Alex Cox attacks the Reagan years with a political tale sung in the key of the Italo Spaghetti Western: expect plenty of slow motion shots of stylish pistolero mercenaries fighting for the historical ‘filibuster’ William Walker. Look him up, he’s the patron saint of every neocon and would-be soldier of fortune. Everybody on this show goes the whole 9 yards in commitment, with Ed Harris in the lead — they filmed in Nicaragua. It may be director Cox’s finest film, packed with vivid images and surreal anachronisms — and a terrific music score by Joe Strummer.
Walker
Blu-ray
The Criterion Collection 423
1987 / Color / 1:85 widescreen / 94 min. / available through The Criterion Collection / Street Date April 12, 2022 / 39.95
Starring: Ed Harris, Richard Masur, Rene Auberjonois, Xander Berkeley, Peter Boyle, Marlee Matlin, Alfonso Arau, Pedro Armendáriz Jr., Gerrit Graham, William O’Leary, Blanca Guerra, Miguel Sandoval.
Cinematography: David Bridges
Production Designer: Bruno Rubeo
Art Directors: Cecilia Montiel, Jorge Sainz
Film Editors: Alex Cox,...
Walker
Blu-ray
The Criterion Collection 423
1987 / Color / 1:85 widescreen / 94 min. / available through The Criterion Collection / Street Date April 12, 2022 / 39.95
Starring: Ed Harris, Richard Masur, Rene Auberjonois, Xander Berkeley, Peter Boyle, Marlee Matlin, Alfonso Arau, Pedro Armendáriz Jr., Gerrit Graham, William O’Leary, Blanca Guerra, Miguel Sandoval.
Cinematography: David Bridges
Production Designer: Bruno Rubeo
Art Directors: Cecilia Montiel, Jorge Sainz
Film Editors: Alex Cox,...
- 4/16/2022
- by Glenn Erickson
- Trailers from Hell
Oscar-nominated production designer Bruno Rubeo, who was a frequent collaborator with Taylor Hackford and Oliver Stone, died November 3rd in Trevi, Italy of complications from pneumonia. He was 65. According to his official bio, Rubeo was born in Rome and served in the Italian Navy before immigrating to Canada where he worked as an Art Director on several TV and independent film projects. His big break came in 1986 when Stone tapped him to design Salvador. Stone and Rubeo collaborated on three more films: Best Picture Oscar winner Platoon as well as Talk Radio and Born On The Fourth Of July. In 1989, Rubeo served as Production Designer on Bruce Beresford’s Academy Award winner Driving Miss Daisy and received an Academy Award nomination. In 1992, Rubeo began working with Hackford on the Chicano gang epic Blood In, Blood Out. This relationship became Rubeo’s longest professional collaboration, resulting in five films, including Dolores Clairborne,...
- 11/15/2011
- by THE DEADLINE TEAM
- Deadline TV
War is hell on character and pacing in "The Great Raid". Recounting what it calls the most successful rescue mission in U.S. military history, the film brings a spectacular but little-known chapter of World War II to the big screen with meticulous attention to period detail -- and almost none to compelling narrative.
Even audiences predisposed to sagas of American valor or nostalgic for the good old days of unswerving wartime coalitions will find little here beyond the retro patina to grab their attention. As Miramax empties its Weinstein-era vaults, this $80 million feature, which began production in 2002, looks unlikely to execute a successful boxoffice raid.
"Inspired by true events" and based on two books -- William Breuer's "The Great Raid on Cabanatuan" and Hampton Sides' "Ghost Soldiers" -- the film's action unfolds in the Japanese-occupied Philippines during the last five days of January 1945. Under the command of the inscrutable Col. Henry Mucci (Benjamin Bratt), the 6th Army Ranger Battalion sets out to free more than 500 American POWs from imminent death at the Cabanatuan camp. Calling his Rangers the best-trained, least-proven men in the U.S. armed forces, Mucci adopts a daring, detailed plan devised by the bookish young Capt. Robert Prince (James Franco).
The risky operation, which has no significance to the war effort, is all about idealism. But the underdeveloped script by first-timers Carlo Bernard and Doug Miro substitutes stoic noble types for full-blooded individuals and history lesson for drama. Franco's Prince is just one of the story's barely differentiated team players: decent, loyal and impassive.
The Americans team up with a group of Philippine resistance fighters led by Capt. Pajota (Cesar Montano), eager to prove their worth as more than mere backup. In Cabanatuan, malaria-stricken Maj. Gibson (Joseph Fiennes) tries to salvage the morale of his starving troops, whose three years of postsurrender captivity have left them feeling abandoned and doomed while all eyes were on Europe. Keeping Gibson going, besides his reckless friend Major Redding (Marton Csokas), is his chaste love for Army widow Margaret (Connie Nielsen). A statuesque, heroic beauty, she smuggles black-market meds into the camp through the underground in Manila.
"Raid" opens with almost five minutes of background exposition, but apparently the intention was not to clear the way for character-driven storytelling. Characters mouth factoids throughout the two-hour-plus film, and neither the cast nor helmer John Dahl, who has shown a deft hand with mood and character in such films as "Red Rock West" and "The Last Seduction", gives the audience much to care about. Kiwi actor Csokas (who has a leading role in Paramount Classics' "Asylum", also opening Aug. 12), comes closest to suggesting a complex human being and delivers the best line, a bit of not-so-noble throwaway humor.
The handsomely appointed production boasts outstanding work from production designer Bruno Rubeo, costumer Lizzy Gardiner and director of photography Peter Menzies Jr. The latter makes evocative use of backlit images and a desaturated palette of greens and golds in his widescreen camerawork in Queensland, Australia, and Shanghai (subbing for Manila). Even with so much riches on the screen, the raid itself arrives with the requisite explosions but little dramatic payoff. The film closes with period footage of people involved in the raid, which serves only to underscore the lack of emotional resonance in the preceding dramatization.
THE GREAT RAID
Miramax Films
A Marty Katz production in association with Lawrence Bender Prods.
Credits:
Director: John Dahl
Screenwriters: Carlo Bernard, Doug Miro
Producers: Marty Katz, Lawrence Bender
Executive producers: Bob Weinstein, Harvey Weinstein, Jonathan Gordon, Michelle Raimo
Director of photography: Peter Menzies Jr.
Production designer: Bruno Rubeo
Music: Trevor Rabin
Co-producer: Anthony Winley
Costume designer: Lizzy Gardiner
Editors: Pietro Scalia, Scott Chestnut
Cast:
Col. Henry Mucci: Benjamin Bratt
Capt. Robert Prince: James Franco
Margaret Utinsky: Connie Nielsen
Maj. Redding: Marton Csokas
Maj. Gibson: Joseph Fiennes
Capt. Pajota: Cesar Montano
MPAA rating R
Running time -- 133 minutes...
Even audiences predisposed to sagas of American valor or nostalgic for the good old days of unswerving wartime coalitions will find little here beyond the retro patina to grab their attention. As Miramax empties its Weinstein-era vaults, this $80 million feature, which began production in 2002, looks unlikely to execute a successful boxoffice raid.
"Inspired by true events" and based on two books -- William Breuer's "The Great Raid on Cabanatuan" and Hampton Sides' "Ghost Soldiers" -- the film's action unfolds in the Japanese-occupied Philippines during the last five days of January 1945. Under the command of the inscrutable Col. Henry Mucci (Benjamin Bratt), the 6th Army Ranger Battalion sets out to free more than 500 American POWs from imminent death at the Cabanatuan camp. Calling his Rangers the best-trained, least-proven men in the U.S. armed forces, Mucci adopts a daring, detailed plan devised by the bookish young Capt. Robert Prince (James Franco).
The risky operation, which has no significance to the war effort, is all about idealism. But the underdeveloped script by first-timers Carlo Bernard and Doug Miro substitutes stoic noble types for full-blooded individuals and history lesson for drama. Franco's Prince is just one of the story's barely differentiated team players: decent, loyal and impassive.
The Americans team up with a group of Philippine resistance fighters led by Capt. Pajota (Cesar Montano), eager to prove their worth as more than mere backup. In Cabanatuan, malaria-stricken Maj. Gibson (Joseph Fiennes) tries to salvage the morale of his starving troops, whose three years of postsurrender captivity have left them feeling abandoned and doomed while all eyes were on Europe. Keeping Gibson going, besides his reckless friend Major Redding (Marton Csokas), is his chaste love for Army widow Margaret (Connie Nielsen). A statuesque, heroic beauty, she smuggles black-market meds into the camp through the underground in Manila.
"Raid" opens with almost five minutes of background exposition, but apparently the intention was not to clear the way for character-driven storytelling. Characters mouth factoids throughout the two-hour-plus film, and neither the cast nor helmer John Dahl, who has shown a deft hand with mood and character in such films as "Red Rock West" and "The Last Seduction", gives the audience much to care about. Kiwi actor Csokas (who has a leading role in Paramount Classics' "Asylum", also opening Aug. 12), comes closest to suggesting a complex human being and delivers the best line, a bit of not-so-noble throwaway humor.
The handsomely appointed production boasts outstanding work from production designer Bruno Rubeo, costumer Lizzy Gardiner and director of photography Peter Menzies Jr. The latter makes evocative use of backlit images and a desaturated palette of greens and golds in his widescreen camerawork in Queensland, Australia, and Shanghai (subbing for Manila). Even with so much riches on the screen, the raid itself arrives with the requisite explosions but little dramatic payoff. The film closes with period footage of people involved in the raid, which serves only to underscore the lack of emotional resonance in the preceding dramatization.
THE GREAT RAID
Miramax Films
A Marty Katz production in association with Lawrence Bender Prods.
Credits:
Director: John Dahl
Screenwriters: Carlo Bernard, Doug Miro
Producers: Marty Katz, Lawrence Bender
Executive producers: Bob Weinstein, Harvey Weinstein, Jonathan Gordon, Michelle Raimo
Director of photography: Peter Menzies Jr.
Production designer: Bruno Rubeo
Music: Trevor Rabin
Co-producer: Anthony Winley
Costume designer: Lizzy Gardiner
Editors: Pietro Scalia, Scott Chestnut
Cast:
Col. Henry Mucci: Benjamin Bratt
Capt. Robert Prince: James Franco
Margaret Utinsky: Connie Nielsen
Maj. Redding: Marton Csokas
Maj. Gibson: Joseph Fiennes
Capt. Pajota: Cesar Montano
MPAA rating R
Running time -- 133 minutes...
- 8/25/2005
- The Hollywood Reporter - Movie News
Always negotiating to keep one's interest but too often getting bogged down in hit-or-miss subplots, director Taylor Hackford's supernatural drama starring Al Pacino and Keanu Reeves is a classy scare, but it takes too long to get to the devilish core of the matter.
The Warner Bros. release produced by Arnon Milchan, Arnold Kopelson and Anne Kopelson ought to open well and travel far. "The Devil's Advocate" has sex, blood and Pacino, whose gleefully bombastic performance is the film's one major success story.
Reeves, playing a Florida legal superstar lured to the big city to work for the firm of mighty John Milton (Pacino), is another matter. Smart but vain, Reeves' character is fairly bland, and the actor, apart from looking like a million bucks, is not involving for long stretches.
Based on the novel by Andrew Neiderman and written for the screen by Jonathan Lemkin and Tony Gilroy, "Devil's Advocate" is an old tale set in the luxurious world of the rich, with young rookie Kevin Reeves) and playful young wife Mary Ann (Charlize Theron) settling into a new life with relative ease.
We learn in early scenes that Kevin is not above terrorizing a sexually abused teenage girl to win acquittal for a guilty client or defending a scary denizen of the lower depths accused of animal cruelty. Living in Milton's swank building, Kevin wins points with his subway-riding boss, but the wife at home starts to go batty.
With Pacino in creepy makeup that makes him look just a bit like Bela Lugosi, one is clued in early on that Kevin is working for a unique boss. The lad's seriously religious mother (Judith Ivey) gets bad vibes and warns that Theron's depressed and lonely character needs his attention. In an important scene, Kevin makes love to Mary Ann and goes into a lustful craze when she turns into the flirtatious co-worker (Connie Nielsen) he's made eye contact with several times.
Meanwhile, always probing, always joking, Milton orders Kevin to take the case of a well-known businessman (Craig T. Nelson) accused of murdering his family. Kevin works hard and bonds with Milton's cheerful lieutenant (Jeffrey Jones), but events soon spiral into a round of revelations and dire consequences.
While Reeves and Theron's characters go through the tortures of the damned and hold up well enough, Pacino is firmly in command, brushing aside all who get in his way of making Satan the Super Lawyer one of his most crowd-pleasing characters. Sometimes he's too funny, and one is distracted. Similarly, Hackford has to conjure up one too many minor frights to keep the audience on edge.
Befitting the head of a firm that represents countries and the world's richest scumbags, Milton's sinister private abode is the sight of the thunderous finale, in which Pacino lets loose in a tirade that's worthy of an ovation. Alas, the movie's pyrotechnics are also cranked up at this point, but the payoff is worth it.
From Bruno Rubeo's production design and Andrzej Bartkowiak's wide-screen imagery to Rick Baker's scary demons and Judianna Makovsky's costumes, "Devil's Advocate" is handsomely mounted.
THE DEVIL'S ADVOCATE
Warner Bros.
In association with Regency Enterprises
A Kopelson Entertainment production
A Taylor Hackford film
Director Taylor Hackford
Producers Arnon Milchan, Arnold Kopelson,
Anne Kopelson
Screenwriters Jonathan Lemkin, Tony Gilroy
Based on the novel by Andrew Neiderman
Executive producers Taylor Hackford,
Michael Tadross, Erwin Stoff, Barry Bernardi, Steve White
Director of photography Andrzej Bartkowiak
Production designer Bruno Rubeo
Editor Mark Warner
Music James Newton Howard
Demons designed and created by Rick Baker
Visual effects designer Richard Greenberg
Costume designer Judianna Makovsky
Casting Nancy Klopper, Mary Colquhoun
Color/stereo
Cast:
Kevin Lomax Keanu Reeves
John Milton Al Pacino
Mary Ann Lomax Charlize Theron
Eddie Barzoon Jeffrey Jones
Mrs. Lomax Judith Ivey
Christabella Connie Nielsen
Alexander Cullen Craig T. Nelson
Running time -- 149 mintues
MPAA rating: R...
The Warner Bros. release produced by Arnon Milchan, Arnold Kopelson and Anne Kopelson ought to open well and travel far. "The Devil's Advocate" has sex, blood and Pacino, whose gleefully bombastic performance is the film's one major success story.
Reeves, playing a Florida legal superstar lured to the big city to work for the firm of mighty John Milton (Pacino), is another matter. Smart but vain, Reeves' character is fairly bland, and the actor, apart from looking like a million bucks, is not involving for long stretches.
Based on the novel by Andrew Neiderman and written for the screen by Jonathan Lemkin and Tony Gilroy, "Devil's Advocate" is an old tale set in the luxurious world of the rich, with young rookie Kevin Reeves) and playful young wife Mary Ann (Charlize Theron) settling into a new life with relative ease.
We learn in early scenes that Kevin is not above terrorizing a sexually abused teenage girl to win acquittal for a guilty client or defending a scary denizen of the lower depths accused of animal cruelty. Living in Milton's swank building, Kevin wins points with his subway-riding boss, but the wife at home starts to go batty.
With Pacino in creepy makeup that makes him look just a bit like Bela Lugosi, one is clued in early on that Kevin is working for a unique boss. The lad's seriously religious mother (Judith Ivey) gets bad vibes and warns that Theron's depressed and lonely character needs his attention. In an important scene, Kevin makes love to Mary Ann and goes into a lustful craze when she turns into the flirtatious co-worker (Connie Nielsen) he's made eye contact with several times.
Meanwhile, always probing, always joking, Milton orders Kevin to take the case of a well-known businessman (Craig T. Nelson) accused of murdering his family. Kevin works hard and bonds with Milton's cheerful lieutenant (Jeffrey Jones), but events soon spiral into a round of revelations and dire consequences.
While Reeves and Theron's characters go through the tortures of the damned and hold up well enough, Pacino is firmly in command, brushing aside all who get in his way of making Satan the Super Lawyer one of his most crowd-pleasing characters. Sometimes he's too funny, and one is distracted. Similarly, Hackford has to conjure up one too many minor frights to keep the audience on edge.
Befitting the head of a firm that represents countries and the world's richest scumbags, Milton's sinister private abode is the sight of the thunderous finale, in which Pacino lets loose in a tirade that's worthy of an ovation. Alas, the movie's pyrotechnics are also cranked up at this point, but the payoff is worth it.
From Bruno Rubeo's production design and Andrzej Bartkowiak's wide-screen imagery to Rick Baker's scary demons and Judianna Makovsky's costumes, "Devil's Advocate" is handsomely mounted.
THE DEVIL'S ADVOCATE
Warner Bros.
In association with Regency Enterprises
A Kopelson Entertainment production
A Taylor Hackford film
Director Taylor Hackford
Producers Arnon Milchan, Arnold Kopelson,
Anne Kopelson
Screenwriters Jonathan Lemkin, Tony Gilroy
Based on the novel by Andrew Neiderman
Executive producers Taylor Hackford,
Michael Tadross, Erwin Stoff, Barry Bernardi, Steve White
Director of photography Andrzej Bartkowiak
Production designer Bruno Rubeo
Editor Mark Warner
Music James Newton Howard
Demons designed and created by Rick Baker
Visual effects designer Richard Greenberg
Costume designer Judianna Makovsky
Casting Nancy Klopper, Mary Colquhoun
Color/stereo
Cast:
Kevin Lomax Keanu Reeves
John Milton Al Pacino
Mary Ann Lomax Charlize Theron
Eddie Barzoon Jeffrey Jones
Mrs. Lomax Judith Ivey
Christabella Connie Nielsen
Alexander Cullen Craig T. Nelson
Running time -- 149 mintues
MPAA rating: R...
- 10/10/1997
- The Hollywood Reporter - Movie News
It's akin to going to a family reunion and seeing people you haven't had contact with in 15 years and then filling in all the new boyfriends, kids and others. That's the feeling of "The Evening Star", the second coming of Aurora Greenway, whose life and tribulations captivated us in "Terms of Endearment".
With Shirley MacLaine reprising her Oscar-winning role to prickly perfection, this follow-up film will surely tug at the hearts of Aurora followers, but its episodic nature is not as likely to enthrall audiences as its heart-tugging predecessor. Unquestionably, this "Star" will shine brightest among an older, female audience who will savor Aurora's life adventures, but lacking the big emotional burst of the former, this soap-operatic sequel is not likely to negotiate "Term"'s popularity. More discerning viewers will be downright rankled by its strident tendencies toward emotional melodramatics.
Unlike the daily soaps, you can't pick this one up quite lickety-split. It takes awhile to learn the players. As you already know, Aurora's daughter (Debra Winger) has passed on with cancer, and what you perhaps didn't realize is that Aurora has raised her grandchildren, with decidedly mixed results.
"Terms of Endearment"'s mother-daughter rivalry is now a grandmother-granddaughter tug of war as Aurora struggles to keep her feisty granddaughter, Melanie (Juliette Lewis) from "doing everything wrong in life."
Then there are her grandsons: Teddy (Mackenzie Astin) who's not ambitious enough for Aurora, and Tommy (George Newbern) who, break her heart, is doing time in the penitentiary. Even Aurora's imperturbable front cannot mask the deep disappointment she feels in how her grandkids turned out.
Even worse, they resent her for it, especially Melanie, who has a much tighter bond with her mother's old chum, Patsy (Miranda Richardson) who, as a blond nouveau rich socialite, is everything that Aurora despises and is, as she readily admits, her worst nightmare.
Force of nature that she is, Aurora leaves everything in her wake: bad blood, broken hearts, big grudges, but, best of all, undying love. While some of the story's plot permutations fry a bit fast and are served somewhat slick-side up, screenwriter-director Robert Harling has done an overall solid job of cinematically shaping Larry McMurtry's massive, rambling novel.
Despite some crammed dramatics, "The Evening Star" radiates with many rich emotional moments. And, most of them, fittingly, are the result of Shirley MacLaine's splendid performance as the indomitable Aurora. She's the force to which all others react and, indeed, the drive of MacLaine's performance and personality has undoubtedly kindled the supporting players to their fullest dimension.
Supporting standouts include Lewis as Aurora's brittle and confused but resilient granddaughter; and Richardson who as the still-blond Texas socialite Patsy, is, indeed, a thorny yellow rose. A tip of the brim also to the late Ben Johnson for his solid-rock performance as Aurora's physician neighbor and to Donald Moffat for his spit-and-polish panache as Aurora's old-military ex-beau. Tooling into town for a quickie NASA reunion, Jack Nicholson briefly flashes the devilish grin that continues to defy all of Aurora's better sense and good judgment.
The outstanding technical contributions certainly put the eyes of Texas upon you: Bruno Rubeo's production design sharply delineates the contradictions between down-home Texas and modern-day Houston, similarly, Renee Ehrlich Kalfus' costume design captures the ground-level garishness of Texas garb. A particular highlight is Aurora's costumery, frilly and light-colored as befits a woman whose star will never quietly fade into the night.
THE EVENING STAR
Paramount Pictures
Rysher Entertainment
A David Kirkpatrick production
Producers David Kirkpatrick, Polly Platt,
Keith Samples
Screenwriter-director Robert Harling
Based on the novel by Larry McMurtry
Director of photography Don Burgess
Production designer Bruno Rubeo
Editors Priscilla Nedd-Friendly, David Moritz
Costume designer Renee Ehrlich Kalfus
Music William Ross
Co-producer Dennis Bishop
Casting Jennifer Shull
Sound mixer Douglas Axtell
Color/stereo
Cast:
Aurora Greenway Shirley MacLaine
Jerry Bruckner Bill Paxton
Melanie Horton Juliette Lewis
Patsy Carpenter Miranda Richardson
Arthur Cotton Ben Johnson
Bruce Scott Wolf
Tommy Horton George Newbern
Rosie Dunlop Marion Ross
Teddy Horton Mackenzie Astin
Hector Scott Donald Moffat
Jane China Kantner
Garrett Breedlove Jack Nicholson
Running time -- 127 minutes
MPAA rating: PG-13...
With Shirley MacLaine reprising her Oscar-winning role to prickly perfection, this follow-up film will surely tug at the hearts of Aurora followers, but its episodic nature is not as likely to enthrall audiences as its heart-tugging predecessor. Unquestionably, this "Star" will shine brightest among an older, female audience who will savor Aurora's life adventures, but lacking the big emotional burst of the former, this soap-operatic sequel is not likely to negotiate "Term"'s popularity. More discerning viewers will be downright rankled by its strident tendencies toward emotional melodramatics.
Unlike the daily soaps, you can't pick this one up quite lickety-split. It takes awhile to learn the players. As you already know, Aurora's daughter (Debra Winger) has passed on with cancer, and what you perhaps didn't realize is that Aurora has raised her grandchildren, with decidedly mixed results.
"Terms of Endearment"'s mother-daughter rivalry is now a grandmother-granddaughter tug of war as Aurora struggles to keep her feisty granddaughter, Melanie (Juliette Lewis) from "doing everything wrong in life."
Then there are her grandsons: Teddy (Mackenzie Astin) who's not ambitious enough for Aurora, and Tommy (George Newbern) who, break her heart, is doing time in the penitentiary. Even Aurora's imperturbable front cannot mask the deep disappointment she feels in how her grandkids turned out.
Even worse, they resent her for it, especially Melanie, who has a much tighter bond with her mother's old chum, Patsy (Miranda Richardson) who, as a blond nouveau rich socialite, is everything that Aurora despises and is, as she readily admits, her worst nightmare.
Force of nature that she is, Aurora leaves everything in her wake: bad blood, broken hearts, big grudges, but, best of all, undying love. While some of the story's plot permutations fry a bit fast and are served somewhat slick-side up, screenwriter-director Robert Harling has done an overall solid job of cinematically shaping Larry McMurtry's massive, rambling novel.
Despite some crammed dramatics, "The Evening Star" radiates with many rich emotional moments. And, most of them, fittingly, are the result of Shirley MacLaine's splendid performance as the indomitable Aurora. She's the force to which all others react and, indeed, the drive of MacLaine's performance and personality has undoubtedly kindled the supporting players to their fullest dimension.
Supporting standouts include Lewis as Aurora's brittle and confused but resilient granddaughter; and Richardson who as the still-blond Texas socialite Patsy, is, indeed, a thorny yellow rose. A tip of the brim also to the late Ben Johnson for his solid-rock performance as Aurora's physician neighbor and to Donald Moffat for his spit-and-polish panache as Aurora's old-military ex-beau. Tooling into town for a quickie NASA reunion, Jack Nicholson briefly flashes the devilish grin that continues to defy all of Aurora's better sense and good judgment.
The outstanding technical contributions certainly put the eyes of Texas upon you: Bruno Rubeo's production design sharply delineates the contradictions between down-home Texas and modern-day Houston, similarly, Renee Ehrlich Kalfus' costume design captures the ground-level garishness of Texas garb. A particular highlight is Aurora's costumery, frilly and light-colored as befits a woman whose star will never quietly fade into the night.
THE EVENING STAR
Paramount Pictures
Rysher Entertainment
A David Kirkpatrick production
Producers David Kirkpatrick, Polly Platt,
Keith Samples
Screenwriter-director Robert Harling
Based on the novel by Larry McMurtry
Director of photography Don Burgess
Production designer Bruno Rubeo
Editors Priscilla Nedd-Friendly, David Moritz
Costume designer Renee Ehrlich Kalfus
Music William Ross
Co-producer Dennis Bishop
Casting Jennifer Shull
Sound mixer Douglas Axtell
Color/stereo
Cast:
Aurora Greenway Shirley MacLaine
Jerry Bruckner Bill Paxton
Melanie Horton Juliette Lewis
Patsy Carpenter Miranda Richardson
Arthur Cotton Ben Johnson
Bruce Scott Wolf
Tommy Horton George Newbern
Rosie Dunlop Marion Ross
Teddy Horton Mackenzie Astin
Hector Scott Donald Moffat
Jane China Kantner
Garrett Breedlove Jack Nicholson
Running time -- 127 minutes
MPAA rating: PG-13...
- 12/17/1996
- The Hollywood Reporter - Movie News
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