Actress Patty Duke portrays herself in this autobiographical film that details her long-time struggle with mental illness.

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Writers:

(book), (book) | 1 more credit »
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1 nomination. See more awards »
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Cast

Cast overview, first billed only:
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Harry
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John Ross
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Ethel Ross
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Frances Duke
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Patty, as a young adult
Arthur Taxier ...
John Astin
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Desi Arnaz Jr (as Matthew L. Perry)
David Packer ...
Glenn Bell
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Fred Maxwell
Woody Eney ...
Fred Coe
François Giroday ...
Bob McLaren
Lora Staley ...
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Storyline

Actress Patty Duke portrays herself in this autobiographical film that details her long-time struggle with mental illness.

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Plot Keywords:

based on book | See All (1) »

Genres:

Biography | Drama

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Details

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Release Date:

11 November 1990 (USA)  »

Also Known As:

Call Me Anna: The Patty Duke Story  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Michael Tell, Patty Duke's second husband's name was changed in the film due to unknown reasons. Yet, his real name was kept in the book. See more »

Connections

Referenced in Intimate Portrait: Patty Duke (2001) See more »

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User Reviews

 
Hugely disappointing movie-version of Patty/Anna's autobiography...
2 July 2006 | by (las vegas, nv) – See all my reviews

Actress Patty Duke wrote an insightful, funny, rough-hewn book about her career as an actress, her crazy-quilt love-life, and her manic depressive episodes and suicide attempts which almost put her away for good. With this rich material to draw from (and Patty playing herself in the final act), one would think a crack TV-director like Gilbert Cates could bring it all together on film, but "Call Me Anna" is a pale shadow of Duke's autobiography. For those who haven't read the book, the sketchy narrative (leaping forward in time) isn't absorbing, we are never allowed to get our bearings with what's happening, and the production seems stunted by a low budget. The actors are miscast, and the value of having Duke herself finally appear does not pay off--the film's phony reality is so thick at this point that Patty can't bring stability to the scenario. It appears as if the producers were sincere enough (and consciousness-minded) to anxiously steer the film towards Duke's ultimate diagnosis and mental freedom, but they left out many dramatic opportunities in the process.


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