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....
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Having discovered that she is pregnant, Natalie Ravenna (Shirley Knight), a Long Island housewife panics and leaves home to see if she might just possibly have made something different out ... See full summary »
A sergeant must deal with his desires to save the lives of young soldiers being sent to Vietnam. Continuously denied the chance to teach the soldiers about his experiences, he settles for trying to help the son of an old army buddy.
Francis Ford Coppola
James Earl Jones
Bennie travels to Buenos Aires to find his long-missing older brother, a once-promising writer who is now a remnant of his former self. Bennie's discovery of his brother's near-finished play might hold the answer to understanding their shared past and renewing their bond.
Francis Ford Coppola
A writer with a declining career arrives in a small town as part of his book tour and gets caught up in a murder mystery involving a young girl. That night in a dream, he is approached by a... See full summary »
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
Director Francis Coppola has said that this movie was inspired by a variety of things, "The influences were really more the filmed musicals of the 1940s and 50s, and even the stage musicals I directed in college and the Broadway shows I saw growing up. Also very influential were the live television dramas of the 50s and 60s, especially those directed by John Frankenheimer." See more »
Though shot inside a sound stage, the opening shot of the front of the Fremont shows a completely wet street. Though done for lighting effect, nonetheless Las Vegas gets less than five or so inches of rain a year and the rainfall that does manage to hit the ground, evaporates almost immediately. See more »
If you wanna get rid of a circus girl, all you've gotta do is close your eyes.
Yeah? Then what, circus girl?
She disappears. Like spit on a griddle.
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Many film fans are keenly aware of the circumstances surrounding Francis Coppola's "One From the Heart." It was the first film to launch his self financed Zoetrope Studios. He recruited many of the industries best and brightest for the production. It was Coppola's follow up to the legendary "Apocalypse Now." The film was supposed to mark a new direction for filmmaking as a whole. Zoetrope was to be a place where directors and storytellers could produce their films without studio interference. The artists would control the medium, not the business men. And with "One From the Heart", Coppola's dream came to a thundering halt after just one movie. Though not as well known, it stands along side "Heaven's Gate" as a film that proved that the wonder directors of the 70's would not be given the keys to the castle. "Heart" was that once in a decade disaster and it's not hard to see why it was such an ignored film. It turns out that this story behind the film is far more interesting to follow than the film itself.
"One From the Heart" is as stylized as films can come. Shot entirely on the sets at Zoetrope, "Heart" attempts to tell the story of Franny and Hank, a long together couple possibly nearing the end of their rope with one another. The couple calls it quits and they seek solitude in the arms of more adventuresome lovers for one night in an entirely reproduced Las Vegas. Coppola's decision to cast Frederic Forest and Teri Garr seems daring at first, almost brave. But casting two such down to Earth actors against the overwhelming design of "One From the Heart" leaves the two with nothing to do but drown under the neon cinematography. Garr and Forest give it a go, but their problems seem minor against the wave of the film itself. It's possible no two actors could've asserted themselves against this backdrop. Coppola has infused every shot in "Heart" with enough technique and design that he seems to have completely forgotten to add any element of genuine drama into the proceedings. The story never moves far beyond the 'will they stay together or break up' arc. It isn't without possibility, but it's more suited to a smaller more intimate scale, not the phantasmagoric, neon coated reality that constantly draws attention to itself that Coppola labors to construct. All the design is admirable and on occasion very gorgeous. But it won't take an astute viewer very long to see that "One From the Heart" is a film more intended to be looked at than actually watched. A technological achievement in filmmaking? Yes. A genuinely involving film? No.
Despite disliking the film I'm glad to see it's finally available on DVD in a watchable format. Viewers can finally see this much maligned film for themselves and decide about its merits. The film is also noted for it's songs and score by Tom Waits and Crystal Gail.
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