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One from the Heart (1982)

6.5
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Ratings: 6.5/10 from 3,364 users   Metascore: 57/100
Reviews: 80 user | 52 critic | 6 from Metacritic.com

Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship.... See full summary »

Director:

(as Francis Coppola)

Writers:

(screenplay), (screenplay), 2 more credits »
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Title: One from the Heart (1982)

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Nominated for 1 Oscar. See more awards »

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Edit

Cast

Cast overview, first billed only:
...
Hank
...
Frannie
...
Ray
...
Leila (as Nastassia Kinski)
...
Maggie
...
Moe
...
Restaurant Owner (as Allen Goorwitz)
Jeff Hamlin ...
Airline Ticket Agent
Italia Coppola ...
Couple in Elevator
Carmine Coppola ...
Couple in Elevator
Edward Blackoff ...
Understudy
James Dean ...
Understudy
...
Understudy (as Rebecca de Mornay)
...
Understudy
Cynthia Kania ...
Understudy
Edit

Storyline

Hank and Frannie don't seem to be able to live together anymore. After a five-year relationship, lustful and dreamy Fanny leaves down-to-earth Hank on the anniversary of their relationship. Each one of them meets their dream mate, but as bright as they may seem, they are but a stage of lights and colours. Will true love prevail over a seemingly glamorous passion? Welcome to Coppola's Broadway-like romantic musical. Written by umyde

Plot Summary | Add Synopsis

Taglines:

From the director of The Godfather I & II and Apocalypse Now... a unique vision of love. See more »

Genres:

Musical | Romance

Certificate:

R | See all certifications »

Parents Guide:

 »
Edit

Details

Official Sites:

Country:

Language:

|

Release Date:

6 August 1982 (Sweden)  »

Also Known As:

Golpe al corazón  »

Box Office

Budget:

$27,000,000 (estimated)

Gross:

$900,000 (USA)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(35 mm prints)| (70 mm prints)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
See  »
Edit

Did You Know?

Trivia

Rather than shooting on location, director Francis Ford Coppola insisted on building sets, to add to the artificiality of the proscenium. Set construction proceeded to such an extent that a replica of Las Vegas' McCarran Airport - complete with a jetway and jet airliner (built from the nose section of a crashed plane) - was built and used for the penultimate scene. The sets for the film consumed the entirety of sound stage space at Coppola's recently-acquired American Zoetrope studio. Because of the maze of wiring and flammable scrims, backdrops and other materials, production designer Dean Tavoularis half-jokingly referred to the Vegas Strip set - the centerpiece of the film - as a "firetrap", saying it caused him to have "nightmares about fires" during the film's production. See more »

Goofs

When Hank removes Frannie from Ray's room, Ray puts on a robe, and he is not wearing any underwear. However, after Ray yells at Hank from the balcony, his robe falls open, and he is shown wearing jockey shorts. See more »

Quotes

Hank: If I could sing, I'd sing. I can't sing, Frannie!
See more »

Connections

References Casablanca (1942) See more »

Soundtracks

Little Boy Blue
Written by Tom Waits
Performed by Tom Waits (vocals), Ronnie Barron (organ), Greg Cohen (bass) & John Thomassie (percussion)
Also performed by Nastassja Kinski (uncredited)
See more »

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User Reviews

 
The musical beauty of romance, as only Coppola or Woody Allen could picture it
5 November 2002 | by (Monte Estoril, Portugal) – See all my reviews

I have never been in the United States, least of all in New York. But through some directors' works I have built up an image of the city that never sleeps that's made of jazz, petty crooks and gangsters, Godard-lovers, intellectual wanna-be socialite... For all I know, New York is what can be seen through the eyes of Woody Allen, Martin Scorsese... and Francis Ford Coppola.

I would pretty much compare ONE FROM THE HEART to Allen's MANHATTAN, in the sense that both are new-yorkers visions of romance and beauty, filtered through a broadway theatrical and glamorous sensibility. This film, however, unlike MANHATTAN, isn't about New York. It's about spining through the spotlights of a city that parties all night long (cabarets, jazz, dance and magical flirts), only to realize that in the end, it's going to be your simple significant other waiting for you in the backstage.

The staging of the whole movie helps a lot, in the sense that's it's all filmed in studio. Magical skies and dawns that make it easy to pass from a store-window directly to a sunset in Bora-Bora; lust and life and music in what I would consider the last great musical. Every once in a while, Coppola gives us a glimpse of his more passionate side. This would then be the sunny side of the melancholic DRACULA.

Add to the magical staging the nightly cabaret-like musical score by Tom Waits and Crystal Gayle and one can't help but be amazed with it all. And I thought I was surprised by Woody Allen's EVERYONE SAYS I LOVE YOU.

If this is the way new-yorkers see life, that's the city I want to live in.


13 of 18 people found this review helpful.  Was this review helpful to you?

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