Ernie Souchak (John Belushi), a tough Chicago reporter, gets a little too close to the Mob, and is assaulted by two crooked police officers sent by a crooked councilman, and ends up in the hospital. To take the heat off of him, his editor sends him to Colorado to investigate an eagle researcher ('Blair Brown'). Sparring partners at first, the pair eventually fall in love, but Souchak must return to Chicago when one of his sources is mysteriously killed. Written by
Ray Hamel <firstname.lastname@example.org>
When they met they heard bells. And that was just round one.
Did You Know?
Because of the Chicago filming logistics and the planned filming at the Universal Studio stages, as well as the Los Angeles location work, Hub Braden, was assigned by Bill DeCinces, Universal Studios' Art Department & Studio Services Manager, to work with Peter Jamison as his art director. (Hub Braden had been the Art Director to resume and finish Peter Jamison's Barbara Streisand-Gene Hackman film "All Night Long" directed by Jean-Claude Tramont. The film had been interrupted by an actor's strike. Jamison was now working on "Continental Divide"). Required to fly to Chicago with the D.P who would second unit-film/direct his crew for process plates outside the train at the tracks and platform area in the Chicago train station. Braden consulted with Peter and both directors, regarding building a duplicate train car exterior and interior compartment and corridors, on stage, for the process plate filming of the train's interior scenes. ( Hub Braden's resume had included designing-art directing the 1979-80 NBC-TV "Super Train" series which had required extensive process plate filming.) Together, Jamison and Braden's discussions included designing the train, designing stage sets to build back at the studio, and locations in Los Angeles. A major penthouse interior set focused their attention because this set required immediate attention related to the film schedule at the studio. Back on the West Coast, plans, elevations and models were prepared and sent to Peter, in Chicago, for his meetings with Michael Apted. A dining room featured a mirrored wall at a restaurant the two had dinner in Chicago; this became a focal novel point in the stage set design. When Linda Spheeris returned to the studio to begin dressing the stage sets, arriving a week earlier than Peter, walking the stage set with Braden, Linda commented "why the room looks exactly like the Architectural Digest Photograph of the Chicago Penthouse that Peter copied! good Job!". Braden's reaction was "why didn't he just tell us to get the issue. They wouldn't of had the design grief putting this set on paper!". The set's dining room mirror wall - were vertical 12 inch wide, floor to ceiling high, beveled mirrors centered on pivot rods. The D.P. just had to slightly angle each panel avoiding seeing a camera and floor lighting equipment. Tricky, but the mirror wall reflected the room, the actors, and the Chicago City Buildings - rear flood-light-Chroma-trans-backings surrounding the penthouse glass window walls. See more
When Souchak rides the Empire Builder back to Wyoming with Nell, the train takes a route the Empire Builder never takes. In the movie, the train goes through Cedar Rapids, Iowa, and then on to Victor, Wyoming, where they get off. The real Empire Builder goes north from Chicago to Milwaukee and then Minneapolis before heading northwest and crossing North Dakota, Montana and Idaho near the Canadian border. It goes nowhere near Iowa or Wyoming. See more
I know what I wrote, I was there when I wrote it.
At the end of the credits, after some mountain shots, there's a sequence of a selection of some of the black-and-white photos of Ernie and/or Nell that Souchak had on his desk. See more
Theme from Continental Divide (Never Say Goodbye)
Music by Michael Small
Lyrics by Carole Bayer Sager
Performed by Helen Reddy
Available on MCA Records
Record Produced by Joel Diamond See more