IMDb > Diner (1982)
Diner
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Diner (1982) More at IMDbPro »

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Overview

User Rating:
7.2/10   12,723 votes »
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Down 6% in popularity this week. See why on IMDbPro.
Director:
Writer:
Barry Levinson (written by)
Contact:
View company contact information for Diner on IMDbPro.
Release Date:
5 March 1982 (USA) See more »
Genre:
Tagline:
Suddenly, life was more than french fries, gravy and girls. See more »
Plot:
A group of college-age buddies struggle with their imminent passage into adulthood in 1959 Baltimore. Full summary » | Add synopsis »
Awards:
Nominated for Oscar. Another 5 wins & 2 nominations See more »
User Reviews:
Strong dialogue and believable characters taking precedence over stupid action and obnoxious caricatures. See more (84 total) »

Cast

  (in credits order) (verified as complete)

Steve Guttenberg ... Edward 'Eddie' Simmons

Daniel Stern ... Laurence 'Shrevie' Schreiber

Mickey Rourke ... Robert 'Boogie' Sheftell

Kevin Bacon ... Timothy Fenwick Jr.

Tim Daly ... William 'Billy' Howard (as Timothy Daly)

Ellen Barkin ... Beth Schreiber

Paul Reiser ... Modell
Kathryn Dowling ... Barbara
Michael Tucker ... Bagel
Jessica James ... Mrs. Simmons
Colette Blonigan ... Carol Heathrow
Kelle Kipp ... Diane
John Aquino ... Tank
Richard Pierson ... David Frazer
Claudia Cron ... Jane Chisholm
Tait Ruppert ... Methan

Tom Tammi ... Howard Fenwick (as Tom V.V. Tammi)
Pam Gail ... First Stripper
Lauren Zaganas ... Second Stripper
Sharon Ziman ... Elyse
Mark Margolis ... Earl Mager
Ralph Tabakin ... TV Customer
Frank Stoegerer ... TV Director
Nat Benchley ... Technical Director
Frank Hennessy ... Audio Man
Marvin Hunter ... Newscaster
Steve Smith ... Announcer
Lee Case ... Mr. Howard - Billy's Father
Clement Fowler ... Mr. Simmons - Eddie's Father
Howard Silverman ... Clothing Hustler (as Howard 'Chip' Silverman)
Ted Bafaloukos ... George
Barney Cohen ... Knocko
Bruce Kluger ... Guy at Pool Hall
Bruce Elliott ... Soap Opera Man (as Bruce Elliot)
Carole Copeland ... Soap Opera Woman
Aryeh Cooperstock ... Rabbi
Brian Costantini ... Drunk at Wedding
Lorraine D. Glick ... Woman at Wedding
Florence Moody ... Waitress (as Florence L. Moody)
Mary Lou Vukov ... Waitress
Alan Kaplan ... Bagel's Friend
Donald Saiontz ... Bagel's Friend
Chief Gordon ... Man in Jail
Beverly Sheehan ... Beautician
Dusty Clare ... Salon Woman
rest of cast listed alphabetically:
Allison Caine ... Additional Voice (voice) (uncredited)
Herb Levinson ... The Emerson Black & White Console Televison Customer (uncredited)
Nicole Marshall ... Wall-flower in opening dance scene. (uncredited)

Todd Stockman ... (uncredited)
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Directed by
Barry Levinson 
 
Writing credits
Barry Levinson (written by)

Produced by
Mark Johnson .... executive producer
Jerry Weintraub .... producer
 
Original Music by
Bruce Brody 
Ivan Král 
 
Cinematography by
Peter Sova 
 
Film Editing by
Stu Linder 
 
Casting by
Ellen Chenoweth 
 
Art Direction by
Leon Harris 
 
Set Decoration by
R. Chris Westlund 
 
Costume Design by
Gloria Gresham 
 
Makeup Department
Irving Buchman .... makeup artist
Christine George .... hair stylist
 
Production Management
Ken Swor .... unit production manager
 
Second Unit Director or Assistant Director
D. Scott Easton .... first assistant director
Win Phelps .... first assistant director
Robert Rooy .... second assistant director
 
Art Department
Larry Clark Bird .... property master (as Larry Bird)
Steven Franciotti .... construction coordinator
Bill Gay .... lead man (as Billy Gay)
Vinnie Vecchio .... property master
Ken Zimmerman .... assistant property master
 
Sound Department
Gary Alexander .... sound re-recording mixer
Ken Dufva .... foley artist
Paul Hochman .... sound editor
Chris Jenkins .... sound re-recording mixer
C. Darin Knight .... sound mixer (as Darin Knight)
Larry Stensvold .... sound re-recording mixer
Charles J. Bond .... sound (uncredited)
Dan Yale .... sound effects editor (uncredited)
 
Special Effects by
Charles Schulthies .... special effects (as Charles R. Schulthies)
 
Camera and Electrical Department
George Berrios .... assistant camera
Catharine Bushnell .... still photographer
Ted Churchill .... camera operator
Richard Falk .... lighting consultant (as Richard Falk Sr.)
John M. Gilgar .... gaffer
Donald Sweeney .... camera operator (as Don Sweeney)
Tom Weston .... assistant camera
Ted Churchill .... Steadicam operator (uncredited)
 
Costume and Wardrobe Department
Deahdra Scarano .... costumer: women
G. Tony Scarano .... costumer: men (as Tony Scarano)
Mary E. Vogt .... assistant costume designer (as Mary Vogt)
 
Editorial Department
Andy Blumenthal .... assistant editor
 
Music Department
Harry V. Lojewski .... music supervisor
Joe Tuley .... music editor
 
Transportation Department
Mike Padovich .... transportation coordinator
 
Other crew
Ted Bafaloukos .... creative consultant
Paul Gongaware .... production assistant
Nancy Hackerman .... location manager
Leanne Moore .... assistant to production accountant
Susan Moore .... assistant to producer
Betsy Norton .... script supervisor
Judith Rheiner .... publicist
Bob Roe .... production assistant (as Robert Roe)
Paul Roedl .... production accountant
Gene Rudolf .... visual consultant
Bill Sanders .... production assistant
Anna Zappia .... production office coordinator
Alan Jacques .... projectionist (uncredited)
Kevin King .... payroll accountant (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
Runtime:
110 min
Country:
Language:
Color:
Color (Metrocolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:
Filming Locations:

Did You Know?

Trivia:
While many have speculated about which character actually represented Barry Levinson himself, the answer is none according to director Barry Levinson. Levinson says that each of the main characters represent a small part of his youth. Though of the five guy characters, it has been speculated by some of the actors who played them, that the character most resembling Levinson was William "Billy" Howard (Tim Daly).See more »
Goofs:
Anachronisms: The movie ends 1st January 1960, however at some point before that we hear "Beyond the sea" by Bobby Darin. The song wasn't released until later in 1960.See more »
Quotes:
Timothy Fenwick, Jr.:Do you ever get the feeling that there's something going on that we don't know about?See more »
Movie Connections:
Soundtrack:
Whole Lotta LovingSee more »

FAQ

This FAQ is empty. Add the first question.
31 out of 40 people found the following review useful.
Strong dialogue and believable characters taking precedence over stupid action and obnoxious caricatures., 25 April 2004
Author: MovieAddict2014 from UK

Note: This review has been severely chopped to comply with IMDb's word limit. Full review can be found at wiredonmovies.com

--

"There's not that much of a story, really. What do we do? We drive around. Maybe he's going to get married, maybe not. It's really more about the fact that it's a very honest portrayal of a group...of guys that people relate to on a very personal level."

- Kevin Bacon on the "Diner" DVD interview reel

In the opening scene of Quentin Tarantino's "Reservoir Dogs," a handful of characters debate the true meaning of Madonna's hit song "Like a Virgin." Long before "Reservoir Dogs" (a decade, to be exact), there was Barry Levinson's directorial debut, "Diner," a coming-of-age tale concerning five Baltimore residents in their 20s who try to get past crucial points in their lives. In a similar scene to that in Tarantino's masterpiece, four friends -- played by Steve Guttenberg, Mickey Rourke, Daniel Stern, and Paul Reiser -- argue over which singer produces better make-out music: Mathis or Sinatra? "Presley," says Rourke's character, ending the conversation with blunt confidence. And that's that.

The movie has plentiful rich dialogue, some of it seemingly pointless, most of it subtly touching and meaningful. The film has a lot to say about the difference between friendship and true love. "I love you," one of the characters tells the woman he wants to marry. Fixated on an object behind him, her eyes cold and a grim reflection of deep contemplation, she replies, "You're confusing a friendship with a woman, and love. It's not the same." In a very different sort of way, it tackles the same material as "When Harry Met Sally," but it doesn't stop there.

The film is masterful in its ability to present us with a group of people we sincerely care for, and who all seem very real -- more so than the characters you'll find in most movies. The dialogue was primarily improvised, especially by Paul Reiser, whose debates with fellow pals are the highlights of the film. Even after the truly poignant ending there is a discussion about evolution that plays over the credits. "Did you hear about this evolution stuff?" Reiser asks. He starts to mock the theories which would later become widely considered as truth by scientists, despite lack of actual evidence supporting the theory. Amusing, how the movie has so much to say about so many different things.

"Diner" is a film that connects with us because we can all sympathize with its characters and their inner motivations. Eddie (Guttenberg) is afraid of getting married; Schrezie (Stern) is married and wishes he wasn't; Boogie (Rourke) would like to finally find a girl he could respect; Bill (Timothy Daly) wants to get married to the girl he loves but she doesn't want to. The whole movie appears to be focused on girls, and indeed most of it is, yet there's a lot of other stuff that's even deeper. Fenwick (Bacon) is what Bacon himself described as a "permanently drunk," sick kid who doesn't know what he wants out of life, thrown out of his family and wandering the streets looking for a meaning to his life. He's the character who is so lost he doesn't even seem to care very much about girls.

Prior to "Diner," Levinson was a nobody -- and perhaps that is why his first project is that most in tune with its characters and their natures. The movie was very risky when the studio released it in 1982 -- there was talk of shelving the finished product for fear of losing money. Reluctant, MGM finally released the movie into theaters, but with poor advertising -- it tanked. Yet it received some of the greatest reviews of the year. In an effort to convince MGM, Levinson showed a screening of the movie to critic Pauline Kael, who gave it an exceptional review, as did the majority of critics at that time. On the surface, "Diner" seems rather boring -- it's just a movie about nothing, really, except growing up. Yet it captured the hearts of many, becoming a cult sleeper that still entices new fans to this very day.

It's a film of many integrating mixed genres, each one carefully balanced and perfectly maintained throughout. "Diner" has some of the best dialogue of all time, not to mention a handful of Oscar-worthy performances. This is not Levinson's best but it's one of his most deeply touching projects. It has a lot to say about many things and it actually gets around to addressing them -- which is rare to find in any movie. This is a true gem.

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