It’s a quality true-life mystery-exposé that doesn’t come off as tabloid trash or Oliver Stone hysteria — the true story of Karen Silkwood is told without cooking the books. The all-superstar cast is something too — Meryl Streep, Cher and Kurt Russell. Only a fine director like Mike Nichols could steer this one into good entertainment & memorable cinema territory.
Silkwood
Blu-ray
Kl Studio Classics
1983 / Color B&W / 1:85 widescreen / 131 min. / Street Date July 25, 2017 / available through Kino Lorber / 29.95
Starring: Meryl Streep, Kurt Russell, Cher, Craig T. Nelson, Diana Scarwid, Fred Ward, Ron Silver, Charles Hallahan.
Cinematography: Miroslav Ondrícek
Production Designer: Patrizia von Brandenstein
Art Direction: Richard D. James
Film Editor: Sam O’Steen
Original Music: Georges Delerue
Written by Alice Arlen and Nora Ephron
Produced by Larry Cano, Michael Hausman, Buzz Hirsch, Mike Nichols
Directed by Mike Nichols
Remember when the big movies about adult themes were in the theaters, and not on cable TV?...
Silkwood
Blu-ray
Kl Studio Classics
1983 / Color B&W / 1:85 widescreen / 131 min. / Street Date July 25, 2017 / available through Kino Lorber / 29.95
Starring: Meryl Streep, Kurt Russell, Cher, Craig T. Nelson, Diana Scarwid, Fred Ward, Ron Silver, Charles Hallahan.
Cinematography: Miroslav Ondrícek
Production Designer: Patrizia von Brandenstein
Art Direction: Richard D. James
Film Editor: Sam O’Steen
Original Music: Georges Delerue
Written by Alice Arlen and Nora Ephron
Produced by Larry Cano, Michael Hausman, Buzz Hirsch, Mike Nichols
Directed by Mike Nichols
Remember when the big movies about adult themes were in the theaters, and not on cable TV?...
- 8/5/2017
- by Glenn Erickson
- Trailers from Hell
Alice Arlen, who co-penned the Oscar-nominated 1983 social drama Silkwood with Nora Ephron, died on Monday evening at her home in Manhattan after battling a long illness. She was 75. Arlen came from one of American’s most respected journalism families and started as a freelance journalist and TV culture critic in Chicago before she began penning Hollywood screenplays. Silkwood, which was directed by Mike Nichols and nominated for five Oscars including director, actress…...
- 3/2/2016
- Deadline
Alice Arlen, a screenwriter whose credits included “Silkwood,” “Alamo Bay” and “A Thief of Time,” died Monday night at her home in New York City. She was 75. Arlen, who co-wrote the Academy Award-nominated “Silkwood” screenplay with Nora Ephron, died following a long illness. Born in Chicago in 1940, Arlen graduated from Radcliffe College before returning to her hometown to become a writer for the local CBS station. In addition to her screenwriting, Arlen wrote a biography of her great aunt, titled “Cissy Patterson,” in 1966, and completed a biography of her aunt...
- 3/1/2016
- by Tim Kenneally
- The Wrap
Manuel here. Much of the conversation following the nominations has deservedly been about the way this year’s nominees function in many ways as a litmus test for the larger pitfalls of the Academy and the industry at large. Take the screenplay categories. As Phyllis Nagy urged us, we should be celebrating the fact that four female screenwriters were nominated for four different films. It sounds like a cause worth celebrating until you realize a total of twenty screenwriters were cited overall. You have to admit, those are appalling (if yes, unsurprising) numbers. Actually, in the past ten years, only 17 out of 156 nominated screenwriters have been women. Three quick stats about this year's categories and how they may show we might be turning a corner.
01 The last time we had two female nominees in the Best Original Screenplay category was in 2011 when Kristen Wiig and Annie Mumolo earned a nomination for their Bridesmaids script.
01 The last time we had two female nominees in the Best Original Screenplay category was in 2011 when Kristen Wiig and Annie Mumolo earned a nomination for their Bridesmaids script.
- 1/28/2016
- by Manuel Betancourt
- FilmExperience
When writer/director Nora Ephron died months ago, I was surprised to see Silkwood mentioned along the many other credits in her obits. Little did I know Ephron co-wrote the Oscar-nominated screenplay for this 1983 drama alongside Alice Arlen. Then I found out via IMDb searching that the movie was filmed in Texas! Obviously, I had to move it up my Netflix queue.
Silkwood is based on the true story of the woman of the same name, Karen Silkwood, who was born in Longview and spent some time in Beaumont. When we meet her in the film, however, she's a gal in her mid-twenties, played by Meryl Streep, working at a nuclear facility in small-town Oklahoma. Karen lives with boyfriend Drew (Kurt Russell) and best friend Dolly (Cher), who both work in the plant as well.
There are many other recognizable faces in this movie. David Strathairn and Fred Ward (who...
Silkwood is based on the true story of the woman of the same name, Karen Silkwood, who was born in Longview and spent some time in Beaumont. When we meet her in the film, however, she's a gal in her mid-twenties, played by Meryl Streep, working at a nuclear facility in small-town Oklahoma. Karen lives with boyfriend Drew (Kurt Russell) and best friend Dolly (Cher), who both work in the plant as well.
There are many other recognizable faces in this movie. David Strathairn and Fred Ward (who...
- 4/24/2013
- by Elizabeth Stoddard
- Slackerwood
Diane Kruger (Inglourious Basterds, The Host, The Green Blade Rises, Farewell, My Queen) and Anton Yelchin (Fright Night, Star Trek, Like Crazy) are attached to star in the romantic comedy 5 To 7, written and to be directed by Victor Levin (AMC.s .Mad Men.), it was announced today by producers Bonnie Curtis and Julie Lynn of Mockingbird Pictures and The Solution Entertainment Group.s (.The Solution.) co-founders and partners, Lisa Wilson and Myles Nestel.
Wilson and Nestel are on board as co-executive producers of the film with the company also handling international distribution rights. The Solution will introduce the project to buyers at the upcoming American Film Market.
Scheduled to start production in late February 2013, 5 To 7 is set in New York, where an aspiring novelist (Yelchin) has a cinq-a-sept affair with the beautiful wife of a French diplomat (Kruger). Cultures, world views, personal ethics and dietary preferences clash as love deepens,...
Wilson and Nestel are on board as co-executive producers of the film with the company also handling international distribution rights. The Solution will introduce the project to buyers at the upcoming American Film Market.
Scheduled to start production in late February 2013, 5 To 7 is set in New York, where an aspiring novelist (Yelchin) has a cinq-a-sept affair with the beautiful wife of a French diplomat (Kruger). Cultures, world views, personal ethics and dietary preferences clash as love deepens,...
- 10/17/2012
- by Michelle McCue
- WeAreMovieGeeks.com
I have to admit – somewhat sheepishly considering the outpouring of commemoratives since Nora Ephron died of myelodysplasia on June 26 – that I was never particularly a fan of her work. But as I’ve read those commemoratives, it’s come to me – another sheepish admission – how little I knew of her work.
Perhaps because I’d only initially become aware of her name through Sleepless in Seattle (1994), which she’d written and directed, that film forever colored my judgment of her work; a judgment reinforced by the fact that she happened to be working her way through a streak of similarly flyweight romances at the time including Michael (1986) – a bit of sugary goo about an unconventional angel (John Travolta) manifested on earth apparently for the sole reason of bringing tabloid reporters William Hurt and Andie MacDowell together – and You’ve Got Mail (1998), the thematic rom/com bookend to Sleepless starring the...
Perhaps because I’d only initially become aware of her name through Sleepless in Seattle (1994), which she’d written and directed, that film forever colored my judgment of her work; a judgment reinforced by the fact that she happened to be working her way through a streak of similarly flyweight romances at the time including Michael (1986) – a bit of sugary goo about an unconventional angel (John Travolta) manifested on earth apparently for the sole reason of bringing tabloid reporters William Hurt and Andie MacDowell together – and You’ve Got Mail (1998), the thematic rom/com bookend to Sleepless starring the...
- 7/5/2012
- by Bill Mesce
- SoundOnSight
The When Harry Met Sally screenwriter, who has died aged 71, invented the sentimental, screwball romcom – and turned heartbreak into laughter
"Ohh … Ohhhh … Ohhhh … Yes!"
"I'll have what she's having!"
The great scene in When Harry Met Sally when Meg Ryan demonstrates to a gobsmacked Billy Crystal that women can fake orgasm any time is the classic, almost quintessential Nora Ephron moment [see footnote]. It features smart, wiseacre conversation over lunch – and the lunch scene is a signature Ephron trope. It's about sex, and yet sex is ironised, miraculously made light of, made to seem funny; yet at the same time it's weirdly intimate. There's a sly nod to a gal-pal world of female secrets withheld from the hopeless guys who think they're in charge of everything. And there's the killer payoff line, the work of a blackbelt comedy writer.
Perhaps above all, the scene has a hint of fantasy and wish-fulfilment. Imagine that!
"Ohh … Ohhhh … Ohhhh … Yes!"
"I'll have what she's having!"
The great scene in When Harry Met Sally when Meg Ryan demonstrates to a gobsmacked Billy Crystal that women can fake orgasm any time is the classic, almost quintessential Nora Ephron moment [see footnote]. It features smart, wiseacre conversation over lunch – and the lunch scene is a signature Ephron trope. It's about sex, and yet sex is ironised, miraculously made light of, made to seem funny; yet at the same time it's weirdly intimate. There's a sly nod to a gal-pal world of female secrets withheld from the hopeless guys who think they're in charge of everything. And there's the killer payoff line, the work of a blackbelt comedy writer.
Perhaps above all, the scene has a hint of fantasy and wish-fulfilment. Imagine that!
- 6/28/2012
- by Peter Bradshaw
- The Guardian - Film News
Screenwriter behind the hit movies When Harry Met Sally and Sleepless in Seattle
Nora Ephron, who has died aged 71 after suffering from acute myeloid leukaemia, brought her sharp New Yorker wit, laced with a sentimental streak, to glossy Hollywood romantic comedies, with Oscar-nominated screenplays for When Harry Met Sally (1989) and Sleepless in Seattle (1993), the second of which she also directed. They were the nearest and most successful attempts to revive the spirit of the sophisticated Katharine Hepburn/Spencer Tracy battle-of-the-sexes comedies of the 1950s, and the softer-edged Doris Day/Rock Hudson vehicles of the 1960s.
Ephron's parents, Henry and Phoebe Ephron, were also writers of romantic comedies – including Desk Set (1957) for Hepburn and Tracy – who based a 1961 Broadway play, Take Her She's Mine, on their daughter's rebellious college days. It was turned into a film two years later, with Sandra Dee in the role of the teenager. Later, Ephron would...
Nora Ephron, who has died aged 71 after suffering from acute myeloid leukaemia, brought her sharp New Yorker wit, laced with a sentimental streak, to glossy Hollywood romantic comedies, with Oscar-nominated screenplays for When Harry Met Sally (1989) and Sleepless in Seattle (1993), the second of which she also directed. They were the nearest and most successful attempts to revive the spirit of the sophisticated Katharine Hepburn/Spencer Tracy battle-of-the-sexes comedies of the 1950s, and the softer-edged Doris Day/Rock Hudson vehicles of the 1960s.
Ephron's parents, Henry and Phoebe Ephron, were also writers of romantic comedies – including Desk Set (1957) for Hepburn and Tracy – who based a 1961 Broadway play, Take Her She's Mine, on their daughter's rebellious college days. It was turned into a film two years later, with Sandra Dee in the role of the teenager. Later, Ephron would...
- 6/28/2012
- by Ronald Bergan
- The Guardian - Film News
Billy Crystal and Meryl Streep among luminaries praising work of film-maker best known for When Harry Met Sally
Hollywood stars have been paying tribute to the wisdom and wit of their friend and colleague the film-maker Nora Ephron, the screenwriter behind When Harry Met Sally and Sleepless in Seattle, who has died at the age of 71.
Billy Crystal, who starred with Meg Ryan in When Harry Met Sally, told the Huffington Post: "She was a brilliant writer and humorist. Being her Harry to Meg's Sally will always have a special place in my heart. I was very lucky to get to say her words." Ephron died on Tuesday after suffering complications from the blood disorder myelodysplasia, with which she was diagnosed six years ago.
Having begun a journalistic career as a reporter at the New York Post in the 1960s, she moved into scriptwriting after working on a screenplay for All the President's Men,...
Hollywood stars have been paying tribute to the wisdom and wit of their friend and colleague the film-maker Nora Ephron, the screenwriter behind When Harry Met Sally and Sleepless in Seattle, who has died at the age of 71.
Billy Crystal, who starred with Meg Ryan in When Harry Met Sally, told the Huffington Post: "She was a brilliant writer and humorist. Being her Harry to Meg's Sally will always have a special place in my heart. I was very lucky to get to say her words." Ephron died on Tuesday after suffering complications from the blood disorder myelodysplasia, with which she was diagnosed six years ago.
Having begun a journalistic career as a reporter at the New York Post in the 1960s, she moved into scriptwriting after working on a screenplay for All the President's Men,...
- 6/28/2012
- by Andrew Pulver
- The Guardian - Film News
Hollywoodnews.com: Hollywood lost a significant voice. Screenwriter/director Nora Ephron, a three-time Oscar nominee, lost her battle with leukemia. She was 71.
A prolific writer, Ephron’s first credits stretched back to the 1973 television series “Adam’s Rib.” Ten years after, she struck it big on the silver screen when she collaborated with screenwriter Alice Arlen on Mike Nichols’ “Silkwood,” earning Ephron the first of three Oscar noms.
Though she continued to write, penning such scripts as “Heartburn,” “Julie & Julia” and “When Harry Met Sally.” Ephron transitioned to the director’s chair in 1992 with the Julie Kavner vehicle “This Is My Life.” She’d have arguably her biggest hit the following year with 1993′s “Sleepless in Seattle,” starring Tom Hanks and Meg Ryan.
“Nora was an era,” Ryan said of her director, in a statement. “We pictured ourselves inside her dreams and they became ours. All wisdom, wit and sparkle lights,...
A prolific writer, Ephron’s first credits stretched back to the 1973 television series “Adam’s Rib.” Ten years after, she struck it big on the silver screen when she collaborated with screenwriter Alice Arlen on Mike Nichols’ “Silkwood,” earning Ephron the first of three Oscar noms.
Though she continued to write, penning such scripts as “Heartburn,” “Julie & Julia” and “When Harry Met Sally.” Ephron transitioned to the director’s chair in 1992 with the Julie Kavner vehicle “This Is My Life.” She’d have arguably her biggest hit the following year with 1993′s “Sleepless in Seattle,” starring Tom Hanks and Meg Ryan.
“Nora was an era,” Ryan said of her director, in a statement. “We pictured ourselves inside her dreams and they became ours. All wisdom, wit and sparkle lights,...
- 6/27/2012
- by Sean O'Connell
- Hollywoodnews.com
We fondly remember the cinematic legacy of the director/screenwriter who died Tuesday at the age of 71.
By Amy Wilkinson
Nora Ephron
Photo:
It couldn't have been more than six months ago that a male friend and I were engaged in an uncharacteristically earnest Gchat conversation about the genius of "When Harry Met Sally..." And as philosophical discussions of that sort often go, we couldn't help but wonder why they don't make romantic comedies like they used to. (Oh, the loathsome they: such a handy scapegoat!)Of course, each generation is wont to think theirs did it best, but it was probably a curious conversation for us to be having considering we hadn't even finished the second grade when the film debuted in 1989. But our belated affinity for the film speaks volumes to the timelessness of a screenplay written by filmmaker Nora Ephron, who died Tuesday at the age of...
By Amy Wilkinson
Nora Ephron
Photo:
It couldn't have been more than six months ago that a male friend and I were engaged in an uncharacteristically earnest Gchat conversation about the genius of "When Harry Met Sally..." And as philosophical discussions of that sort often go, we couldn't help but wonder why they don't make romantic comedies like they used to. (Oh, the loathsome they: such a handy scapegoat!)Of course, each generation is wont to think theirs did it best, but it was probably a curious conversation for us to be having considering we hadn't even finished the second grade when the film debuted in 1989. But our belated affinity for the film speaks volumes to the timelessness of a screenplay written by filmmaker Nora Ephron, who died Tuesday at the age of...
- 6/27/2012
- MTV Music News
It's been touching to see the outpouring of love for Nora Ephron since the journalist, novelist, screenwriter and director passed away last night. Ephron's films have never really been particularly trendy; you're not going to find many hip young filmmakers naming her as an influence. But it's clear from the last twelve hours or so that most cinephiles hold at least a few of her films close to their hearts. Ephron wasn't just the writer, and sometimes director, behind a string of classics, she was also one of the most important women in the film industry across the last twenty years, and one of the most insightful writers of female characters that Hollywood has ever had.
Her big-screen work is only a drop in the ocean of a long and hugely impressive career; she was a prolific and brilliant prose writer, and anyone with even a slight interest in Ephron...
Her big-screen work is only a drop in the ocean of a long and hugely impressive career; she was a prolific and brilliant prose writer, and anyone with even a slight interest in Ephron...
- 6/27/2012
- by Oliver Lyttelton
- The Playlist
Tim here again-
"On November 13, 1974, Karen Silkwood, an employee of a nuclear facility, left to meet with a reporter from the New York Times. She never got there."
And 34 years later, we still don't know exactly what happened to her, though anyone who has seen 1983's Silkwood probably has their suspicions. After all, the film brings the woman back to life in the form of Meryl Streep, at her most lifeforce-tastic, while depicting the manager whose lives she was making so difficult as a pasty, puffy, shifty sort of fellow, the kind who looks like he's constantly about to break into sweat. We don't have the slightest difficulty believing that he and his cronies are just the kind of people to take out a hit on a troublesome young activist, especially since Silkwood is always so engaging and easy to like, and darn it, just plain good, despite some troubling...
"On November 13, 1974, Karen Silkwood, an employee of a nuclear facility, left to meet with a reporter from the New York Times. She never got there."
And 34 years later, we still don't know exactly what happened to her, though anyone who has seen 1983's Silkwood probably has their suspicions. After all, the film brings the woman back to life in the form of Meryl Streep, at her most lifeforce-tastic, while depicting the manager whose lives she was making so difficult as a pasty, puffy, shifty sort of fellow, the kind who looks like he's constantly about to break into sweat. We don't have the slightest difficulty believing that he and his cronies are just the kind of people to take out a hit on a troublesome young activist, especially since Silkwood is always so engaging and easy to like, and darn it, just plain good, despite some troubling...
- 11/16/2010
- by Tim
- FilmExperience
Then She Found Me, Helen Hunt's directorial debut, will receive its U.S. premiere Jan. 3 as the opening-night feature at the 19th annual Palm Springs International Film Festival.
Hunt stars in the film -- which she co-wrote with Victor Levin and Alice Arlen from a novel by Elinor Lipman -- as a New York teacher encountering a midlife crisis. With a cast that includes Bette Midler, Colin Firth and Matthew Broderick, the ThinkFilm release is set to bow in May.
The fest also said Tuesday that director John Sayles, whose new film Honeydripper will screen as part of its lineup, will be honored Jan. 6 with its American Maverick Award.
In addition to the opening-night gala, the festival will hold six international galas spotlighting such films as Fatih Akin's The Edge of Heaven from Germany, Joseph Cedar's Beaufort from Israel, Jonah Markowitz's Shelter from the U.S. and Daniele Luchetti's My Brother Is an Only Child from Italy.
New this year will be a showcase of Israeli film.
Hunt stars in the film -- which she co-wrote with Victor Levin and Alice Arlen from a novel by Elinor Lipman -- as a New York teacher encountering a midlife crisis. With a cast that includes Bette Midler, Colin Firth and Matthew Broderick, the ThinkFilm release is set to bow in May.
The fest also said Tuesday that director John Sayles, whose new film Honeydripper will screen as part of its lineup, will be honored Jan. 6 with its American Maverick Award.
In addition to the opening-night gala, the festival will hold six international galas spotlighting such films as Fatih Akin's The Edge of Heaven from Germany, Joseph Cedar's Beaufort from Israel, Jonah Markowitz's Shelter from the U.S. and Daniele Luchetti's My Brother Is an Only Child from Italy.
New this year will be a showcase of Israeli film.
- 12/12/2007
- The Hollywood Reporter - Movie News
Toronto Film Festival
TORONTO — Playing like an adult woman's rejoinder to the Peter Pan factor in recent rom-coms, "Then She Found Me" prefers the mature man to the overgrown boy, gets knocked up without freaking out, and never -- well, maybe once -- goes for the startling gag over the pointed observation. With subtle laughs but solid emotional thrust, it will play very well with older audiences.
In her debut as feature director, Helen Hunt also stars as a teacher whose husband has a change of heart after less than a year of marriage. The earth beneath her continues to shake as her adoptive mother dies and her purportedly real one -- self-obsessed talk show host Bernice, played with pushy panache by Bette Midler -- makes her presence known.
Not a good time for new love, which makes the immediate arrival of Frank such a perfect vehicle for Colin Firth's patented choked-back-emotions act. Frank is the recently-divorced dad of April's student, and the two make a valiant (but doomed, natch) attempt not to ask each other out. Their quick rapport contrasts with the tentative relationship, threatened by half-truths and showbiz flakiness, between April and Bernice.
Then April, who has been worrying about getting too old to have a child, learns her estranged husband got her pregnant on the night he left -- just the spark needed to kick all the plot's tricky relationships into high gear at once. April's poor obstetrician (a truly left-field celeb cameo) hardly knows how many supporters she'll have with her each time she's due for an ultrasound.
Things are moving quickly, but Hunt aims for restrained believability rather than glossy bounce. The script isn't afraid to crack a joke, but it also doesn't want to exploit April's angst for cute laughs; accordingly, Hunt the director allows Hunt the actress to look realistically beat-down from time to time. The relatively sober mood means that when things turn ugly, the blow-ups don't come off as manufactured plot points. (That's particularly true with Firth's character, a memorably damaged suitor.)
The picture is set apart not only by its tone but by the way it takes seriously some elements that might get reduced to window-dressing in a movie more carefully engineered to reach the broadest audience: details of the protagonist's Jewish upbringing, for instance, but especially the attitude toward children, who here aren't fashion accessories but an essential part of the way April and Frank think about where they stand with each other.
That's not the kind of consequence-factoring theme you find in the average date movie, but it helps give "Then She Found Me" a character that many viewers will respond to.
THEN SHE FOUND ME
ThinkFilm
Killer Films / Blue Rider Pictures / John Wells Prods.
Director: Helen Hunt
Writers: Alice Arlen, Victor Levin, Helen Hunt
Based on the novel by Elinor Lipman
Producers: Helen Hunt, Pamela Koffler, Katie Roumel, Connie Tavel, Christine Vachon
Executive producers: Jeff Geoffray, Louise Goodsill, Walter Josten, Ralph Kamp, Chip Signore, John Wells
Director of photography: Peter Donahue
Production designer: Stephen Beatrice
Music: David Mansfield
Co-producer: Matthew Myers
Costume designer: Donna Zakowska
Editor: Pam Wise
Cast:
April: Helen Hunt
Frank: Colin Firth
Bernice: Bette Midler
Ben: Matthew Broderick
Freddy: Ben Shenkman
No MPAA rating, running time 100 minutes...
TORONTO — Playing like an adult woman's rejoinder to the Peter Pan factor in recent rom-coms, "Then She Found Me" prefers the mature man to the overgrown boy, gets knocked up without freaking out, and never -- well, maybe once -- goes for the startling gag over the pointed observation. With subtle laughs but solid emotional thrust, it will play very well with older audiences.
In her debut as feature director, Helen Hunt also stars as a teacher whose husband has a change of heart after less than a year of marriage. The earth beneath her continues to shake as her adoptive mother dies and her purportedly real one -- self-obsessed talk show host Bernice, played with pushy panache by Bette Midler -- makes her presence known.
Not a good time for new love, which makes the immediate arrival of Frank such a perfect vehicle for Colin Firth's patented choked-back-emotions act. Frank is the recently-divorced dad of April's student, and the two make a valiant (but doomed, natch) attempt not to ask each other out. Their quick rapport contrasts with the tentative relationship, threatened by half-truths and showbiz flakiness, between April and Bernice.
Then April, who has been worrying about getting too old to have a child, learns her estranged husband got her pregnant on the night he left -- just the spark needed to kick all the plot's tricky relationships into high gear at once. April's poor obstetrician (a truly left-field celeb cameo) hardly knows how many supporters she'll have with her each time she's due for an ultrasound.
Things are moving quickly, but Hunt aims for restrained believability rather than glossy bounce. The script isn't afraid to crack a joke, but it also doesn't want to exploit April's angst for cute laughs; accordingly, Hunt the director allows Hunt the actress to look realistically beat-down from time to time. The relatively sober mood means that when things turn ugly, the blow-ups don't come off as manufactured plot points. (That's particularly true with Firth's character, a memorably damaged suitor.)
The picture is set apart not only by its tone but by the way it takes seriously some elements that might get reduced to window-dressing in a movie more carefully engineered to reach the broadest audience: details of the protagonist's Jewish upbringing, for instance, but especially the attitude toward children, who here aren't fashion accessories but an essential part of the way April and Frank think about where they stand with each other.
That's not the kind of consequence-factoring theme you find in the average date movie, but it helps give "Then She Found Me" a character that many viewers will respond to.
THEN SHE FOUND ME
ThinkFilm
Killer Films / Blue Rider Pictures / John Wells Prods.
Director: Helen Hunt
Writers: Alice Arlen, Victor Levin, Helen Hunt
Based on the novel by Elinor Lipman
Producers: Helen Hunt, Pamela Koffler, Katie Roumel, Connie Tavel, Christine Vachon
Executive producers: Jeff Geoffray, Louise Goodsill, Walter Josten, Ralph Kamp, Chip Signore, John Wells
Director of photography: Peter Donahue
Production designer: Stephen Beatrice
Music: David Mansfield
Co-producer: Matthew Myers
Costume designer: Donna Zakowska
Editor: Pam Wise
Cast:
April: Helen Hunt
Frank: Colin Firth
Bernice: Bette Midler
Ben: Matthew Broderick
Freddy: Ben Shenkman
No MPAA rating, running time 100 minutes...
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