Wikipedia

Frankie and Johnny (1991 film)

Frankie and Johnny is a 1991 American romantic comedy-drama film directed by Garry Marshall and starring Al Pacino and Michelle Pfeiffer (in their first film together since Scarface). Héctor Elizondo, Nathan Lane and Kate Nelligan appear in supporting roles. The original score is composed by Marvin Hamlisch.

Frankie and Johnny
Theatrical release poster
Directed byGarry Marshall
Written byTerrence McNally
Produced byGarry Marshall
Starring
CinematographyDante Spinotti
Edited by
Music byMarvin Hamlisch
Distributed byParamount Pictures
Release date
  • October 11, 1991 (1991-10-11)
Running time
118 minutes
CountryUnited States
LanguageEnglish
Budget$29 million[1]
Box office$67 million

The screenplay for Frankie and Johnny is adapted by Terrence McNally from his own off-Broadway play Frankie and Johnny in the Clair de Lune, which featured F. Murray Abraham and Kathy Bates. The most notable alteration in the film is the addition of several supporting characters and various locations; in the original play, only the two eponymous characters appear onstage, and the entire drama takes place in one apartment.[2]

The title is a reference to the traditional American popular song "Frankie and Johnny", first published in 1904, which tells the story of a woman who finds her man making love to another woman and shoots him dead.[3] The film received generally favorable reviews and grossed $67 million with a $29 million budget.

Plot

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An emotionally scarred waitress named Frankie attends her godson's baptism in Altoona, Pennsylvania. Meanwhile, a middle-aged man named Johnny is released from prison. Frankie returns home to her job waitressing at the Apollo Cafe in New York City. The cafe's owner Nick sends Frankie's co-worker Helen home early after she complains of dizziness. Johnny arrives seeking a job, and Nick hires him as a short-order cook despite his criminal record. After work, Frankie returns home to her apartment to find a stranger, Bobby, installing shelves, but he is revealed to be the boyfriend of her friend and neighbor Tim. That night, Johnny solicits a prostitute, but merely asks her to lie clothed in bed with him.

The next day, Nick announces to his staff that Helen has been hospitalized. Frankie and her co-worker Cora visit an unconscious Helen and share their fears of dying alone like her. The next day, after helping a man who had an epileptic seizure, Johnny asks out Frankie on a date, but she refuses. Helen dies, and Frankie, Cora and fellow waitress Nedda are surprised to see Johnny at her funeral. Back at work, Johnny asks out Frankie again. After she refuses again, he has a one-night stand with Cora, who shares the details with Frankie and Nedda.

Weeks pass, and Johnny asks Frankie to be his date at a co-worker's going-away party, but she refuses again. He comes to her apartment anyway, where Bobby and Tim help Frankie decide what to wear. At the party, Johnny attempts to convince Frankie that they are a good match. After the party, he buys her a flower and persuades her to take him back to her apartment, where they spend an intimate night together.

Convinced that they are meant to be together, Johnny shows up at her bowling night and professes his love to her. Frankie argues that he cannot love her after such a short period of time and reveals that she cannot have children after Johnny mentions starting a family. Afterward, Frankie tries to avoid Johnny by not answering his phone calls and switching her shifts at the cafe. However, Johnny switches his shifts too, and they talk to each other. Johnny confesses that he is divorced and has two children whom he has not seen since he got out of prison, having served time for check fraud. Frankie encourages him to see them, and she confesses that her last boyfriend cheated on her with her best friend.

After work, Johnny walks Frankie to her apartment, where they discuss their lives and listen to "Clair de lune". However, the intimacy makes Frankie uncomfortable, and they argue. She asks him to leave, but before he does, he calls the radio station and asks them to play an encore of "Clair de lune". Frankie confesses that a previous boyfriend had physically abused her, at one point causing her to have a miscarriage that made her unable to have children. Frankie invites Johnny to stay, and they watch the sunrise together.

Cast

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Production

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Star Trek VI: The Undiscovered Country was filming in a nearby studio, and Garry Marshall arranged for actors William Shatner (James T. Kirk), Leonard Nimoy (Spock) and DeForest Kelley (Leonard Mccoy) to appear fully costumed, out of camera shot, behind a door in one scene to elicit genuine surprise from Al Pacino when he opened it.[4]

Reception

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On Rotten Tomatoes, Frankie and Johnny holds an approval rating of 69%, based on 35 reviews, with an average rating of 6.7/10.[5]

Peter Travers in Rolling Stone wrote, "There hasn't been a sharper, sassier, more touching romantic comedy this year... there's no denying Marshall's expert timing. This is the director's best work yet... In its celebration of cautious optimism, Frankie and Johnny becomes the perfect love story for these troubled times."[6]

Janet Maslin in The New York Times wrote, "In the skillfully manipulative hands of Garry Marshall, who has directed from a screenplay by Mr. McNally that amounts to a complete revision, Frankie and Johnny has been reshaped into foolproof schmaltz. 'Foolproof' is the operative word... But somehow Mr. Marshall, Mr. McNally and their superb leading actors are able to retain the intimacy of their material. They also retain the story's fundamental wariness about romance, even when everything about Ms. Pfeiffer and Mr. Pacino has the audience wondering why they don't simply fall into each other's arms."[7]

Rita Kempley in The Washington Post wrote, "In its odyssey from stage to screen, Frankie & Johnny has undergone a sunny metamorphosis from ugly ducklings' romance to candy-coated, blue-collar valentine."[8]

Time Out summed it up thus: "Pacino wears a vest and bandanna and moons through the part. Pfeiffer plays dowdy. Marshall directs as if Marty had never happened."[9]

Much attention was paid to the controversial casting choices of Al Pacino and Michelle Pfeiffer, two actors perceived as "beautiful movie stars"[10] with Hollywood glamour cast to play "lonely little people struggling to find love",[10] originated by supposed "ordinary" actors Kenneth Welsh and Kathy Bates.

Stephen Farber in Movieline wrote, "Michelle Pfeiffer gives a very adept and winning performance in Frankie & Johnny, but she's simply wrong for the part of a plain, world-weary waitress. While Pfeiffer has protested to interviewers that physical beauty cannot guarantee happiness, the fact remains that anyone as gorgeous as she is has a lot more options than someone who looks like Kathy Bates (who originated the role on stage). The star casting robs the material of some of its poignancy."[11]

The Washington Post wrote that "casting Michelle Pfeiffer in a role written for Kathy Bates is going to have a definite effect on the story's dramatic weight. That's not to say that Pfeiffer isn't pfantastic or that this isn't the pfeel-good movie of the season. It's just ... well, imagine Kevin Costner as Marty."[8]

Variety asserted that no one would "believe that Pfeiffer hasn't had a date since Ronald Reagan was president, and no matter how hard she tries to look plain, there is no disguising that she just gets more beautiful all the time".[10]

However, some critics commended Pfeiffer for her performance, notably Rolling Stone, who called it "a triumph. She is among that rarefied group of actresses (Anjelica Huston, Meryl Streep) whose work keeps taking us by surprise. Her powerfully subtle acting can tickle the funny bone or pierce the heart with equally uncanny skill."[6]

The New York Times wrote, "Ms. Pfeiffer's extraordinary beauty makes her fine-tuned, deeply persuasive performance as the tough and fearful Frankie that much more surprising."[7]

Pacino also received critical praise. Rolling Stone wrote, "Pacino, whose recent work has been lugubrious (The Godfather Part III) or broad (Dick Tracy), shows a real flair for comic delicacy."[6]

The New York Times wrote, "Mr. Pacino has not been this uncomplicatedly appealing since his Dog Day Afternoon days, and he makes Johnny's endless enterprise in wooing Frankie a delight. His scenes alone with Ms. Pfeiffer have a precision and honesty that keep the film's maudlin aspects at bay."[7]

Variety, however, described him as "a warm, slobbering dog who can't leave people alone, Pacino's Johnny comes on real strong, and his pronounced neediness is too much at times".[10]

Kate Nelligan was singled out for her supporting turn; The New York Times wrote, "Kate Nelligan, nearly unrecognizable, is outstandingly enjoyable as the gum-chewing, man-crazy one."[7] Rolling Stone thought that "seeing this Royal Shakespeare Company actress cut loose with this bold and brassy performance is one of the film's zippiest treats".[6]

The film opened on 1,150 screens, but grossed $4.8 million for the weekend, failing to dislodge The Fisher King from the number-one position and finishing third for the weekend.[12] It went on to gross $22.8 million in the United States and Canada,[13] and $44.2 million overseas,[14][15] for a worldwide gross of $67 million.

Awards and nominations

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Award Category Nominee(s) Result Ref.
British Academy Film Awards Best Actress in a Supporting Role Kate Nelligan Won [16]
GLAAD Media Awards Outstanding Film Won[a] [17]
Golden Globe Awards Best Actress in a Motion Picture – Musical or Comedy Michelle Pfeiffer Nominated [18]
National Board of Review Awards Top Ten Films 9th Place [19]
Best Supporting Actress Kate Nelligan Won
New York Film Critics Circle Awards Best Supporting Actress Runner-up [20]

Notes

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  1. ^ Tied with Fried Green Tomatoes

References

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  1. ^ Frankie and Johnny at the AFI Catalog of Feature Films
  2. ^ Rich, Frank (October 28, 1987). "Theater: 'Frankie and Johnny'". The New York Times. Archived from the original on July 28, 2012.
  3. ^ "Frankie and Johnny". Traditional Music Library. Retrieved November 17, 2009.
  4. ^ Carpenter, Teresa (October 6, 1991). "Al Pacino: Regular Guy Among Ordinary Joes". The New York Times. Archived from the original on December 31, 2017. Retrieved December 30, 2017.
  5. ^ "Frankie and Johnny". Rotten Tomatoes. October 11, 1991. Retrieved December 29, 2022.
  6. ^ a b c d Travers, Peter (October 31, 1991). "Frankie and Johnny : Review". Rolling Stone. Archived from the original on November 23, 2007.
  7. ^ a b c d Maslin, Janet (October 11, 1991). "Movie Review – Frankie and Johnny – Short-Order Cookery And Dreams of Love". The New York Times. Archived from the original on February 18, 2012.
  8. ^ a b Kempley, Rita (October 11, 1991). "'Frankie and Johnny' (R)". The Washington Post.
  9. ^ "Frankie and Johnny Review - Film". Time Out London. Archived from the original on June 7, 2011. Retrieved November 17, 2009.
  10. ^ a b c d "Frankie and Johnny Review". Variety. January 1, 1991. Retrieved November 17, 2009.
  11. ^ Farber, Stephen. "Review: Frankie & Johnny". Movieline. Archived from the original on November 9, 2005. Retrieved November 17, 2009.
  12. ^ Cohn, Lawrence (October 21, 1991). "'Frankie' flat; 'Ricochet' holds; 'BevHills' flops". Variety. p. 8.
  13. ^ "Frankie and Johnny". Box Office Mojo.
  14. ^ "UIP's $25M-Plus Club". Variety. September 11, 1995. p. 93.
  15. ^ Groves, Don (February 22, 1993). "Hollywood Wows World Wickets". Variety. p. 85.
  16. ^ "BAFTA Awards: Film in 1992". BAFTA. 1991. Retrieved September 16, 2016.
  17. ^ "Frankie and Johnny (1991) - Awards". imdb.com. Retrieved November 17, 2009.
  18. ^ "Frankie and Johnny – Golden Globes". HFPA. Retrieved July 28, 2021.
  19. ^ "1991 Award Winners". National Board of Review. Retrieved July 5, 2021.
  20. ^ "1991 New York Film Critics Circle Awards". Mubi. Retrieved July 5, 2021.
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