IMDb > Fat City (1972)
Fat City
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Fat City (1972) More at IMDbPro »

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Overview

User Rating:
7.5/10   4,076 votes »
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Up 13% in popularity this week. See why on IMDbPro.
Director:
Writers:
Leonard Gardner (screenplay)
Leonard Gardner (novel)
Contact:
View company contact information for Fat City on IMDbPro.
Release Date:
26 July 1972 (USA) See more »
Genre:
Plot:
Two men, working as professional boxers, come to blows when their careers each begin to take opposite momentum. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for Oscar. Another 3 wins See more »
NewsDesk:
(67 articles)
User Reviews:
"Just when you get rolling, your life makes a beeline for the drain." See more (46 total) »

Cast

  (in credits order) (verified as complete)

Stacy Keach ... Tully

Jeff Bridges ... Ernie

Susan Tyrrell ... Oma

Candy Clark ... Faye

Nicholas Colasanto ... Ruben
Art Aragon ... Babe
Curtis Cokes ... Earl
Sixto Rodriguez ... Lucero
Billy Walker ... Wes
Wayne Mahan ... Buford
Ruben Navarro ... Fuentes
rest of cast listed alphabetically:
Álvaro López ... Rosales (uncredited)
Carl D. Parker ... Paymaster (uncredited)
Al Silvani ... Referee at Tully-Lucero Fight (uncredited)
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Directed by
John Huston 
 
Writing credits
Leonard Gardner (screenplay)

Leonard Gardner (novel "Fat City")

Produced by
David Dworski .... associate producer
John Huston .... producer
Ray Stark .... producer
 
Cinematography by
Conrad L. Hall  (as Conrad Hall)
 
Film Editing by
Walter Thompson 
 
Casting by
Fred Roos 
Jennifer Shull 
 
Production Design by
Richard Sylbert 
 
Set Decoration by
Morris Hoffman 
 
Costume Design by
Dorothy Jeakins 
 
Makeup Department
Virginia Jones .... hair stylist
Jack H. Young .... makeup artist (as Jack Young)
 
Production Management
Russell Saunders .... unit production manager (as Russ Saunders)
 
Second Unit Director or Assistant Director
Russell Saunders .... assistant director (as Russ Saunders)
Terry Carr .... second assistant director (uncredited)
Al Silvani .... second assistant director (uncredited)
 
Art Department
Richard M. Rubin .... property master
Charles Gay .... leadman (uncredited)
Bob Lawless .... painter (uncredited)
George Luxemberg .... props (uncredited)
Bill Parks .... construction coordinator (uncredited)
Hank Stonecipher .... construction coordinator (uncredited)
 
Sound Department
Tom Overton .... sound
Arthur Piantadosi .... sound
Dennis Jones .... boom operator (uncredited)
 
Special Effects by
Paul Stewart .... special effects
 
Stunts
Nick Bullom .... stunts (uncredited)
Rachel Schedler .... stunts (uncredited)
 
Camera and Electrical Department
Howard Boyles .... grip (uncredited)
James Dean .... grip (uncredited)
Thomas Del Ruth .... assistant camera (uncredited)
Jack Gereghty .... still photographer (uncredited)
Danny Gordon .... grip (uncredited)
Keith McClintock .... electrician (uncredited)
Richard Moore .... additional photographer (uncredited)
Martin Rhode .... camera assistant (uncredited)
Larry Ricketts .... best boy (uncredited)
Larry Stott .... electrician (uncredited)
Harry Sundby .... gaffer (uncredited)
Don Vervase .... camera operator (uncredited)
 
Costume and Wardrobe Department
John A. Anderson .... wardrobe (uncredited)
 
Editorial Department
Margaret Booth .... supervising editor
Abe Lincoln Jr. .... assistant editor (uncredited)
 
Music Department
Kenneth Hall .... music editor (as Ken Hall)
Marvin Hamlisch .... music supervisor
 
Transportation Department
Robert Fish .... driver: Hollywood (uncredited)
Robert Fish .... driver: honeywagon (uncredited)
Vern Jacobs .... driver: generator (uncredited)
Vern Jacobs .... driver: trailer (uncredited)
Vern Jacobs .... transportation gaffer (uncredited)
Duke Robbins .... driver: Hollywood (uncredited)
Duke Robbins .... driver: mobile equipment truck (uncredited)
 
Other crew
Wayne Fitzgerald .... title designer
Gladys Hill .... assistant: John Huston
Marshall Schlom .... script supervisor
Denny Shanahan .... unit publicist
Art 'Klondike' Jones .... craft serviceman (uncredited)
Vince Martinez .... auditor (uncredited)
Lorry McCauley .... secretary to producer (uncredited)
Chuck Mierkey .... police contact (uncredited)
Edwin Perlstein .... business affairs (uncredited)
Al Silvani .... fight consultant (uncredited)
Brad Siniard .... first aid (uncredited)
Bob Wood .... location manager (uncredited)
Bob Ziegler .... location manager (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
100 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
Film debut of Candy Clark.See more »
Goofs:
Continuity: When Oma proposes a toast to Tully at the bar, suddenly she's holding a lighted cigarette, which vanishes again in the next shot.See more »
Quotes:
Tully:[first lines]
Tully:Hey kid. You want to spar a little?
See more »
Movie Connections:
Referenced in My Brother and I (1998)See more »
Soundtrack:
Help Me Make It Through the NightSee more »

FAQ

This FAQ is empty. Add the first question.
14 out of 15 people found the following review useful.
"Just when you get rolling, your life makes a beeline for the drain.", 18 April 2010
Author: chaos-rampant from Greece

John Huston is amazing to me. He defined an entire genre with his foot barely in the Hollywood door, then he kicked the door down and walked in to clear well deserved Oscars as both writer and director, he took his Oscars with him to Africa to get hammered with Erol Flynn and go out on safaris leaving behind him a big production to go to hell, then came back to find they had nailed a new door in place of the one he had torn down so he didn't bother to knock at all this time, he packed his things and went to a small dingy bar where Mexicans and barflies go to kill their time to make movies about killing time, movies about misfits and people who are dead inside, movies like Fat City and Under the Volcano, to adapt Flannery O'Connor and James Joyce, to soar above and beyond what anyone might have expected from any director of his generation. It's 1972 and John Huston is still relevant as ever. How many directors can you name who turned out some of their best material in their fifth decade directing movies? Venerable relics like Clint Eastwood move over, American cinema (not simply Hollywood) already had a patriarch in place long before any of you looked through a viewfinder.

It's also amazing to me how an indomitable absolute badass of a successful director can know failure so well. This is a movie where people box but it's not about boxing. There's no triumph to be had here and the crowd gathered in the small suburban boxing hall in Stockton, California, to pass their time is not there to be pleased. Most of them are probably the same kind of deadbeat with no future and a sh-tty job as the third-grade boxers who beat each other for their amusement. We get the young upstart boxer with the fast legs and a bright future ahead of him if only someone could train him right but this character can only make sense when we see him standing next to Stacy Keach, the aging boxer who won't see thirty again and who maybe had a chance once but blew it for women and alcohol and now he's desperate for one last throw of the dice.

The sad beauty of Fat City is that we're not looking at some kind of last defiant stand, we don't enter the ring for one last moment of triumph with the lights blaring bright and the crowd cheering, this is not The Wrestler anymore than it is Rocky, the lights were not only dimmed long ago but they probably never shone bright enough anywhere except in the protagonist's head. The closest Stacy Keach came to glory some odd 10 years ago was in itself a failure. Were his eyebrows slashed with a razor or not that fateful night down in Mexico we never find out. For most of its duration Fat City is a beaten man with sunken cheeks and a grim unshaven wan face wearing an expression of incredulous outrage.

Then we're inside a rundown cafe, the walls are painted in sickly washed-out colors and old men play cards around tables in felt, and we sit down for one last cup of coffee on the cheap formica counter. We see the young boxer standing next to the washed-up has-been one who can't even be a mentor anymore and an old man, a walking shell of someone "who was maybe young once", comes over to serve us and it all makes sense. "Maybe he's happy" says the young one. "Maybe we all are" says the other, and we know we're not, life doesn't quite work out that way, but it's all we have. The old man turns and smiles a toothless smile (senile or knowing, who's to say) and Fat City fades out into one of the most touching heartfelt endings I've seen. Fatalists cannot afford to miss this one, it's the stuff dashed hopes and broken lives are made of. Rejoice.

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reminds me a little of barfly teejay6682
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