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Face of a Stranger (1991)

TV Movie  -   -  Drama  -  29 December 1991 (USA)
6.9
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After the death of her husband, Pat learns that he gambled away all of their savings and that she's now destitute. She may even have to leave their apartment. Much to the embarrassment of ... See full summary »

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Title: Face of a Stranger (TV Movie 1991)

Face of a Stranger (TV Movie 1991) on IMDb 6.9/10

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Cast

Cast overview, first billed only:
...
Pat Foster
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Dollie Madison
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Tina
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Richard
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Ruthie
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Ralph
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David
Armelia McQueen ...
Social Worker
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Kevin Leeds
John Procaccino ...
Peter Cooper
Carol Appel ...
Elaine Leeds
Frank Buxton ...
Al Leeds
Henry Chu ...
Market Vendor
Clayton Corzatte ...
Professor
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Storyline

After the death of her husband, Pat learns that he gambled away all of their savings and that she's now destitute. She may even have to leave their apartment. Much to the embarrassment of her daughter Tina, who wants to marry a rich snob, she helps the homeless Dollie, who lives in a cardboard box near her building, and they become friends. Written by Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>

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Genres:

Drama

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Release Date:

29 December 1991 (USA)  »

Also Known As:

My Shadow  »

Filming Locations:


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Aspect Ratio:

1.33 : 1
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User Reviews

Emmy award winning role for Gena Rowlands
24 February 2002 | by (Sydney, Australia) – See all my reviews

Gena Rowlands is very likeable here as a wealthy Seattle woman whose husband dies, leaving her broke, and who makes a connection with Tyne Daly as a homeless person, who camps opposite Rowland's apartment building. The teleplay by Marsha Norman, inspired by the article My Shadow by Mary Stuart, includes Rowlands' chance for new love with a school friend (Harris Yulin), and the disapproval of her daughter (Cynthia Nixon). However amidst these issues, Rowlands tries to discover Daly's backstory, when Daly is hospitalised and Rowlands is her only contact. Although Norman's treatment isn't realistic, neither is it sentimental, and thankfully all the plot strands aren't tied up happily at the end. However director Claudia Weill handicaps Daly with the music score of Lee Holdridge, telegraphing her emotion. The women's connection is presented on a spiritual level, as Rowland's sleep is disturbed at a moment Daly flinches in pain, and Rowlands is presented as more tolerant of someone like Daly, than her doorman.


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