IMDb > Atlantic City (1980)
Atlantic City
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Atlantic City (1980) More at IMDbPro »

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Overview

User Rating:
7.4/10   10,086 votes »
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Director:
Writer:
John Guare (written by)
Contact:
View company contact information for Atlantic City on IMDbPro.
Release Date:
3 April 1981 (USA) See more »
Genre:
Tagline:
She made him become what he always wanted to be - a lover, a hero, a rich man...and a killer! See more »
Plot:
Dreams. Becoming an Atlantic City croupier will help Sally realize her dream of going to Monte Carlo... See more » | Full synopsis »
Awards:
Nominated for 5 Oscars. Another 27 wins & 14 nominations See more »
NewsDesk:
Singer Robert Goulet Dies at 73
 (From WENN. 31 October 2007)

User Reviews:
Rich and strange See more (53 total) »

Cast

  (in credits order) (verified as complete)

Burt Lancaster ... Lou

Susan Sarandon ... Sally

Kate Reid ... Grace

Michel Piccoli ... Joseph
Hollis McLaren ... Chrissie

Robert Joy ... Dave
Al Waxman ... Alfie

Robert Goulet ... Singer
Moses Znaimer ... Felix

Angus MacInnes ... Vinnie
Sean Sullivan ... Buddy

Wallace Shawn ... Waiter (as Wally Shawn)

Harvey Atkin ... Bus Driver
Norma Dell'Agnese ... Jeanne
Louis Del Grande ... Mr. Shapiro
John McCurry ... Fred
Eleanor Beecroft ... Mrs. Reese
Cec Linder ... President of Hospital
Sean McCann ... Detective (as Sean McCaan)
Vincent Glorioso ... Young Doctor
Adèle Chatfield-Taylor ... Florist
Tony Angelo ... Poker Player
Sis Clark ... Toll Booth Operator
Gennaro Consalvo ... Casino Guard
Lawrence McGuire ... Pit Boss
Ann Burns ... Singer in Casino
Marie Burns ... Singer in Casino
Jean Burns ... Singer in Casino
Connie Collins ... Connie Bishop
John Allmond ... Police Commissioner
John J. Burns ... Anchorman (as John Burns)
rest of cast listed alphabetically:

Elias Koteas ... Extra (uncredited)

Directed by
Louis Malle 
 
Writing credits
John Guare (written by)

Produced by
Joseph Beaubien .... executive producer
Gabriel Boustiani .... executive producer (as Gabriel Boustany)
Denis Héroux .... producer (as Denis Heroux)
Justine Héroux .... associate producer (as Justine Heroux)
John Kemeny .... producer
Larry Nesis .... associate producer
Jean-Serge Breton .... associate producer (uncredited)
 
Original Music by
Michel Legrand (music composed and conducted by)
 
Cinematography by
Richard Ciupka (director of photography)
 
Film Editing by
Suzanne Baron 
 
Production Design by
Anne Pritchard 
 
Set Decoration by
Gretchen Rau (uncredited)
 
Costume Design by
François Barbeau  (as Francois Barbeau)
 
Makeup Department
Donna Gliddon .... wig specialist
Rita Ogden .... make-up and hair stylist
 
Production Management
Micheline Garant .... unit manager
Ken Golden .... production manager
Justine Héroux .... production manager (as Justine Heroux)
Carl Zucker .... unit manager
 
Second Unit Director or Assistant Director
John Board .... assistant director
Jim Chory .... second assistant director
John Desormeaux .... assistant director: pre-production
Robert McCart .... second assistant director
Patrick Burns .... second unit director: video sequence (uncredited)
 
Art Department
Jacques Chamberland .... set props
Charles Cirigliano .... carpenter (as Charles Cirgliano)
Wendell Dennis .... set dresser
Marcel Desrochers .... construction manager
Csaba András Kertész .... art department coordinator (as Csaba Kertesz)
Edward L. McMillan .... carpenter
Joe Petruccio Jr. .... carpenter (as Joseph Petruccio Jr.)
Gretchen Rau .... property master
Raymond M. Samitz .... construction manager
Marie-Claude Tetrault .... art department coordinator
Jean-Vincent Fournier .... assistant set props (uncredited)
Alain Giguère .... scenic painter (uncredited)
Michael Hagen .... scenic charge (uncredited)
Dominique Ricard .... graphic artist (uncredited)
Marcel Zalme .... standby painter (uncredited)
 
Sound Department
Jean-Claude Laureux .... sound
Jacques Maumont .... dubbing mixer
Gilles Ortion .... boom operator
 
Stunts
Frank Ferrara .... stunts (uncredited)
 
Camera and Electrical Department
John Berrie .... gaffer
Andy Chmura .... first assistant cameraman
Attila Dory .... still photographer
Jean-Baptiste Dutreix .... camera grip
Larry Lynn .... second assistant cameraman
John Oravetz .... grip
Jacob Rolling .... key grip
 
Casting Department
Venetia Rickerby .... extras casting: Joy Todd Inc.
 
Costume and Wardrobe Department
Carla Froeberg .... assistant wardrobe stylist
Marie-Hélène Gascon .... wardrobe master
Jeff Ullman .... wardrobe stylist (as Jeffrey Ullman)
 
Editorial Department
James Bruce .... editorial apprentice
Federico Salzmann .... assistant editor
 
Music Department
Tony Coe .... musician: reeds (uncredited)
Barry Guy .... musician: acoustic double bass (uncredited)
Roger Kellaway .... musician: electric piano (uncredited)
Paul Lytton .... musician: drums (uncredited)
Evan Parker .... musician: reeds (uncredited)
Howard Riley .... musician: accordion (uncredited)
 
Other crew
Patrick Burns .... video sequence
Jill De Wolfe .... unit publicist (as Jill De Wolfe James)
Pierre Guevremont .... production accountant
France Lachapelle .... continuity
Leonard Luizzi .... teamster captain (as Lenny Luizzi)
Vincent Malle .... production coordinator
Barbara Shrier .... production office coordinator
Robert Wertheimer .... location manager
Luc Bouthillier .... staff accountant (uncredited)
Alan Jacques .... projectionist (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Atlantic City, USA" - Canada (English title)
See more »
Runtime:
104 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Trivia:
Lou orders a Puligny-Montrachet wine at lunch with Sally. The Puligny-Montrachet region of France is acknowledged by many wine experts as the source of world's greatest dry white wines.See more »
Goofs:
Anachronisms: In the beginning of this film we see a shot of a very large hotel being demolished, presumably to make way for the construction of a new hotel and casino. The imploded hotel is the old Traymore hotel one of Atlantic City's largest and most famous pre-casino resorts. The movie portrays the hotel as being demolished in 1979-80 so that it can be replaced with a new hotel/casino, gambling just being legalized in Atlantic City in 1978. However, the Traymore was closed and demolished in 1972 six years before gambling was legalized in AC and seven to eight years before the film was made.See more »
Quotes:
Lou:Yes, it used to be beautiful - what with the rackets, whoring, guns.See more »
Soundtrack:
On the Boardwalk of Atlantic CitySee more »

FAQ

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24 out of 31 people found the following review useful.
Rich and strange, 2 April 2003
Author: Robert J. Maxwell (rmax304823@yahoo.com) from Deming, New Mexico, USA

Louis Malle, his cast, and his location really put this one over. It's well above the routine. Malle knows how to tell a story conventionally, without screaming shock effects or outsize explosions or in-your-face directorial banner headlines. When a pistol is fired, it doesn't boom like dirty Harry's. It simply pops unobtrusively. It all flows along smoothly. And it's aptly titled. The story is as much about Atlantic City as it is about the residents and visitors we meet. It's like a Robert Altman movie except that it has a fascinating narrative that draws us in.

We see the city first. A decrepit faux urban setting whose good days are long in the past. (Woodrow Wilson used to summer nearby.) It was called "the lungs of Philadelphia." It boomed as a summer resort before commercial airlines vulgarized travel and brought Miami and Bermuda within easy temporal reach of the Northeast corridor. The older apartment buildings, the ones with Queen Anne towers, are being demolished, to be replaced by the casinos that everyone assumes will bring prosperity back. (They never did. The money stayed in the casinos or went out of state.) But those sturdy old brick palaces were built to last and the apartments we see are shabby but cozy too. People have made nests in them over the years. The residents have accomodated their existences to the frames of the places they live in. People work in oyster bars, or run numbers in the falling-apart rubbish-strewn black neighborhoods. They can, if they have the money to do so, dine in reasonably good restaurants or stroll on the boardwalks, and we can almost hear the hoofbeats of yesteryear.

What modern Atlantic City is to its brassy past, Burt Lancaster is to his own history. He stalks the streets in his overcoat, wearing the only tie he owns, mutters things about how important he used to be, once having shared a cell with Bugsy Siegal. He used to have to kill people once in a while, he tells a young man confidentially. He always felt bad about it afterward and used to take a long swim in the ocean to feel clean again. "I never saw the Atlantic Ocean until today," says the kid. Lancaster turns around and looks out to sea and waves expansively. "You should of seen the ocean then," he says. "The Atlantic Ocean was really somethin' in them days." His glorious career, it turns out, has about the same epistemological status as that of the city he hasn't been outside of for the past twenty years. The Atlantic Ocean was really somethin' in them days. What a line! And Lancaster handles it well too. He's no Crimson Pirate here, just a quiet older guy with curly white hair trying to make a buck by running errands for small-time hoods, and trying to sell a silver cigarette case, a memento of his past, for "a double sawbuck." He looks exactly right too. Not "old," exactly, but well aged, like a mature burgundy. His generously featured face hasn't drooped with the passage of the years. His eyebrows are dark and set off his surprisingly gentle eyes. He doesn't clip off the terminal contours of his sentences, as he did before. It's a splendid performance.

His performance is matched by that of the other principle actors. There are some quietly amusing episodes between him and the woman he takes care of. (There is also a pretty gruesome lethal stabbing, although without blood.) Only the villains are one-dimensional villains. Susan Sarandon is marvelous as the young oyster-bar employee who wants to become a casino dealer, even if it means putting up with hits from the oily French guy who teaches the fine art of dealing in a school run by the casinos. He smokes with a cigarette holder and sounds like Charles Boyer, the swine. What a fine actress she is. Even here, dressed in threadbare clothes, her skirts around her ankles, wearing clumsy boots, her hair a mop of Scottish red, she fixes a viewer's interest when she's on the screen. She's as vulnerable under those oyster shells as Lancaster is when he discovers he can't protect her from the villains. And the two of them have a tender love scene together, and later a more raucous good time. In the end they go their separate ways -- Lancaster back to his destiny, and Sarandon in search of hers.

The characters in the film bounce around at first, at odds with one another, or simply unaware of the others' presence, but Malle draws them together into a community whose welfare we finally come to care about. It's a fine movie.

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