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The Good Mother (1988)
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Overview
User Rating:
Release Date:
4 November 1988 (USA) moreTagline:
Can a court determine how we should live, how we should love, how we should raise our children? Now Anna must prove that she is the Good Mother.Plot:
full synopsisUser Comments:
Excellent, compelling, infuriating, underrated. moreCast
(Cast overview, first billed only)| Diane Keaton | ... | Anna Dunlap | |
| Liam Neeson | ... | Leo Cutter | |
| Jason Robards | ... | Muth | |
| Ralph Bellamy | ... | Grandfather | |
| Teresa Wright | ... | Grandmother | |
| James Naughton | ... | Brian | |
| Asia Vieira | ... | Molly | |
| Joe Morton | ... | Frank Williams | |
| Katey Sagal | ... | Ursula | |
| Margaret Bard | ... | Aunt Rain | |
| Nancy Beatty | ... | Anna's Mother | |
| Barry Belchamber | ... | Anna's Father | |
| Mairon Bennett | ... | Young Anna | |
| Zachary Bennett | ... | Young Bobby | |
| Scott Brunt | ... | Eric |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
Brazil:104 min | USA:103 minCountry:
USALanguage:
EnglishColor:
Color (Metrocolor)Sound Mix:
DolbyCertification:
Iceland:12 | South Korea:18 | Australia:M | UK:15 | USA:R | West Germany:16 (f) | Canada:14AFun Stuff
Trivia:
During the filming of an emotional court room scene with Diane Keaton concerning the custody of her daughter, it was found out that one of the cameras shooting did not have the proper film so did not film the scene. Director Leonard Nimoy felt bad about having to have Diane Keaton film it again because she had done it so well. He showed up at her dressing room door with two dozen roses in his arms. He gave the roses to her first, then gave her the bad news about having to re-shoot the scene. Diane Keaton took it well, and had no problem with having to re-shoot the scene. moreSoundtrack:
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I'm cautious about films with a message: they are too easily heavy-handed and preachy, or on the other extreme capable of producing a mass "understanding" that is actually untrue ("The Klansman/Birth of a Nation" comes to mind). Films dealing with sexual attitudes can very glibly preach either "damnation for transgression" or "freedom from repression" with equal superficiality. This film is remarkable for painting all its characters with dimension: no one is evil, but everyone can be weak, afraid, and make poor decisions with good yet fearful intentions. The acting is terrific, so you feel satisfied at having seen a movie of quality at the same time you feel frustrated, infuriated, and finally exhausted by the outcome of the plot. Another example of Leonard Nimoy's excellent qualities as a director, forever lost - I'm afraid - in the strange perception that his work in Star Trek makes all of his career somehow lightweight.