6.5/10
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94 user 44 critic

One Fine Day (1996)

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The lives of two strangers and their young children unexpectedly intersect on one hectic, stressful day in New York City.

Director:

Michael Hoffman
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4,815 ( 1,173)
Nominated for 1 Oscar. Another 4 wins & 5 nominations. See more awards »

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Cast

Cast overview, first billed only:
Michelle Pfeiffer ... Melanie Parker
George Clooney ... Jack Taylor
Mae Whitman ... Maggie Taylor
Alex D. Linz ... Sammy Parker
Charles Durning ... Lew
Jon Robin Baitz ... Yates, Jr.
Ellen Greene ... Elaine Lieberman
Joe Grifasi ... Manny Feldstein
Pete Hamill Pete Hamill ... Frank Burroughs
Anna Maria Horsford ... Evelyn
Gregory Jbara ... Metro Reporter
Sheila Kelley ... Kristen
Barry Kivel Barry Kivel ... Yates, Sr.
Robert Klein ... Dr. Martin
George Martin ... Smith Leland
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Storyline

Melanie Parker, an architect and mother of Sammy, and Jack Taylor, a newspaper columnist and father of Maggie, are both divorced. They meet one morning when overwhelmed Jack is left unexpectedly with Maggie and forgets that Melanie was to take her to school. As a result, both children miss their school field trip and are stuck with the parents. The two adults project their negative stereotypes of ex-spouses on each other, but end up needing to rely on each other to watch the children as each must save his job. Humor is added by Sammy's propensity for lodging objects in his nose and Maggie's tendency to wander. Written by John H. Henderson <johnh@eng.auburn.edu>

Plot Summary | Add Synopsis

Taglines:

She was having a perfectly bad day... Then he came along and spoiled it.

Genres:

Comedy | Drama | Romance

Motion Picture Rating (MPAA)

Rated PG for language and mild sensuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | Spanish

Release Date:

20 December 1996 (USA) See more »

Also Known As:

Un beau jour See more »

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Box Office

Opening Weekend USA:

$6,226,430, 22 December 1996, Wide Release

Gross USA:

$46,151,454

Cumulative Worldwide Gross:

$97,529,550
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS | SDDS

Color:

Color (DeLuxe)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

This film was the fifth collaboration between Director Michael Hoffmann and Composer James Newton Howard, which they worked on the films Promised Land, Some Girls, Restoration and The Emperor's Club, which is their final collaboration to date. See more »

Goofs

When Melanie and the kids are sitting eating their ice creams, a large clock can be seen on the wall. It appears to read 6 o'clock, when the time should be around 3:30. (even if it doesn't say 6, it most certainly doesn't show anything remotely close to 3:30). See more »

Quotes

Melanie: You MUST be Kristen's ex-husband?
Jack: Why do you say that?
Melanie: [pointing to Maggie] Well, that's Kristen's daughter...
See more »

Connections

References Fiddler on the Roof (1971) See more »

Soundtracks

Love's Funny that Way
Written by Tina Arena, David Tyson, and Dean McTaggart
Performed by Tina Arena
Tina Arena appears courtesy of Epic Records
See more »

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User Reviews

Just occasionally, Hollywood still lets us have a grown-up entertainment ...
21 August 2003 | by philipdaviesSee all my reviews

The headlong screwball comedy of this breakneck romance of two stressed-out single parents is a delight from beginning to end. It has scenes as quick witted - and often as wackily off-kilter! - as the adults must be just in order to survive their average day. Stir love into this mess of two increasingly desparate modern lives and you get a miraculous souffle of a film, at once sharp and sweet.

No scene is laboured, no point is telegraphed, and - phenomenally for a modern American film - neither kids nor kittens are allowed to smother the audience in the nauseous layers of cutesiness that are usually applied. The scene with the analyst, where Clooney must obscure his account of his sex-life in an ever-more-surrealistic periphrasis involving iced cakes and fish, since his little daughter has to accompany him into the presumably crecheless analyst's surgery, and her dad is embarassed to expose her to such adult matters as he is obliged to reveal during the session, is a scene which is a model of intelligent and stylish comedy writing. The dialogue of both himself and his analyst finally founders on the increasingly strained comparisons and metaphors being attempted. The analyst begins to construct an alarmingly kinky lifestyle for his client out of what he takes to be Freudian suggestions - but which are, as noted, merely the product of old-fashioned seemliness - whereupon Clooney is forced to bring the whole towering edifice back down to earth when his version of the morning's business with the goldfish gets mixed up in the heady brew of symbolism: 'No. I mean fish. You know - 'Fish' fish?'

The humour is all good, never strained, and beautifully played by all the principals, including the wonderfully un-sentimentalised children. The transformation, stage-by-stage, of the harsh mutual competition and resentment that exists at first between these harassed adults, into an exhausted truce, by way of barely-restrained irritation, grudging gratitude, reluctant respect, and growing affection, is handled with considerable dramatic finesse throughout.

To produce the unlikely union of such an ill-assorted pair under such utterly unpropitious and unromantic circumstances is a comedic challenge of considerable proportions, and the makers of this film do an excellent job to bring it off at all. The spirits of Grant and Hepburn - even Beatrice and Benedict - are not too far away.

The only disappointment is to see how many people in the audience have gone home just as sour as when they arrived, judging from some of the comments here. But then, love curdles in any mean-spirited breast.

One particularly admires the fact that, at its conclusion, the film's romantic clincher - when the tired-out couple have to settle for just falling asleep together, despite their by now clearly desparate need for each other, - insists upon the importance of exactly this: Love, rather than merely lust, as the basis for an adult relationship.

Just occasionally, Hollywood still lets us have a grown-up entertainment. It makes a pleasant and wholesome change from the usual fare of adolescent dreams.


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