In God We Trust


1h 37m 1980

Brief Synopsis

Brother Ambrose is a monk who has lived his whole life inside his monastery. Ambrose knows almost nothing about the outside world, but when he learns that the monastery is in financial trouble and might have to close down, he goes out into the world to raise the money to save it. Ambrose is asking f

Film Details

Also Known As
Gimme That Prime Time Relgion
MPAA Rating
Release Date
1980

Technical Specs

Duration
1h 37m

Synopsis

Brother Ambrose is a monk who has lived his whole life inside his monastery. Ambrose knows almost nothing about the outside world, but when he learns that the monastery is in financial trouble and might have to close down, he goes out into the world to raise the money to save it. Ambrose is asking for cash donations on Hollywood Boulevard when he meets Mary, an outspoken street walker who opens his eyes to the worldly side of life. The two of them meet televangelist Armageddon T. Thunderbird, who makes Ambrose a partner at The Church of the Divine Profit. But when he decides he does not agree with Thunderbird's philosophy, Ambrose finally turns to God for help.

Crew

Chris Allen

Screenplay

Larry Barbier

Photography

Steve Barnett

Assistant Director

Christine Baur

Stunts

Gary Baxley

Stunts

Paul Baxley

Stunt Coordinator

David Blewitt

Editor

Steve Boyum

Stunts

Buzz Bundy

Stunts

Richard Burch

Stunts

Patricia Burck

Hair

James Casey

Art Department

Sam Christensen

Casting

Charles Correll

Director Of Photography

Gene Corso

Sound Effects

Peg Cummings

Set Decorator

Alan Disler

Assistant Camera Operator

Kenny Endoso

Stunts

Leonard Engelman

Makeup

Gary Epper

Stunts

Lauretta Feldman

Associate Producer

Marty Feldman

Screenplay

John Gaudioso

Unit Production Manager

Sandra Gross

Stunts

Allen L Hall

Special Effects

Arthur Hanson

Property Master

Norman T. Herman

Executive Producer

Stephen A Hope

Music Editor

Victor Hunsberger

Stunts

Pete Kellett

Stunts

Tom Kessenich

Key Grip

Gregg Landaker

Sound

Skip Lusk

Editor

Eddie Mahler

Sound

Pat Mcgroarty

Stunts

Lorane Mitchell

Sound Effects

Rick Mitchell

Editor

John Morris

Music

Ruth Myers

Costumes

Chase Newhart

Assistant Director

Harry Nilsson

Song Performer

Harry Nilsson

Song

Bob Orrison

Stunts

Carl Pagano

Camera Operator

Lawrence G Paull

Production Designer

Leo Pepin

Location Manager

Sylvia Posner

Wardrobe Supervisor

Wayne Reed

Wardrobe Supervisor

Joyce Robinson

Casting

Mic Rodgers

Stunts

Wally Rose

Stunts

Kerry Rossall

Stunts

James Seidelman

Assistant Editor

George Shapiro

Producer

David L Snyder

Art Director

Tom Southwell

Production

Tom Southwell

Titles

Jerry Summers

Stunts

Bill Taylor

Photography

David Valdes

Assistant Director

Steve Vandeman

Stunts

Bill Varney

Sound

Esther Vivante

Script Supervisor

Dan Wallin

Sound

Marvin Weldon

Script Supervisor

Howard West

Producer

Albert Whitlock

Special Effects

Howard Wollman

Sound

Dee Dee Wood

Choreographer

Allan Wyatt

Stunts

Steve Yaconelli

Camera Operator

Film Details

Also Known As
Gimme That Prime Time Relgion
MPAA Rating
Release Date
1980

Technical Specs

Duration
1h 37m

Articles

Richard Pryor (1940-2005)


The scathing, brilliantly insightful African-American comic who proved himself on many occasions to be a highly competent screen actor, died of a heart attack on November 10 at his Encino, California home. He was 65. He had been reclusive for years after he publicly announced he was suffering from multiple sclerosis in 1992.

He was born Richard Thomas Pryor III on December 1, 1940 in Peoria, Illinois. By all accounts, his childhood was a difficult one. His mother was a prostitute and his grandmother ran a brothel. His father was rarely around and when he was, he would physically abuse him. From a young age, Pryor knew that humor was his weapon of choice to cut through all the swath he came across and would confront in his life.

After high school, he enlisted in the Army for a two-year stint (1958-60). When he was discharged (honorably!) he concentrated on stand-up comedy and worked in a series of nightclubs before relocating to New York City in 1963. In 1964, he made his television debut when he was given a slot on the variety program On Broadway Tonight. His routine, though hardly the groundbreaking material we would witness in later years, was very well received, and in the late '60s Pryor found more television work: Toast of the Town, The Wild Wild West, The Mod Squad ; and was cast in a two movies: The Busy Body (1967) with Sid Caesar; and Wild in the Streets (1968) a cartoonish political fantasy about the internment of all American citizens over 30.

Pryor's career really didn't ignite until the '70s. His stand up act became raunchier and more politically motivated as he touched on issued of race, failed relationships, drug addiction, and street crimes. His movie roles became far more captivating in the process: the piano man in Lady Sings the Blues (1972); as a wise-talking hustler in a pair of slick urban thrillers: The Mack (1973) and Uptown Saturday Night (1974); the gregarious Daddy Rich in Car Wash; his first pairing with Gene Wilder as Grover, the car thief who helps stops a runaway train in his first real box office smash Silver Streak (both 1976); and for many critics, his finest dramatic performance as a factory worker on the edge of depression in Paul Schrader's excellent working class drama Blue Collar (1978).

On a personal level, his drug dependency problem worsened, and on June 9, 1980, near tragedy struck when he caught fire while free-basing cocaine. Pryor later admitted that the incident, was, in fact, a suicide attempt, and that his management company created the lie for the press in hopes of protecting him. Fortunately, Pryor had three films in the can that all achieved some level of financial success soon after his setback: another pairing with Gene Wilder in the prison comedy Stir Crazy (1980); a blisteringly funny cameo as God who flips off Andy Kaufman in the warped religious satire In God We Tru$t (1980); an a ex-con helping a social worker (Cicely Tyson) with her foster charges in Bustin' Loose (1981). He capped his recovery with Live on the Sunset Strip (1982), a first-rate documentation of the comic's genius performed in front of a raucous live audience.

In 1983, Pryor signed a $40 million, five-year contract with Columbia Pictures. For many fans and critics, this was the beginning of his downslide. His next few films: The Toy, Superman III (both 1983), and Brewster's Millions (1985) were just tiresome, mediocre comedies. Jo Jo Dancer, Your Life is Calling (1986), was his only attempt at producing, directing, and acting, and the film, which was an ambitious autobiographical account of a his life and career, was a box-office disappointment. He spent the remainder of the '80s in middling fare: Condition Critical (1987), Moving; a third pairing with Gene Wilder in See No Evil, Hear No Evil; and his only teaming with Eddie Murphy in Harlem Nights (1989).

In 1986, Pryor was diagnosed with multiple sclerosis, a degenerative disease of the nervous system that curtailed both his personal appearances and his gift for physical comedy in his latter films. By the '90s, little was seen of Pryor, but in 1995, he made a courageous comeback on television when he guest starred on Chicago Hope as an embittered multiple sclerosis patient. His performance earned him an Emmy nomination and he was cast in a few more films: Mad Dog Time (1996), Lost Highway (1997), but his physical ailments prohibited him from performing on a regular basis. In 1998, The John F. Kennedy Center for the Performing Arts in Washington gave Pryor the first Mark Twain Prize for humor. It was fitting tribute for a man who had given so much honesty and innovation in the field of comedy. Pryor is survived by his wife, Jennifer Lee; his sons Richard and Steven; and daughters Elizabeth, Rain and Renee.

by Michael T. Toole
Richard Pryor (1940-2005)

Richard Pryor (1940-2005)

The scathing, brilliantly insightful African-American comic who proved himself on many occasions to be a highly competent screen actor, died of a heart attack on November 10 at his Encino, California home. He was 65. He had been reclusive for years after he publicly announced he was suffering from multiple sclerosis in 1992. He was born Richard Thomas Pryor III on December 1, 1940 in Peoria, Illinois. By all accounts, his childhood was a difficult one. His mother was a prostitute and his grandmother ran a brothel. His father was rarely around and when he was, he would physically abuse him. From a young age, Pryor knew that humor was his weapon of choice to cut through all the swath he came across and would confront in his life. After high school, he enlisted in the Army for a two-year stint (1958-60). When he was discharged (honorably!) he concentrated on stand-up comedy and worked in a series of nightclubs before relocating to New York City in 1963. In 1964, he made his television debut when he was given a slot on the variety program On Broadway Tonight. His routine, though hardly the groundbreaking material we would witness in later years, was very well received, and in the late '60s Pryor found more television work: Toast of the Town, The Wild Wild West, The Mod Squad ; and was cast in a two movies: The Busy Body (1967) with Sid Caesar; and Wild in the Streets (1968) a cartoonish political fantasy about the internment of all American citizens over 30. Pryor's career really didn't ignite until the '70s. His stand up act became raunchier and more politically motivated as he touched on issued of race, failed relationships, drug addiction, and street crimes. His movie roles became far more captivating in the process: the piano man in Lady Sings the Blues (1972); as a wise-talking hustler in a pair of slick urban thrillers: The Mack (1973) and Uptown Saturday Night (1974); the gregarious Daddy Rich in Car Wash; his first pairing with Gene Wilder as Grover, the car thief who helps stops a runaway train in his first real box office smash Silver Streak (both 1976); and for many critics, his finest dramatic performance as a factory worker on the edge of depression in Paul Schrader's excellent working class drama Blue Collar (1978). On a personal level, his drug dependency problem worsened, and on June 9, 1980, near tragedy struck when he caught fire while free-basing cocaine. Pryor later admitted that the incident, was, in fact, a suicide attempt, and that his management company created the lie for the press in hopes of protecting him. Fortunately, Pryor had three films in the can that all achieved some level of financial success soon after his setback: another pairing with Gene Wilder in the prison comedy Stir Crazy (1980); a blisteringly funny cameo as God who flips off Andy Kaufman in the warped religious satire In God We Tru$t (1980); an a ex-con helping a social worker (Cicely Tyson) with her foster charges in Bustin' Loose (1981). He capped his recovery with Live on the Sunset Strip (1982), a first-rate documentation of the comic's genius performed in front of a raucous live audience. In 1983, Pryor signed a $40 million, five-year contract with Columbia Pictures. For many fans and critics, this was the beginning of his downslide. His next few films: The Toy, Superman III (both 1983), and Brewster's Millions (1985) were just tiresome, mediocre comedies. Jo Jo Dancer, Your Life is Calling (1986), was his only attempt at producing, directing, and acting, and the film, which was an ambitious autobiographical account of a his life and career, was a box-office disappointment. He spent the remainder of the '80s in middling fare: Condition Critical (1987), Moving; a third pairing with Gene Wilder in See No Evil, Hear No Evil; and his only teaming with Eddie Murphy in Harlem Nights (1989). In 1986, Pryor was diagnosed with multiple sclerosis, a degenerative disease of the nervous system that curtailed both his personal appearances and his gift for physical comedy in his latter films. By the '90s, little was seen of Pryor, but in 1995, he made a courageous comeback on television when he guest starred on Chicago Hope as an embittered multiple sclerosis patient. His performance earned him an Emmy nomination and he was cast in a few more films: Mad Dog Time (1996), Lost Highway (1997), but his physical ailments prohibited him from performing on a regular basis. In 1998, The John F. Kennedy Center for the Performing Arts in Washington gave Pryor the first Mark Twain Prize for humor. It was fitting tribute for a man who had given so much honesty and innovation in the field of comedy. Pryor is survived by his wife, Jennifer Lee; his sons Richard and Steven; and daughters Elizabeth, Rain and Renee. by Michael T. Toole

Quotes

Trivia

Miscellaneous Notes

Released in United States Fall September 26, 1980

Released in United States Fall September 26, 1980