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 »
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 »
When her husband John has a heart attack while out in a rowboat on the lake, Louise Haloran throws his body overboard and later tells the family that he has left on an urgent business trip.... See full summary »
Francis Ford Coppola
On the Las Vegas strip, two unlikely men rendezvous: Samuel Hill, an ill-kempt desert miner, and Benjamin Jabowski, a John Birch Society dandy from the city. Intent on some sort of mayhem, ... 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
Actress Rebecca De Mornay's first movie. The film was also the first film score composed by singer, songwriter, and composer Tom Waits. Also, the picture was the first film as a producer (a co-producer) for writer-producer Armyan Bernstein. See more »
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 »
If I could sing, I'd sing. I can't sing, Frannie!
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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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