IMDb > Unfaithfully Yours (1984)
Unfaithfully Yours
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Unfaithfully Yours (1984) More at IMDbPro »

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Down 9% in popularity this week. See why on IMDbPro.
Preston Sturges (1948 screenplay)
Valerie Curtin (screenplay) ...
View company contact information for Unfaithfully Yours on IMDbPro.
Release Date:
10 February 1984 (USA) See more »
A toast to the man who has everything. Fame, fortune, a beautiful young wife - and a friend he hopes he can trust. [UK Theatrical] See more »
A composer suspects his wife of cheating. He plots to kill her and frame it on her lover. Full summary » | Add synopsis »
(2 articles)
User Reviews:
A last gasp of classical Romantic Gypsy violin music; Moore's swan song See more (14 total) »


  (in credits order) (verified as complete)

Dudley Moore ... Claude Eastman

Nastassja Kinski ... Daniella Eastman

Armand Assante ... Maxmillian Stein

Albert Brooks ... Norman Robbins
Cassie Yates ... Carla Robbins

Richard Libertini ... Giuseppe
Richard B. Shull ... Jess Keller
Jan Tríska ... Jerzy Czyrek
Jane Hallaren ... Janet
Bernard Behrens ... Bill Lawrence
Leonard Mann ... Screen Lover
Estelle Omens ... Celia

Penny Peyser ... Jewelry Salesgirl

Nicholas Mele ... Waiter
Benjamin Rayson ... Judge

Art LaFleur ... Desk Sergeant (as Art La Fleur)
Magda Gyenes ... Hungarian Singer
Fred Franklyn ... Elevator Operator (as Frederic Franklyn)
Alison Price ... Kissing Girl
Frank DiElsi ... Kissing Man
Eddie Zammit ... Lobby Attendant (as Edward Zammit)

Tony Abatemarco ... Repairman
Daniele Jaimes Worth ... Autograph Seeker
Alexander B. Reed ... Man at Plaza
Ralph Buckley ... Nut Vendor
Steven Hirsch ... Movie Patron
Murray Franklyn ... Movie Patron
Betty Shabazz ... Woman at Plaza (as Dr. Betty Shabazz)
Ed Van Nuys ... Doorman
Robin Allyn ... Teenager at Plaza Hotel

Ricky Paull Goldin ... Teenager with Mask

Evan Mirand ... Teenager with Mask (as Evan Hollister Miranda)
Elana Beth Rutenberg ... Teenager with Mask
Rochelle Kravit ... Woman Patron (as Rochelle L. Kravit)
Gabriel E. Gyorffy ... Comic
Linda Stayer ... Woman in Mink
Bob Larkin ... Security Guard
Kim Leslie ... Ballet Dancer
Camille Hagen ... Trixie
Mary Alan Hokanson ... Lady on 57th Street
Jacques Foti ... Maitre D' (as Jacque Foti)
rest of cast listed alphabetically:
Rhoda Robinson ... Midtown Lady (uncredited)

Directed by
Howard Zieff 
Writing credits
Preston Sturges (1948 screenplay)

Valerie Curtin (screenplay) &
Barry Levinson (screenplay) and
Robert Klane (screenplay)

Produced by
Jack B. Bernstein .... associate producer
Daniel Melnick .... executive producer
Joe Wizan .... producer
Marvin Worth .... producer
Original Music by
Bill Conti 
Cinematography by
David M. Walsh (director of photography)
Film Editing by
Sheldon Kahn 
Casting by
Lynn Stalmaster 
Production Design by
Albert Brenner 
Set Decoration by
Rick Simpson 
Costume Design by
Kristi Zea 
Makeup Department
Gary Liddiard .... makeup artist
Shirley Padgett .... hair stylist
Production Management
Jack B. Bernstein .... unit production manager
Second Unit Director or Assistant Director
Hope R. Goodwin .... second assistant director
Jerry Sobul .... first assistant director
Lewis Gould .... second assistant director: New York (uncredited)
Glen Sanford .... second second assistant director (uncredited)
Art Department
Camille Abbott .... production illustrator
Lawrence J. Cuneo .... set designer
Spencer Deverell .... assistant art director (as H. Spencer Deverill)
Douglas Forsmith .... property assistant
Michael R. Gannon .... property assistant
David M. Haber .... assistant art director
Sherman Labby .... production illustrator
Howard McCormick II .... leadman (as Howard McCormick)
Keith McCormick .... property assistant
Everett Olson .... construction coordinator
Richard M. Rubin .... props
Michael J. Smith .... construction coordinator
Dianne Wager .... set designer (as Dianne I. Wager)
Sound Department
William Hartman .... sound effects editor
Don Isaacs .... sound effects editor (as Don V. Isaacs)
Jerry Jost .... sound mixer
Godfrey Marks .... dialogue editor
Richard Overton .... sound re-recording mixer
Hank Salerno .... dialogue editor
Kirk Schuler .... sound effects editor
Theodore Soderberg .... sound re-recording mixer
Paul Wells .... sound re-recording mixer
Special Effects by
Henry Millar Jr. .... special effects (as Henry E. Miller)
Visual Effects by
Bill Hansard .... process rear projection coordinator
Richard Brown .... stunts
Cliff Cudney .... stunt coordinator
Sorin Serene Pricopie .... stunts
Karyn Raymakers .... stunts
Camera and Electrical Department
Larry Barbier .... still photographer
Robert Edesa .... camera operator
Norman Harris .... gaffer
Richard Moran .... key grip (as Richard L. Moran)
Michael Nash .... assistant camera
Andrew D. Schwartz .... still photographer: re-shoots
Costume and Wardrobe Department
Darryl M. Athons .... costumer: men (as Darryl Athons)
Thalia C. Macarthur .... costumer: women
Guy C. Verhille .... costume supervisor
Editorial Department
Ron S. Herbes .... apprentice picture editor
Saul Saladow .... assistant editor
Maria Stinnett-Busby .... assistant editor (as Maria Stinnett)
Music Department
George Doering .... musician
Richard S. Kaufman .... music coach
Patinka Kopec .... violin coach
Lionel Newman .... music supervisor
Ken Runyon .... music editor
Timothy R. Sexton .... executive in charge of music
Leonard Slatkin .... conductor
Armin Steiner .... scoring editor
Pinchas Zukerman .... musician: violin
Tommy Tedesco .... musician: guitar (uncredited)
Transportation Department
Aram Betkijian .... transportation captain
Other crew
Huw Davies .... location manager (as T. Huw Davies)
Wayne Fitzgerald .... title designer
Harry Kohoyda Jr. .... auditor (as Harry Kohoyda)
Claire Mactague .... production coordinator
Betsy Norton .... script supervisor
Deborah Rosen .... unit publicist

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
96 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:13 | Australia:M | Canada:A (Nova Scotia) | Canada:AA (Ontario) | Canada:G (Quebec) | Finland:K-8 | Iceland:L | Norway:12 | Portugal:M/12 | Sweden:11 | UK:15 | USA:PG (certificate #26841)

Did You Know?

Dudley Moore, who plays an orchestra conductor, shadowed Bill Conti, who wrote the film's score, to actually learn the techniques used to conduct a symphony orchestra.See more »
Claude Eastman:Will you miss younger men?
Daniella Eastman:The truth?
Claude Eastman:No!
Daniella Eastman:Younger men are like fast food restaurants. the food is fast, but it's not all that good. But, with you it's like dining in the most expensive restaurant in the world. Of course, the service may be a little slow...
Claude Eastman:Yeah, well...
[he tackles her over the couch]
See more »
Movie Connections:
Unfaithfully Yours (One Love)See more »


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3 out of 12 people found the following review useful.
A last gasp of classical Romantic Gypsy violin music; Moore's swan song, 19 December 2001
Author: P.M. Reilich from Los Angeles

This film marks the culmination of the most prolific, popularly loved form of music that the human race ever conceived. That is, the Romantic style. You may find, for example, a CD of pianist Horowitz produced a couple of decades ago entitled "The Last Romantic" - and you might understand the sentiment behind such a title. It is a dying breed of music. Rather, it is dead. Left are museum pieces rehashed by earnest musicians who love the style, or at least the memory of it, but performed/recorded for audiences/listeners who for the most part don't understand it. For to understand it, one must absolutely not be pragmatic. And as we've all been told time and again of late, if you're not pragmatic (if you haven't gone to college, for example, in order to obtain a degree/career) you don't have a life. Few these days, not even crack dealers, are willing to trade monetary responsibility for an enhancement of their souls.

Likewise, Dudley Moore acted the lead in this film, and in doing so, he didn't create much of a life, in terms of this film being appreciated by the mainstream. But Moore was one of the funniest comedians that ever graced American film/sound stages. His improvised drunk bits rival Jackie Gleason's improvised drunks. Of course nowadays such drunk humor is politically incorrect, which marks yet one more creative form that has recently bitten the dust. Oh well, at least kids are safe from drunk drivers.

But the greatest moment in this movie was the violin battle. You see, it's a prerequisite for talented, narcissistic classical/Romantic musicians, such as Dudley Moore (pianist), to hold a dark sense of humor. It's the kind of passive resistant, anti-successful state of mind that made Charlie Brown, Woody Allen, Bartleby, John Lennon and countless negative/alternative reasoning popular during the 60s-70s. And that alternative culture, or revolution, was merely a revamping of an earlier, more formidable anti-capitalism known as the period when occurred the French and American revolutions. In music, this was the time of Beethoven's rise to fame. This style he and others (even Mozart to some extent) propounded is known as the Romantic style. And the single greatest musical influence upon these western European proponents of the Romantic style was the music emanating from the streets: Gypsy music. It's also important to remember that such Gypsy music was itself influenced by a combination of east European folk music and the traditional music of the middle east, an area of the world from which all western civilization is derived, and thereby for which all of us should have reverence, or at least respect.

Basically what we're talking about here, what was the greatest influence upon the invention and prosperity of the Romantic music style, is the harmonic minor scale, and the claiming of this scale upon the hearts of a vast majority of music lovers world wide 1750-1980. It is a scale that gave birth to Romantic styled chromaticism, the most prolific harmonic form ever. In its early stages, when Mozart and papa Haydn dabbled in it, women and other faint hearted individuals tittered. When Beethoven got hold of it, such women literally fainted in the aisles. That's how naturally such chromaticism is capable of affecting the emotions of people. It requires an open heart, however. Today such Gypsy styled music is a laugh; that's how jaded western civilization has become. The smallest of minds are bold enough to regard it as merely "Jewish music," which informs us that its demise is likely, at least partially, the result of anti-Semitism.

Such Gypsy/Jewish etc. scale's greatest instrument, or agent provocateur: the violin. Hence, the extraordinarily emotional/comedic violin battle scene in this film, a rare tribute to this dying style of music. If there are any film makers, or any creative artists, who are interested in bringing back to vitality such Romantic/Gypsy/Jewish/harmonic minor scaled music, seeing this film might give them a good start in the right direction. It should also be stated that the Gypsy music that has recently surfaced in "World Music" and in university studies of Ethnomusicology, while more authentic, has, by way of pedantically narrowing the interpretations, caused the less authentic Romantic style to be ignored in its works.

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Another underrated Moore film Beatle_Babe32
Name of song brfluc-1
were they miming the violins? Nick51
Opening Credits jalanruss
Appropriate For Family/Children? tapennock
Who plays the Tchaikovsky violin concerto? Josef_Schweik
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