I'm Not Rappaport


2h 16m 1996

Brief Synopsis

This inspirational celebration of the lunacy and levity of life follows two of the most captivating characters you've ever met, who comically and heroically tilt at the injustices around them. Nat and Midge meet regularly in Central Park, but at first glance you might not know why. Nat is a feisty,

Film Details

MPAA Rating
PG-13
Genre
Adaptation
Comedy
Drama
Release Date
1996
Distribution Company
Gramercy Pictures
Location
New York City, New York, USA

Technical Specs

Duration
2h 16m

Synopsis

This inspirational celebration of the lunacy and levity of life follows two of the most captivating characters you've ever met, who comically and heroically tilt at the injustices around them. Nat and Midge meet regularly in Central Park, but at first glance you might not know why. Nat is a feisty, quick-witted trickster who has a new plan and a new identity for every occasion. As he puts it: "I make certain alterations. Sometimes the truth don't fit. I take in here, let out there 'til it fits." Midge, on the other hand, is a quiet and proud man--a former champion boxer now fighting to keep both a job and his peace of mind. That is, if Nat would just leave him.

Crew

Trish Adlesic

Assistant Location Manager

Lewis Allen

Other

Robert Anton

Production Assistant

Meredith Barchat

Other

Robert Barnett

Other

B H Barry

Other

Yudi Bennett

Assistant Director

Irving Berlin

Music

Sonia Bhalla

Production Assistant

Margaret Blachly

Other

Doug Blonsky

Special Thanks To

Ralf D Bode

Photography

Nathaniel Bonini

Location Assistant

Brett Botula

Location Manager

Chad Brandham

Consultant

Marnie Briskin

Other

Ken Brown

Production Assistant

Bill Buckman

Driver

Bill Buckman

Driver

Pani Ka Bulbula

Song Performer

Pani Ka Bulbula

Song

Luba Bulloff

Dialect Coach

Seth Burch

Location Assistant

Diana Buri Weymar

Assistant

John Cambria

Assistant Camera Operator

Michael Cambria

Assistant Camera Operator

Debbie Canfield

Props Assistant

Kelly Canfield

On-Set Dresser

Julie Carr

Assistant Editor

Stephanie Carroll

Set Decorator

Caroline Castaneda

Other

Maria Celestre

Wardrobe Assistant

Lou Cerborino

Sound Effects Editor

Al Cerullo

Helicopter Pilot

Anthony Ciccolini

Dialogue Editor

Danajean Cicerchi

Wardrobe Supervisor

Will D Cobb

Music

Wendi Cohen

Production Assistant

Robert G Conners

Electrician

Tom Constabile

Construction Coordinator

Carla Corral

Craft Service

Adger Cowans

Photography

Tim Craig

Production

Marcia Debonis

Casting Associate

Joseph M Deluca

On-Set Dresser

B. G. Desylva

Song

Lisa Diamond

Assistant

Nick Dibeneditto

Negative Cutting

Bryan Dolan

Electrician

James P. Dolan

Gaffer

Kathleen Dolan

Props Assistant

Robert Dolan

Electrician

Tom Dolan

Electrician

Tim Donahue

Production Assistant

Naomi Donne

Makeup Artist

Noel Dowd

Apprentice

Deb Dyer

Accounting Assistant

Hasting Sound Editorial

Sound

Cliff Edwards

Song Performer

Gus Edwards

Music

James Fanning

Transportation Captain

Doug Fecht

On-Set Dresser

Robert Feltman

Other

Harriet Fidlow

Adr Editor

Henry Foner

Special Thanks To

Mo Foner

Special Thanks To

Jennifer Freed

Post-Production Accountant

Mark Friedberg

Production Designer

Ken Fundus

Grip

Steve Gamiello

Other

Herb Gardner

Play As Source Material

Herb Gardner

Screenplay

Shandi Garrison

Other

William K. Gaskins

Driver

Emily Gaunt

Other

Jeff Glane

Other

Michael Z Gordon

Special Thanks To

Brad Goss

Dolly Grip

Jennifer Graffam

Wardrobe Assistant

Frank Graziadei

Sound

Bud Green

Song

Kevin P Griffin

Driver

Jim Halstrom

Other

Ben Harris

Other

Bob Harris

Music

Michael Hashim

Music

Martin Heinfling

Other

Ray Henderson

Song Performer

Petr Hlinomaz

Electrician

Bradford L Hohle

Consultant

Adam Holender

Director Of Photography

Eddie Joe

Location Assistant

Jean Kalanzi

Accounting Assistant

Thomas L Keller

Assistant Costume Designer

Dan Kelley

Camera Equipment

Kate Kelly

Assistant Production Coordinator

Debra S Kent

Assistant Director

Tina Khayat

Art Assistant

Pat King

Driver

David Knox

Camera Operator

Steve Koster

Camera Operator

Jenna Krempel

Wardrobe Supervisor

Lynn Kressel

Casting

Tom Landi

Electrician

Amy Lauritsen

Assistant Director

Ed Leahy

Driver

Kevin Lee

Dialogue Editor

Elizabeth Linn

Other

Michael Ludati

Makeup

Dustin Macdonald

Assistant

Todd Macnicholl

Key Grip

Gigi Manase

Craft Service

Jim Manzione

Best Boy

Gerardo Matos Rodriguez

Song

Jennifer Von Mayrhauser

Costume Designer

Anne Mccabe

Associate Editor

Kathryn Mcfarlane

Other

Melissa Mcham

Assistant

Felix Mendelssohn

Music

Ann Miller

Property Master

Billy Miller

Grip

Billy Miller

Key Grip

Jim Miller

Best Boy Grip

Matt Miller

Grip

Rebecca Morton

Production Associate

Gerry Mulligan

Original Music

Gerry Mulligan

Music Composer

Pat Mullins

Music Editor

Yvette Nabel

Foley

Anne Nevin

Production Coordinator

Bob Nolan

Song

David Norris

Camera Operator

Edward O'donnell

Transportation Coordinator

Bitty O'sullivan-smith

Dialogue Editor

John Ottesen

Special Effects

Ron Ottesen

Special Effects

Daniel Pagan

Assistant Sound Editor

Emily Paine

Editor

Rudy Pelikan

Carpenter

David Penotti

Production Assistant

John Penotti

Producer

Matthew Phenix

Art Assistant

Martha Pinson

Script Supervisor

Tom Pollock

Special Thanks To

Michael Preston

Consultant

Greg Principato

Camera

David Pultz

Color Timer

John D Quaglia

Hair Stylist

Brendan Quinlan

Grip

Jane Raab

Production Supervisor

Caesar Rivera

Driver

Ron Rogers

Production Assistant

Jill Rowe

Art Department Coordinator

James Sabat

Sound Mixer

Louis Sabat

Boom Operator

Dan Sable

Sound Editor

Lynn Sable

Sound Editor

David Sameth

Executive Producer

Michelle Sarama

Post-Production Assistant

Thomas D. Selz

Production

Shel Silverstein

Special Thanks To

Steven Simons

Foley

Tim Spillane

Driver

Igor Srubshchik

Other

Wendey Stanzler

Editor

Jennifer Starke

Art Assistant

John Starke

Producer

John Starke

Unit Production Manager

Reilly Steele

Rerecording

Henry Stern

Special Thanks To

Fisher Stevens

Special Thanks To

Lisa Street

Other

Bianca Strul

Other

Don Sweeney

Camera Operator

Steve Szucs

Driver

Ginger Tougas

Art Director

Cherie Trotter

Other

Craig Vaccaro

Grip

Nick Vaccaro

Grip

Brian Vancho

Foley Artist

Michael Ventresco

Titles

Nancy Ventura

Dga Trainee

Rosanne Vogel

Accountant

Magdaline Volaitis

Dialogue Editor

James Walsh

Other

Tom Weisler

Driver

Frank Weiss

Driver

Gregory White

Production Assistant

Grant Wilfley

Extras Agent/Coordinator

Sabrina Wright

Props Assistant

Jennifer Yun

Post-Production Coordinator

Film Details

MPAA Rating
PG-13
Genre
Adaptation
Comedy
Drama
Release Date
1996
Distribution Company
Gramercy Pictures
Location
New York City, New York, USA

Technical Specs

Duration
2h 16m

Articles

Ossie Davis (1917-2005)


Ossie Davis, the distinguished African-American character actor, director and civil rights activist, died of natural causes on February 4 in Miami Beach, where he was filming a movie. He was 87.

He was born Raiford Chatman Davis on December 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his birth, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the name stuck. He graduated high school in 1936 and was offered two scholarships: one to Savannah State College in Georgia and the other to the famed Tuskegee Institute in Alabama, but he could not afford the tuition and turned them down. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama.

As much as he enjoyed studying dramatics, Davis had a hunger to practice the trade professionally and in 1939, he left Howard University and headed to Harlem to work in the Rose McClendon Players, a highly respected, all-black theater ensemble in its day.

Davis' good looks and deep voice were impressive from the beginning, and he quickly joined the company and remained for three years. With the onset of World War II, Davis spent nearly four years in service, mainly as a surgical technician in an all-black Army hospital in Liberia, serving both wounded troops and local inhabitants before being transferred to Special Services to write and produce stage shows for the troops.

Back in New York in 1946, Davis debuted on Broadway in Jeb, a play about a returning black soldier who runs afoul of the Ku Klux Klan in the deep south. His co-star was Ruby Dee, an attractive leading lady who was one of the leading lights of black theater and film. Their initial romance soon developed into a lasting bond, and the two were married on December 9, 1948.

With Hollywood making much more socially conscious, adult films, particularly those that tackled themes of race (Lonely Are The Brave, Pinky, Lost Boundaries all 1949), it wasn't long before Hollywood came calling for Davis. His first film, with which he co-starred with his wife Dee, was a tense Joseph L. Mankiewicz's prison drama with strong racial overtones No Way Out (1950). He followed that up with a role as a cab driver in Henry Hathaway's Fourteen Hours (1951). Yet for the most part, Davis and Dee were primarily stage actors, and made few film appearances throughout the decade.

However, in should be noted that much of Davis time in the '50s was spent in social causes. Among them, a vocal protest against the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson even after he was denounced by other black political, sports and show business figures for his openly communist and pro-Soviet sympathies. Such affiliation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his wife Dee, were never openly accused of any wrongdoing.

If there was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hit Broadway show, A Raisin in the Sun in 1960, and followed that up a year later with his debut as a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to buy his former master's plantation barn and turn it into a racially integrated church.

Although not an initial success, the play would be adapted into a Tony-award winning musical, Purlie years later. Yet just as important as his stage success, was the fact that Davis' film roles became much more rich and varied: a liberal priest in John Huston's The Cardinal (1963); an unflinching tough performance as a black soldier who won't break against a sadistic sergeant's racial taunts in Sidney Lumet's searing war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling's Night Gallery (1969).

In 1970, he tried his hand at film directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban action comedy with Godfrey Cambridge and Raymond St. Jacques as two black cops trying to stop a con artist from stealing Harlem's poor. It's generally considered the first major crossover film for the black market that was a hit with white audiences. Elsewhere, he found roles in some popular television mini-series such as King, and Roots: The Next Generation (both 1978), but for the most part, was committed to the theater.

Happily, along came Spike Lee, who revived his film career when he cast him in School Daze (1988). Davis followed that up with two more Lee films: Do the Right Thing (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From there, Davis found himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Not Rappaport (1996), and HBO's remake of 12 Angry Men (1997).

Davis and Dee celebrated their 50th wedding anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were among the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent movie called Retirement with co-stars George Segal, Rip Torn and Peter Falk.

In addition to his widow Dee, Davis is survived by three children, Nora Day, Hasna Muhammad and Guy Davis; and seven grandchildren.

by Michael T. Toole
Ossie Davis (1917-2005)

Ossie Davis (1917-2005)

Ossie Davis, the distinguished African-American character actor, director and civil rights activist, died of natural causes on February 4 in Miami Beach, where he was filming a movie. He was 87. He was born Raiford Chatman Davis on December 18, 1917 in Cogdell, Georgia. His parents called him "R.C." When his mother registered his birth, the county clerk misunderstood her and thought she said "Ossie" instead of "R.C.," and the name stuck. He graduated high school in 1936 and was offered two scholarships: one to Savannah State College in Georgia and the other to the famed Tuskegee Institute in Alabama, but he could not afford the tuition and turned them down. He eventually saved enough money to hitchhike to Washington, D.C., where he lived with relatives while attending Howard University and studied drama. As much as he enjoyed studying dramatics, Davis had a hunger to practice the trade professionally and in 1939, he left Howard University and headed to Harlem to work in the Rose McClendon Players, a highly respected, all-black theater ensemble in its day. Davis' good looks and deep voice were impressive from the beginning, and he quickly joined the company and remained for three years. With the onset of World War II, Davis spent nearly four years in service, mainly as a surgical technician in an all-black Army hospital in Liberia, serving both wounded troops and local inhabitants before being transferred to Special Services to write and produce stage shows for the troops. Back in New York in 1946, Davis debuted on Broadway in Jeb, a play about a returning black soldier who runs afoul of the Ku Klux Klan in the deep south. His co-star was Ruby Dee, an attractive leading lady who was one of the leading lights of black theater and film. Their initial romance soon developed into a lasting bond, and the two were married on December 9, 1948. With Hollywood making much more socially conscious, adult films, particularly those that tackled themes of race (Lonely Are The Brave, Pinky, Lost Boundaries all 1949), it wasn't long before Hollywood came calling for Davis. His first film, with which he co-starred with his wife Dee, was a tense Joseph L. Mankiewicz's prison drama with strong racial overtones No Way Out (1950). He followed that up with a role as a cab driver in Henry Hathaway's Fourteen Hours (1951). Yet for the most part, Davis and Dee were primarily stage actors, and made few film appearances throughout the decade. However, in should be noted that much of Davis time in the '50s was spent in social causes. Among them, a vocal protest against the execution of Julius and Ethel Rosenberg, and an alignment with singer and black activist Paul Robeson. Davis remained loyal to Robeson even after he was denounced by other black political, sports and show business figures for his openly communist and pro-Soviet sympathies. Such affiliation led them to suspicions in the anti-Communist witch hunts of the early '50s, but Davis, nor his wife Dee, were never openly accused of any wrongdoing. If there was ever a decade that Ossie Davis was destined for greatness, it was undoubtly the '60s. He began with a hit Broadway show, A Raisin in the Sun in 1960, and followed that up a year later with his debut as a playwright - the satire, Purlie Victorious. In it, Davis starred as Purlie, a roustabout preacher who returns to southern Georgia with a plan to buy his former master's plantation barn and turn it into a racially integrated church. Although not an initial success, the play would be adapted into a Tony-award winning musical, Purlie years later. Yet just as important as his stage success, was the fact that Davis' film roles became much more rich and varied: a liberal priest in John Huston's The Cardinal (1963); an unflinching tough performance as a black soldier who won't break against a sadistic sergeant's racial taunts in Sidney Lumet's searing war drama The Hill (1965); and a shrewd, evil butler who turns the tables on his employer in Rod Serling's Night Gallery (1969). In 1970, he tried his hand at film directing, and scored a hit with Cotton Comes to Harlem (1970), a sharp urban action comedy with Godfrey Cambridge and Raymond St. Jacques as two black cops trying to stop a con artist from stealing Harlem's poor. It's generally considered the first major crossover film for the black market that was a hit with white audiences. Elsewhere, he found roles in some popular television mini-series such as King, and Roots: The Next Generation (both 1978), but for the most part, was committed to the theater. Happily, along came Spike Lee, who revived his film career when he cast him in School Daze (1988). Davis followed that up with two more Lee films: Do the Right Thing (1989), and Jungle Fever (1991), which also co-starred his wife Dee. From there, Davis found himself in demand for senior character parts in many films throughtout the '90s: Grumpy Old Men (1993), The Client (1994), I'm Not Rappaport (1996), and HBO's remake of 12 Angry Men (1997). Davis and Dee celebrated their 50th wedding anniversary in 1998 with the publication of a dual autobiography, In This Life Together, and in 2004, they were among the artists selected to receive the Kennedy Center Honors. Davis had been in Miami filming an independent movie called Retirement with co-stars George Segal, Rip Torn and Peter Falk. In addition to his widow Dee, Davis is survived by three children, Nora Day, Hasna Muhammad and Guy Davis; and seven grandchildren. by Michael T. Toole

Quotes

Trivia

Miscellaneous Notes

Released in United States Winter December 24, 1996

Released in United States December 26, 1996

Expanded Release in United States January 10, 1997

Expanded Release in United States January 24, 1997

Released in United States on Video June 3, 1997

Released in United States January 1997

Shown at Nortel Palm Springs International Film Festival in Palm Springs, California January 9-26, 1997.

Ossie Davis replaced Lou Gossett Jr. in the cast.

Began shooting May 24, 1995.

Completed shooting July 31, 1995.

Herb Gardner's Broadway play featured Judd Hirsch and Cleavon Little in the leading roles.

Released in United States Winter December 24, 1996

Released in United States December 26, 1996 (New York City)

Expanded Release in United States January 10, 1997

Expanded Release in United States January 24, 1997

Released in United States on Video June 3, 1997

Released in United States January 1997 (Shown at Nortel Palm Springs International Film Festival in Palm Springs, California January 9-26, 1997.)