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, a Long Island housewife panics and leaves home to see if she might just possibly have made something different out of herself; if ... 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
Francis Ford Coppola would direct a lot of the film from The Silver Fish, a mobile HQ, fully equipped with a kitchenette, espresso machine and onboard Jacuzzi. Coppola would issue his directions via a loudspeaker system. 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 »
You used to have a pretty good build, y'know? You did! Now you're starting to look like a - an egg!
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The musical beauty of romance, as only Coppola or Woody Allen could picture it
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.
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