arsenic and Old Lace Cover Girl Destination Tokyo Dragon Seed For Whom the Bell Tolls The Gang's All Here Girl Crazy Going My Way Guadalcanal Diary A Guy Named Joe Lady in the Dark Let's Face It Madame Curie The Miracle of Morgan‘s Creek Mr. Skeffington The North Star See Here, Private Hargro ve Since You Went Away The Song of Bernadette The Story of Dr. Wassell Sweet Rosie O'Grady Thank Your Lucky Stars As Thousands Cheer White Cliffs of Dover Wilson APPENDIX A (continued) 1944/45 The Affairs of Susan Along Came Jones Anchors Aweigh And Now Tomorrow Casanova Brown Christmas in Connecticut Diamond Horseshoe Frenchman's Creek God Is My Co-Pilot Here Comes the Waves Hollywood Canteen I'll Be Seeing You Incendiary Blonde Irish Eyes Are Smiling The Keys of the Kingdom Meet Me in St. Louis Mrs. Parkington Music for Millions National Velvet Nob Hill The Princess and the Pirate Rhapsody in Blue Salty O'Rourke A Song to Remember Thirty Seconds Over Tokyo Thrill of Romance Thunderhead Son of F/icka To Have and Have Not A Tree Grows in Brooklyn The Valley of Decision Winged Victory Without Love Wonder Man 182 Kid from Brooklyn Kitty Leave Her to Heaven The Lost Weekend Love Letters Mildred Pierce Miss Susie Slag/e 's Monsieur Beaucaire My Reputation Night and Day Notorious Road to Utopia San Antonio Saratoga Trunk The Spanish Main Spellbound The Stork Club They Were Expendable Tomorrow Is Forever Two Sisters from Boston Weekend at the Waldorf Ziegfeld Follies of 1.946 1947 1946/47 1945/46 Adventure Anna and the King of Siam Bandit of Sherwood Forest The Balls of St. Mary's Caesar and Cleopatra Canyon Passage The Dolly Sisters Dragonwyck Duffy's .Tavern Easy to Wed Gilda The Green Years The Harvey Girls The House on 92nd Street The Bachelor and the Bobbysoxer The Best Years of Our Lives Blue Skies California Dear Ruth Duel in the Sun The Farmer’s Daughter The Hucksters Humoresque I Wonder Who's Kissing Her New It's a Wonderful Life The Jolson Story Life with Father Margie My Favorite Brunette No Leave. No Love Nora Prentiss The Perils of Pauline Possessed The Razor’s Edge Till the Clouds Roll By The Time, the Place and the Girl Two Years Before the Mast Variety Girl Welcome Stranger The Yearling 1 . The Best Years of Our Lives $11,500,000 2. Duel in the Sun 10.750.000 3. The Jolson Story 8.000.000 Forever Amber 8.000.000 Unconquered 7.500.000 Life with Father 6.250.000 Welcome Stranger 6.100.000 The Egg and I 5.750.000 The Yearling 5.250.000 2990995» 1 0. Green Dolphin Street 5.000.000 The Razor's Edge 5.000.000 12. The Hucksters 4.700.000 1 3. The Bachelor and the Bobbysoxer 4.500.000 Till the Clouds Roll By 4.500.000 1 5. Mother Wore Tights 4.150.000 16. California 3.900.000 17. DearRuth 3.800.000 The Perils of Pauline 3.800.000 1 9. The Sea of Grass 3.650.000 This Time for Keeps 3.650.000 1948 1 . The Road to Rio $4,500.000 Easter Parade 4.200.000 Red River 4.150.000 The Three Musketeers 4.100.000 99°!“ APPENDIX A (continued) Johnny Belinda 4.100.000 Cass fimberlane 4.050.000 The Emperor Waltz 4.000.000 Gentleman's Agreement 3.900.000 Date with Judy 3.700.000 1 0. Captain from Casti/e 3.650.000 Homecoming 3.6 50.000 1 2. Sitting Pretty 3.550.000 13. Paleface 3.500.000 The State of the Union 3.500.000 1 5. My Wild Irish Rose 3.400.000 When My Baby Smiles at Me 3.400.000 17. Hamlet 3.250.000 Key Largo 3.250.000 19. On an Island with You 3.150.000 20. fire Fuller Brush Man sense 13. 14. 15. 16. 20. 183 Take Me Out to the Ballgame 3.350.000 Great Lover 3.300.000 The Bark/eys of Broadway 3.200.000 Adam's Rib 3.000.000 Come to the Stable 3.000.000 Command Decision 3.000.000 Connecticut Yankee 3.000.000 Whispering Smith 2.850.000 1951 1950 1949 Jolson Sings Again 55.500000 2. Pinky 4.200.000 3. I Was A Male War Bride 4.100.000 The Snake Pit 4.100.000 Joan ofArc 4.100.000 The Stratton Story 3.700.000 Mr. Belevedere Goes to College 3.650.000 Little Women 3.600.000 Words and Music 3.500.000 10. Neptune's Daughter 3.450.000 1 1 . Good Old Summertime 3.400.000 Sorrowful Jones 3.4 00.000 59.099: 10. 11. est-so!» Samson and Delilah s1 1.000.000 Battleground 4.550.400 King Solomon '5 Mines 4.400.000 Cheaper by the Dozen 4.325.000 Annie Get Your Gun 4.200.000 Cinderella 4.150.000 Father of the Bride 4.150.000 Sands of lwo Jima 3.900.000 Broken Arrow 3.550.000 Twelve O'C/ock High 3.225.000 All About Eve 2.900.000 The Flame and the Arrow 2.900.000 Francis 2.9 00.000 On the Town 2.900.000 Adam's Rib 2.750.000 Three Little Words 2.700.000 Black Rose 2.650.000 The Great Lover . 2.625.000 The Duchess of Idaho 2.600.000 Fancy Pants 2.600.000 10. 11. 13. 15. 16. 1 9. 20. David and Bathsheba s 7.0 0 0.00 0 Showboat 5.200.000 An American in Paris 4.500.000 The Great Caruso 4.500.000 A Streetcar Named Desire 4.250.000 Born Yesterday 4.150.000 That's My Boy 3.800.000 A Place In the Sun 3.500.000 At War with the Army 3.350.000 Father's Little Dividend 3.100.000 Detective Story 2.800.000 Kim 2.800.000 Across the Wide Missouri 2.7 50.000 Captain Horatio Hornb/ower 2.750.000 Halls of Montezuma 2.650.000 Flying Leathernecks 2.600.000 Harvey 2.600.000 Royal Wedding 2.600.000 Here Comes the Groom 2.550.000 Go For Broke 2.500.000 On Moonlight Bay 2.500.000 On the Riviera 2.500.000 1952 The Greatest Show on Earth $12,000,000 Ouo Vadis 10.500.000 Ivanhoe 7.000.000 APPENDIX A (continued) 4. 5. 10. 11. 12. 13. 17. 20. The Snows of Kilimanjaro 6.500.000 Sailor Beware 4.300.000 The African Queen 4.000.000 Jumping Jacks 4.000.000 High Noon 3.400.000 Son of Paleface 3.400.000 Singin' in the Rain 3.300.000 M/ith a Song In My Heart 3.250.000 The Quiet Man 3.200.000 The Bend of the River 3.000.000 Plymouth Adventure 3.000.000 Stars and Stripes Forever 3.000.000 World in His Arms 3.000.000 I’ll See You in My Dreams 2.900.000 The Iron Mistress 2.900.000 Just for You 2.900.000 Distant Drums 2.850.000 11. 12. 13. 18. 19. 184 Salome 4.750.000 Charge at Feather River 3.650.000 Caddy 3.500.000 Come Back, Little Sheba 3.500.000 The Moon Is Blue 3.500.000 Scared Stiff 3.500.000 Stooge 3.500.000 Stalag l7 3.300.000 Little Boy Lost 3.000.000 Mississippi Gambler 3.000.000 The Road to Bali 3.000.000 Roman Holiday 3.000.000 19. River of No Return 3.800.000 Broken Lance 3.800.000 1955 1954 1953 >1 10. 9’5" 99".” The Robe $20—30.000.000 From Here to Eternity 12,500,000 Shane 8.000.000 How to Marry a Millionaire 7.500.000 Peter Pan 7.000.000 Hans Christian Andersen 6.000.000 House of Wax 5.500.000 Mogambo 5.200.000 Gentlemen Prefer Blondes 5.100.000 Moulin Rouge 5.000.000 d . 10. 11. 12. 13. 15. 16. 17. $99.95*!" White Christmas $12,000,000 The Caine Mutiny 8.700.000 The Glenn Miller Story 7.000.000 The Egyptian 6.000.000 Rear Window 5.300.000 The High and the Mighty 5.200.000 Magnificent Obsession 5.000.000 Three Coins in the Fountain 5.000.000 Seven Brides for Seven Brothers 4.750.000 Desiree 4.500.000 Knights of the Round Table 4.400.000 Dragnet 4.300.000 Demetrius and the Gladiators 4.250.000 Living It Up 4.250.000 On the Waterfront 4.200.000 Hondo 4.100.000 The Long. Long Trailer 4.000.000 Sabrina 4.000.000 12. 13. 16. 17. Cinerama Holiday $10,000,000 Mister Roberts 8.500.000 Battle Cry 8.000.000 20.000 Leagues Under the Sea 8.000.000 Not as a Stranger 7.100.000 The Country Girl 6.900.000 The Lady and the Tramp 6.500.000 Strategic Air Command 6.500.000 To Hell and Back 6.000.000 Sea Chase 6.000.000 A Star Is Born 6.000.000 The Blackboard Jungle 5.200.000 East of Eden 5.000.000 Pete Kelly's Blues 5.000.000 The Seven- Year Itch 5.000.000 The Bridges at Toka-Ri 4.700.000 A Man Called Peter 4.500.000 No Business Like Show Business 4.500.000 To Catch a Thief 4.500.000 Vera Cruz 4.500.000 1956 1. 2. 3. Guys and Dolls 39.000000 The King and l 8.500.000 Trapeze 7.500.000 APPENDIX A (continued) 4. 13. 15. 16. 17. 19. 20. 95°98!” High Society 6.500.000 l'l/ Cry Tomorrow 6.500.000 Picnic 6.300.000 War and Peace 6.250.000 The Eddy Duchin Story 5.300.000 Moby Dick 5.200.000 The Searchers 4.800.000 Conqueror 4.500.000 Rebel Without a Cause 4.500.000 The Man with the Golden Arm 4.350.000 The Man in the Grey Flannel Suit 4.350.000 Bus Stop 4.2 50,000 The Rose Tattoo 4.200.000 The Bad Seed 4.100.000 The Man Who Knew Too Much 4.100.000 Friendly Persuasion 4.000.000 The Proud and the Profane 3.900.000 11. 12. 13. 14. 16. 17. 18. 20. 185 Written on the Wind 4.400.000 Gunfight at the OK. Corral 4.300.000 Heaven Knows, Mr. Allison 4.200.000 April Love 4.000.000 Jailhouse Rock 4.000.000 Battle Hymn 3.900.000 An Affair to Remember 3.850.000 Bernadine 3.700.000 Loving You 3.700.000 The Sun Also Rises 3.500.000 1958 1957 .“ 10. 9’5"??? The Ten Commandments $18,500,000 Around the World in 80 Days 16,200,000 Giant 12,000,000 PaIJoey 6.700.000 Seven Wonders of the World 6.500.000 The Teahouse of the August Moon 5.600.000 The Pride and the Passion 5.500.000 Anastasia 5.000.000 Island in the Sun 5.000.000 Love Me Tender 4.500.000 d . dd 14. 15. 16. re 9 s s as as N The Bridge on the River Kwai $18,000,000 Peyton Place 12,000,000 Sayonara 10,500,000 No Time for Sergeants 7.200.000 The Vikings 7.000.000 Search for Paradise 6.500.000 South Pacific 6.400.000 Cat on a Hot Tin Roof 6.100.000 Raintree County 6.000.000 Old Ye/ler 5.900.000 The Big Country 5.000.000 A Farewell to Arms 5.000.000 The Young Lions 5.000.000 Don 't Go Near the Water 4.500.000 Witness for the Prosecution 3.750.000 lndiscreet 3.600.000 God ’5 Little Acre 3.500.000 Houseboat 3.500.000 The Long Hot Summer 3.500.000 The Sad Sack 3.500.000 1959 9999’!“ 99 10. 11. 13. 14. 15. 16. 17. Auntie Mame 38.800.000 Shaggy Dog 7.800.000 Some Like It Hot 7.000.000 Imitation of Life 6.200.000 The Nun's Story 6.000.000 Anatomy of a Murder 5.250.000 North by North west 5.250.000 Rio Bravo 5.200.000 Sleeping Beauty 4.300.000 Some Came Running 4.2 00.000 Hole in the Head 4.000.000 Hercules 4.000.000 Inn of the Sixth Happiness 3.600.000 The Horse Soldiers 3.300.000 Don ’t Give Up the Ship 3.200.000 7 Voyages of Sinbad 3.100.000 The Buccaneer 3.000.000 The Geisha Bo y 3.000.000 I Want to Livel 3.000.000 Separate Tables 2.700.000 Big Circus 2.700.000 1960 P 59!“? Ben-Hur $17,300,000 Psycho 8.500.000 Operation Petticoat 6.800.000 Suddenly, Last Summer 5.500.000 On the Beach 5.300.000 APPENDIX A (continued) 8. 7. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. Solomon and Sheba 5.250.000 The Apartment 5.100.000 From the Terrace 5.000.000 Please Don't Eat the Daisies 5.000.000 Oceans 71 4.900.000 Journey to the Center of the Earth 4.700.000 The Bel/boy 3.550.000 Elmer Gantry 3.500.000 The Rat Race 3.400.000 Portrait In Black 3.200.000 Li'l Abner 3.200.000 Visit to a Small Planet 3.200.000 Home from the Hill 3.150.000 Who Was that Lady? 3.000.000 Toby Tyler 3.000.000 The Big Fisherman 3.000.000 Can-Can 3.000.000 14. 16. 17. 18. 19. 20. 186 North to Alaska 4.500.000 Fanny 4.500.000 Pepe 4.300.000 One-Eyed Jacks 4.300.000 Parrish 4.200.000 The Misfits 3.900.000 The Sundowners 3.800.000 Midnight Lace 3.500.000 Never on Sunday 3.300.000 Where the Boys Are 3.300.000 The Wackiest Ship in 1961 ‘ o .- a d O 0 99999999.» The Guns of Na varone s 8. 6 0 0.0 0 0 The Absent-Minded Professor 8.200.000 The Parent Trap 8.000.000 Swiss Family Robinson 7.500.000 Exodus 7.350.000 The World of Suzie Wong 7.300.000 Alamo 7.250.000 Gone With the Wind (reissue) 6.000.000 TO I Dalmatians 5.800.000 Splendor in the Grass 5.100.000 Come September 4.500.000 the Army 3.300.000 1. Spartacus $13,500,000 2. West Side Story 11,000,000 3. Lover Come Back 8.500.000 That Touch of Mink 8.500.000 6. El Cid 8.000.000 The Music Man 8.000.000 7. King of Kings 7.500.000 8. Hatari 6.000.000 9. The Flower Drum Song 5.000.000 The Interns 5.000.000 11. Blue Hawaii 4.700000 12. Lolita 4.500.000 1 3. Babes in Toy/and 4.4 00.000 14. Bon Voyage 4.100.000 1 5. What Ever Happened to Baby Jane? 4.000.000 16. Sergeants 3 3.955.000 1 7. The Man Who Shot Liberty Valance 3.900.000 18. Judgment at Nuremberg 3.800.000 19. Moon Pilot 3.500.000 Splendor in the Grass 3.500.000 p—L \O a (a) .5 .° 11. 12. 13. 15. 16. 17. 18. 19. 9 9’ >‘ S” 9 9‘ 9’ 5’? Cleopatra $15,700,000 The Longest Day 12.750.000 Irma La Douce 9.250.000 Lawrence of Arabia 9.000.000 How the West Was Won 8.000.000 Mutiny on the Bounty 7.700.000 Son of Flubber 6.900.000 To'Ki/l a Mockingbird 6.700.000 Bye Bye Birdie 5.600.000 Come Blow Your Horn 5.450.000 Gypsy 5.400.000 The Castaways 4.700.000 The Birds 4.600.000 The Great Escape 4.600.000 The Brothers Grimm 4.500.000 Diamond Head 4.300.000 The Thrill of It All 4.150.000 Spencer's Mountain 4.000.000 55 Days at Peking 3.900.000 Hud 3.900.000 1964 sew-saw The Carpetbaggers $13,000,000 It's a Mad. Mad. Mad. Mad World10.000.000 The Unsinkable Molly Brown 7.500.000 Charade 6.150.000 The Cardinal 5.275.000 Move Over Darling 5.1 00,000 APPENDIX A (continued) 7. 10. 11. 12. 13. 14. 15. 17. 18. 19. My Fair Lady 5.000.000 What a Way to Go 5.000.000 Good Neighbor Sam 4.950.000 The Pink Panther 4.853.000 Viva Las Vegas 4.675.000 Sword in the Stone 4.500.000 Hard Day's Night 4.473.000 Dr. Strangelove 4.1 48.000 The Night of the Iguana 4.000.000 fire Misadventures of Merlin Jones 4.000.000 From Russia with Love 3.849.000 Love with the Proper Stranger 3.500.000 Seven Days in May 3.400.000 The Prize 3.400.000 1965 9 9 99 9 99 N d d d o . O .- 9’ Mary Poppins 5 28,500,000 The Sound of Music 20,000,000 Goldfinger 19,700,000 My Fair Lady 1 9.000.000 What's New Pussycat? 7.1 50.000 Shenandoah 7.000.000 The Sandpiper 6.400.000 Father Goose 6.000.000 Von Ryan‘s Express 5.600.000 The Yellow Rolls-Royce 5.4 00.000 How to Murder Your Wife 5.380.000 Cat Ballou 5.150.000 187 1 3. The Sons of Katie Elder 5.000.000 14. Help 4.140.000 1 5. Sex and the Single Girl 4.000.000 16. In Harm's Way 3.900.000 17. The Americanization of Emily 3.600.000 1 8. Monkey's Uncle 3.500.000 19. The Train 3.4 50.000 20. Goodbye Charlie 3.400.000 Operation Crossbow 3.4 00.000 1. Thunderba/I $26,000,000 2. Doctor Zhivago 15.000.000 3. Who’s Afraid of Virginia Woolf? 1 0.300.000 4. That Darn Cat 9.200.000 5. The Russians Are Coming. The Russians Are Coming 7.750.000 6. Lt. Robin Crusoe. USN 7.500.000 7. The Silencers 7.000.000 Torn Curtain 7.000.000 9. Our Man Flint 6.500.000 10. A Patch of Blue 6.300.000 1 1. The Ugly Dachshund 6.000.000 12. Wild Angels 5.500.000 13. Harper 5.300.000 14. The Blue Max 5.000.000 Arabesque 5.000.000 Nevada Smith 5.000.000 1 7. The Battle of the Bulge 4.500.000 Fantastic Voyage 4.500.000 20. Texas Across the River 4.500.000 The Glass Bottom Boat 4.320.000 1967 d a 999 as 9 m a w a dd .5 I" 1 3. 14. 1 5. 16. 17. 18. The Dirty Dozen $18,200.000 You Only Live Twice 16,300,000 Casino Royale 10.200.000 A Man for All Seasons 9.250.000 Thoroughly Modern Millie 8.500.000 Barefoot in the Park 8.250.000 Georgy Girl 7.330.000 To Sir With Love 7.200.000 Grand Prix 7.000.000 Hombre 6.500.000 Murderers Row 6.240.000 Gone With the Wind (reissue) 6.200.000 El Dorado 5.950.000 Blow-up 5.900.000 War Wagon 5.500.000 Follow Me, Boys 5.350.000 Divorce American Style 5.150.000 In Like Flint 5.000.000 Guide for the Married Men 5.000.000 Up the Down Staircase 5.000.000 1968 159’.” The Graduate $39,000,000 Guess Who’s Coming to Dinner 25,100,000 Gone With the Wind (reissue) 23000000 The Valley of the Dolls 20,000,000 APPENDIX A (continued) 9 9 s 9 9 10. 11. 12. 13. 14. 16. 17. 18. 19. 20. The Odd Couple 18,500,000 Planet of the Apes 15.000.000 Rosemary’s Baby 1 2.300.000 The Jungle Book 1 1.500.000 Yours, Mine and Ours 1 1.000.000 The Green Berets 8.700.000 200 I: A Space Odyssey 8.500.000 The Fox 8.300.000 Wait Until Dark 7.350.000 Camelot 6.600.000 The Detective 6.500.000 The Thomas Crown Affair 6.000.000 In Cold Blood 5.600.000 Bandolero 5.500.000 For the Love of Ivy 5.075.000 Hang 'Em High 5.000.000 The Happiest Millionaire 5.000.000 1969 12. 13. 14. 16. 17. 18. 19. 20. 188 I Am Curious (Yellow) 6.600.000 Where Eagles Dare 6.560.000 The Lion in Winter 6.400.000 Swiss Family Robinson (reissue) 6.400.000 Idlinning 6.200.000 The Impossible Years 5.800.000 Three in the Attic 5.200.000 Finian's Rainbow 5.100.000 Support Your Local Sheriff 5.000.000 1971 1970 d 0 95°.” 9.“? 10. 11. The Love Bug $17,000,000 Funny Girl 16,500,000 BuIIitt 16,400,000 Butch Cassidy and the Sundance Kid 15.000.000 Romeo and Juliet 1 4.500.000 True Grit 11,500,000 Midnight Cowboy 1 1.000.000 OIiverI 10.500.000 Goodbye Columbus 10,500,000 Chitty Chitty Bang Bang 7.500.000 Easy Rider 7.200.000 as ever O 399’.“ 14. 15. 16. 17. Airport $37,650,796 M'A 'S'H 22.000.000 Patton 21 .000.000 Bob & Carol 8: Ted & Alice 13.900.000 Woodstock 13.500.000 Hello. Dollyl 13.000.000 Cactus Flower 1 1.300.000 Catch-22 9.250.000 On Her Majesty's Secret Service 9.000.000 The Reivers 8.000.000 The Adventurers 7.750.000 Beneath the Planet of the Apes 7.2 50.000 The Out-of-Towners 7.250.000 Z 6.750.000 They Shoot Horses. Don't They? 6.500.000 Anne of the 1.000 Days 6.134.264 A Boy Named Charlie Brown 6.000.000 IOI Dalmatians (reissue) 6.000.000 Chisum 6.000.000 A Man Called Horse 6.000.000 d 0 9939999.” 11. 12. 14. 15. 1 9. 20. Love Story $50,000,000 Little Big Man 1 5.000.000 Summer of '42 14,000,000 Ryan's Daughter 1 3.400.000 The Owl and the Pussycat 1 1.500.000 The Aristocats 10.1 00.000 Carnal Knowledge 9.347.000 Willard 8.200.000 The Andromeda Strain 7.500.000 Big Jake 7.500.000 The Stewardesses 6.418.170 Shaft 6.100.000 The French Connection 6.100.000 Klute 6.000.000 Cold Turkey 5.500.000 Le Mans 5.500.000 The Anderson Tapes 5.000.000 A New Leaf 5.000.000 The S I, 000.000 Duck 4.700.000 There's a Girl in My Soup 4.500.000 1972 $9999.” The Godfather 381.500.000 Fiddler on the Roof 25.1 00.000 Diamonds are Forever 21 .000.000 What's Up, Doc? 1 7.000.000 Dirty Harry 16.000.000 The Last Picture Show 1 2.7 50.000 A Clockwork Orange 2.000.000 10. 11. 12. 13. 14. 15. 16. 17. 20. Cabaret 10,885,000 The Hospital 9.000.000 Everything You Always Wanted to Know About Sex 8.500.000 Bedknobs and Broomsticks 8.250.000 The Cowboys 7.000.000 Nicholas and Alexandra 6.750.000 Frenzy 6.300.000 Skyjacked 6.001.000 Song of the South (reissue) 5.900.000 Escape from the Planet of the Apes 5.500.000 Butterflies Are Free 5.500.000 The New Centurions 5.500.000 200 I: A Space Odyssey (reissue) 5.395.000 APPENDIX A (continued) 13. 15. 16. 17. 18. 1 9. 20. 189 Mary Poppins (reissue) 9.000.000 Sounder 9.000.000 Pete 'n’ Tillie 8.7 00,000 The Day of the Jackal 8.525.000 Walking Tel/8.500.000 Jeremiah Johnson 8.350.000 Billy Jack (reissue) 8.275.000 High Plains Drifter 7.1 25.000 20. Thunderbolt and Lightfoot 8.500.000 H \O \l U] 1974 1973 d ' PPSPP'PPN d d d o C C ...a N The Poseidon Adventure 40,000,000 Deliverance 1 8.000.000 The Getaway 17.500.000 Live and Let Die 15,500,000 Paper Moon 1 3.000.000 Last Tango in Paris 12,625,000 The Sound of Music (reissue) 1 1.000.000 Jesus Christ Superstar 10.800.000 The World's Greatest Athlete 10,600,000 American Graffiti 10300000 The Way We Were 10,000,000 Lady Sings the Blues 9.050.000 99 9 s e 9 as we d 11. 12. 13. 14. 15. 16. 17. 18. 19. The Sting $68.4 50.000 The Exorcist 66,300,000 Pepi/Ion 19.7 50.000 Magnum Force 18.300.000 Herbie Rides Again 17,500,000 Blazing Saddles 16.500.000 Trial of Billy Jack 15.000.000 The Great Gatsby 14.2 00.000 Serpico 14,100,600 Butch Cassidy and the Sundance Kid (reissue) 1 3.820.000 Billy Jack (reissue) 1 3.000.000 Airport 1975 1 2.31 0.000 Dirty Mary and Crazy Larry 12,068,000 That's Entertainment 10,800,000 The Three Musketeers 10.1 15.000 The Longest Yard 10,100,000 Jeremiah Johnson (reissue) 10.000.000 Robin Hood (reissue) 9.600.000 For Pete 's Sake 9.500.000 .‘9 9° 9.“? 9' P!" N.‘ d dd to .5... PS" 15. 16. 17. 18. 19. 20. Jaws 3102650000 The Towering Inferno 55,000,000 Benji 30,800,000 Young Frankenstein 30,000,000 The Godfather Part II 28.9 00.000 Shampoo 22,000,000 Funny Lady19.000.000 Murder on the Orient Express 1 7.800.000 Return of the Pink Panther 17.000.000 Tommy 16,000,000 The Apple Dumpling Gang 13,500,000 Freebie and the Bean 12,500,000 Lenny 11.100.000 Island at the Top of the World 10,000,000 The Man with the Golden Arm 9.500.000 The Great Waldo Pepper 9.400.000 Three Days of the Condor 8.950.000 Mandingo 8.600.000 Escape to Witch Mountain 8.500.000 The Other Side of the Mountain 8.200.000 1976 1. 9'9?!“ One Flew Over the Cuckoo's Nest $56,500,000 All the President's Men 29,000,000 The Omen 27,851,000 The Bad News Bears 22,266,517 Silent Movie 20.31 1.000 APPENDIX A (continued) 10. 11. 13. 14. 15. 16. 17. 18. 1 9. 20. 9999 Midway 20,300,000 Dog Day Afternoon 19,800,000 Murder by Death 18,800,000 Jaws (reissue) 16.077.000 Blazing Saddles (reissue) 13,850,000 Lucky Lady 1 2.1 07.000 Taxi Driver 1 1.600.000 Out/aw Josey Wales 10.600.000 No Deposit. No Return 10,500,000 Ode to Billy Joe 10400000 The Exorcist (reissue) 10.300.000 Hustle 9.958.738 Barry Lyndon 9.100.000 Gus 9.000.000 Marathon Man 8.886.753 1977 d e PPSPFPF!‘ Star Wars $127,000,000 Rocky 54.000.000 Smokey and the Bandit 39.744.000 A Star Is Born 37,100,000 King Kong 35,851,283 The Deep 31,000,000 Silver Streak 27.100.000 fire Enforcer 24.000.000 Close Encounters of the Third Kind 23.000.000 In Search of Noah's Ark 23,000,000 11. 12. 13. 14. 15. 17. 1 8. 1 9. 20. 190 The Spy Who Loved Me 22.000.000 Oh. God 21.2 00.000 A Bridge Too Far 21,000,000 The Pink Panther Strikes Again 19,500,000 The Other Side of Midnight 17.000.000 The Rescuers 17.000.000 Airport 77 14,836,000 Network 14.500.000 Slap Shot 14.497.000 Herbie Goes to Monte Carlo 14.000.000 1978 9° Grease $83,091,000 Close Encounters of the Third Kind 54,000,000 National Lampoon's Animal House 32.368.000 Jaws 2 49,299,000 Heaven Can Wait 42,517,000 The Goodbye Girl 41,000,000 Star Wars (reissue) 38.375.000 Hooper 31,500,000 Foul Play 25,065,000 Revenge of Pink Panther 25.000.000 Up In Smoke 21.271.000 The End 20,000,000 Cheap Detective 19,500,000 The Gauntlet 17,500,000 High Anxiety 17.040.000 1 6. Pete’s Dragon 16,100,000 1 7. Turning Point 15,045,000 1 8. House Calls 14.859.000 19. Coma 14,400,000 20. Oman II: Damien 12.050.000 1. Superman $81,000,000 9‘?!“ sons 10. 11. 12. 13. 14. 15. 16. 17. 18. 1 9. 20. Every Which Way But Loose 48.000.000 Rocky II 43,049,274 Alien 40,086,573 The Amityville Horror 35.000.000 Star Trek 35,000,000 Moonraker 33.934.074 The Muppet Movie 32,000,000 California Suite 29.200.000 The Deer Hunter 26.927.000 The Main Event 26,000,000 The China Syndrome 25.425.000 IO 25.000.000 Apocalypse Now 22.855.657 Escape From Alcatraz 21.014.000 Meatballs 19.674.000 Love At First Bite 18.100.000 The InoLaws 18,000,000 Manhattan 16.908.439 Starting Over 15.201 .000 'l 191 ccc car as Hem.~me.mH omn.~¢o.ma ooo.ooo.oH ooo.ooo.oH ooo.ooH.mH ooo.ooo.sa ooo.eme.ss ooo.ooo.mH coo.meo.- one.eme.m~ ooo.oom.em ooo.mem.mm ooo.ooo.sm 000.com.om ooo.eHm.mm ooo.omm.~m ooo.woe.mm ooo.ooo.ee ooo.¢m¢.omw Hwoa omood .cfiuman mamuua may no mmmam muuecmn mafia :ovuou Jonah HSQHHMONH madman oon a. :050 via £00050 vfiaom ecu one New ash moawh vac onA macaw Nfldemon H50? Hem acmflflm H505.— adm HHwnSOESwU oak mlmwlw mmmmuIMAMw Amnmmammmmw awe omen on» no muoeamm ooo.o0m.eH ooo.o0n.eu ooo.ooo.eH ooo.ooo.o~ ooo.coo.o~ ooo.ooo.HN ooo.oo~.- ooo.coe.mw ooo.ooo.mm coo.eme.mw ooo.oo~.oM ooo.sHe.om ooo.ooc.am ooo.oom.mm ooo.ooo.em ooo.ooo.km ooo.ooo.mm ooo.ooo.me ooo.mmm.oo ooo.ooo.oNHw omoa 3 m awauwn oHuuwA 9.31:8 310% mummimmmmrwwm ow>o= uNoZlmdmmmmulwlmmwmmu Monkouimmnup Heaa 934343 madam; mean any 9% :maomuoz owuuomfim 05H unannoum muan mammfimmmlwummmmu new: sea m.Ho=H: Hwou HH chosen on» emmlxwmmmw mmmwmmwd mmwmlmmw Museum .m>.HoEMHM mummlmumwuum.wuammwruga Aconcauaoov < xHQmem< 192 ooo.ooo.mm ooo.msm.m~ mke.eem.em mme.~am.a~ ooo.ooo.m~ ooo.ooo.m~ coo.mma.om ooo.Omo.eN ooo.oom.m~ ooo.oom.m~ coo.wNm.om ooo.oom.am oam.mom.mm oo.ome.mm ooo.oma.om ooo.ooe.em mse.mem.sm ooo.ooo.oa mae.Hsm.em coo.OOm.mmHm mama uudmmwlmwuvsm Hmwmflmwfltha l «50:00 HmHlmmH ufl0auw0pcm mo «EH08 can < H0>0z 0m H0>0z mumlwmmm 00H0H0> 05H mm0flwmam mum :oHumom> 0.:oo Hmcowuuz has 30: H2 amwmmmmwm 9040.850 390 MMMImmmmwmmw mwmmwmmm 3% «lug meow on» we assume eme.eao.sa ooo.omm.na mem.e-.wa ooo.oom.wa cam.mo~.ma ooo.oom.o~ ooo.eom.am ooo.ooo.mN ooo.ooo.e~ ooo.ooo.e~ ooo.ooo.em mmm.owa.mm eem.mss.om ooo.ooo.oe ooo.ooo.we ooo.ooo.mm ooc.oom.mm ooo.ooo.me mso.ome.mo ooo.ooo.~msm wwwa gamma muuecmm mane H050 00HH0= mo 00=0mn< m 0 3H4 umod 0:» Ho 0H00H0m fimwumnuwn 0£H 60:00 :i coca: venue 3'80 0HHh Ho MUOHH0£0 a 349% sees me some: one .HH sens seam 00x0H cw 0030£0H0£B 0HuuwA 000m 05H :0E0HUC00 0 000 H00wwmo :< a. mom pcom :00Ho0 :0 HHH 00% wauum0uu0firwuuxmiwaaiqum Aemsauucoov < xHazmmm< 193 ooo.oom.ss ooo.oom.efl mum.mmm.ns ooo.oou.wa mme.mwm.e~ Nem.osm.eu ooo.ooo.o~ ooo.OOm.oN ooo.ooo.m~ ous.m~e.m~ ooo.oo~.mm ooo.oos.mm ooo.oo~.sm ooo.ooo.w~ ooo.oom.ou oco.ooo.oe ooo.ooo.om ooo.ooo.ms ooo.ooo.om ooo.ooo.ea mwoa wave commmw 0500H00005H 000 0a N0x_00= AmwmmmmmmuHHmMMNMImnHIJHJm 0usua0>0< an 0.003-00m #00: «~02 as» we Hosea use we? 301.0 54.90 \I Manx a on mwa>.< Mnnmmmmmmlmmwflmm mmwmmwm mmwmmmwrumm mmmmmw mmmlmwflmminmummm >H com HH uumm vooam uwmwm ”enema 0H500h 0:0 0U Joan cco.00m.oH ooo.ome.oH ooo.ooo.o~ ooo.oom.mm ooo.ooo.mw mme.seo.m~ ooo.ooo.m~ ooo.ooo.~m ooo.ooo.em ooo.ooo.em ooo.ooo.am ooo.ooo.om 000.com.wm ooo.ooo.om ooo.oo~.ue ooo.om~.om ooo.ooo.mm ooo.oom.wn ooo.ooo.m0H ooo.ooo.nwaw «moa Segue 3.3.3340 .3 3me as...“ 38543450 0:000 0:H.WSH0:NEOM 0000< 00HH0m flag gala m00 mHme NHH0>0Q 2H HEOHU moon 000 Hmm0H 0:» 000500006 wcwwumm 0H00010000£m Avmscfiucoov < xHQmem< 194 coo.mam.HN ooo.omm.HN ooo.ooo.- ooo.eeo.- ooo.oo~.- ooo.oo~.- aw~.0sm.m~ mom.moo.m~ ooo.ooe.m~ ooo.ooe.m~ ooo.oom.m~ Hwo.mem.m~ ame.mma.¢m ooo.ooo.am ooo.oow.am cmm.oew.om ooo.ooo.me ooo.ooo.oo ooo.oom.oe one.smw.¢m mwo: u00uuwifl~0 :0 0HOEumuwz < mmu039 C0>0m 0:0 000 0u«:3.30=m 0000000 0000 0Huso mflmufi 0:0 flunk mmmflimmmmH maammrmm mmmummlwmwmmlwwmm 0000mmm mmwmmmmlxwmwm 00 HA 09 CH>HA 0:H ummmmmuw mmmmmmrwmmwmw mmwmwmw h: mo u0uo0m 0:H mummmmm mammwmmm 30:30000 mo 00:0uwa 0:9 w0H:M£oaouGD 0:H :0: 4.000 :08 00H:H mowuo0uuu< H0000 flomw0am coo.msm.oN ooo.oon.o~ ooo.oow.oN ooo.ooo.u~ ooo.ooo.:~ ooo.ooo.- Hm0.oom.o~ ooo.com.-. ooo.ooo.w~ ooo.ooe.w~ 000.00o.om ooo.ooo.0m ooo.ooo.mm ooo.mes.He ooo.ooe.He ooo.ooe.we ooo.ooo.oe ooo.ooo.Hm Nos.smo.om ooo.coo.~w owe: HH umuo nouaom memfl mo H0H00 0:H 0: Hm vflmum mammimmmammmaima w0~m0m H0m0a enema muss: spasms =0 usoiemmimmmq mwmimmmlm.ueaauanimwuumm mwwmwaimelmmm 0H 00m 000H:u:m 0:020 000000 use Admmuwrmmrmwmm mammmurmmdmurmmw 0:0HH< mammlammso> one ”eaimmmmwummw maummmiwauaemaum HH eyewiewu oumm0MImmH mmwlmmw Aposcwucoov < xHozmmm< APPENDIX B 195 APPENDIX B AVERAGE WEEKLY U.S. MOTION PICTURE THEATRE ATTENDANCE Year Average Weekly Year Average Weekly '. Attendance Attendance 1926 50.000.000 1953 46,000,000 1927 57.000.000 1928 65.000.000 1954 49.000.000 1929 95.000.000 1955 46,000,000 1956 47.000.000 1930 90.000.000 1957 45.000.000 1931 75.000.000 1958 40.000.000 1932 60.000.000 1959 42,000,000 1933 60.000.000 1960 40.000.000 1934 70.000.000 1961 42.000.000 1935 75.000.000 1962 43,000,000 1936 88.000.000 1963 ' 44,000,000 1 937 85,000,000 . 1964 (Not reliably reported) 1938 85.000.000 1939 85.000.000 1965 44,000,000 1966 38.000.000 1940 80.000.000 1967 17,800,000 1941 85,000,000 1968 18.800.000 1942 85.000.000 1969 17.500.000 1943 85,000,000 1944 85.000.000 1970 17,700,000 1971 15,800,000 1945 90,000,000 1972 18,000,000 1946 90.000.000 1973 16,600,000 1947 90,000,000 1974 19,400,000 1948 90,000,000 1949 87,500,000 1975 19.900.000 1976 18.400.000 1950 60.000.000 1977 20.400.000 1951 54.000.000 1978 21.800.000 1952 51.000.000 1979 216000.000 Source: Steinberg, Cobbett. Film Facts. New York: Facts on 196 “new owmr onm— owmp ommp ovmp 0mm— Aw000HHHEV 0000000000 Awmsaauaoov m xHQmem< APPENDIX C 197 0868.2. 838.? 8.08.8 08.8va 08.8.0.9. ooodoodm 80.80. pm 000.com. Fm 80600.3 www.mvam 000.000.vm 00068.3 03.393 000.9303» n.8com 3.0% . . . . . . . no? 6825 3.30 . . .89 ”88... s 88:20:; 2:: “mom of. . . . . . . . 3.2 ”8.83 888 2.21.8? 8.820 3.00 9:. . . . . . . . one an; :80 :38: . on? 52m 26.. . . . . . . . nom— 38:588.. .0 ”EB... . . . . . . . 83 88:30 26820 83— 889:8 .33 523 88 . . m3, 652:. 055300 of. . . . 83— A: ”32. . . . .89 8.3.00 82 ”568:8 a 0:0 .850 .:< . . . . . . . 2.3 6580 50:25 . . . . 2.9 5.8m 2:... .ov .3. .2: .9. .mv .ov .Nv .3. .0: do Kn do ooodoodm thdnmdm 8248.8 898.8 0868.8. 8888.8 8868.8 8868.8 8.80.8 882.8 2.888 8.8:: 000.35.?“ 80.02.65 mooda to» ooodomdn 80.35.95 08.80.08 0.85m .30... mEAHm OZHmmomU 0m 0 xHszmm< . . 22 v.2... Em 2.2.88... :8 2x 288 a: . .83 385.8 89 a): 8. 8.2 . . . . . . . was ”.82 8.8.0.80 05 :25 32“. 0:0 . . .28 8:8 as :5 soonm 0 0 a o O o o mfim’ c856. .»> 868x 0 0 o o o o 0 Foo“ 88 828 co . 88 a 8888 . . 8.: “=38: . . . . . . . 88. 83°: .8624 . ».:ooa§ .8082 a: :33 z .2 8238 .. 88:25.8: . . . . . . . 88 no:§S.:: 3>ocoo_ . . 08: we: .. 8835.520 . . .88 632 .o 0:30 on... . . .82 a 5: can. .8 .8 .8 .8 .8 .8 .8 ”a .3 mOH mEHHIAA< l .uwo: 8000005 .Nuoqun> 8.80.8 8.85.8 8988.8 8.2.018 . 8.0.8.8 0868.3 8.88.8 838.5: “868.8, 08.0869 8:88.? 0 89888 So. .888 838. z: . 83.80.80 0863.3 w 0358.03» . 2:5: ...a... 8.8 EE 86am . . .82 ago 8» .. ..omms\nums 65. BE 2. .0 escaoocm 820 . .052 ”58096 0 o 0 o o o 0 ”Nov 85980 2:. 2.2 3850 as . . . «mo—”233k . . . . 2.3 828:0 . . . . . . . moor. 855m 05 9 .88 O o 0 o o 0 o VQOP ”doc max 2.83 . . . vow: H:on .0 29:8. 05 0:0 3:0... «56:. 83...: 8.. as a 230: 89 ”228985 .2288182. . . . 88 88 315m 895 a: . . . . . . . 82 82. as .o 528 . .5. ”$2.28 82 8.53:8 .eem 2: Hm 03F “mousom (we) «é uimh~ «5 C F APPENDIX D 198 APPENDIX D MOTION PICTURE PRODUCTION COSTS Egg; Cost 1941 $ 400,000 1942 1,000,000 1972 1,890,000 1974 2,500,000 1978 4,000,000 1980 8,500,000 1981 10,000,000 1982 11,300,000 1983 11,800,000 1984 12,000,000 1985 12,000,000 Source: MP APPENDIX E 199 APPENDIX E DOMESTIC FILM PRODUCTIONS Year U.S. Produced Year U.S. Produced 1917 687 1951 391 1918 841 1952 324 1919 646 1953 344 1920 796 1954 253 1921 854 1956 254 1922 748 1957 300 1923 576 1958 241 1924 S79 1959 187 1925 579 1960 154 1926 740 1961 131 1927 678 1962 147 1928 641 1963 121 1929 562 1964 141 1930 509 1965 153 1931 501 1966 156 1932 489 1957 173 1933 507 1953 130 1934 480 1959 232 1935 525 1970 135 1936 522 1971 233 1937 S38 1972 229 1939 483 1973 295 1940 477 1974 230 1941 492 1975 352 1942 488 1976 353 1943 397 1977 311 1944 401 1973 217 1945 350 1979 139 1946 378 1980 192 1947 369 1981 173 1948 366 1982 170 1949 356 1933 164 1950 383 1984 169 1985 178 1986 161 1987 155 Source: Steinberg, Cobbett, Film Facts. New York: Facts on File, 1980. .fl—u hum-j. .454: L7 HICHIGRN STQTE UNIV. LIBRQRIES 11111111111111111||11|11|11|H|111|11111 31293005584911 -.fiwfl...‘ 1- ~ .._.. ,