My Left Foot


1h 43m 1989
My Left Foot

Brief Synopsis

A man with cerebral palsy learns to paint with his foot.

Film Details

MPAA Rating
Genre
Drama
Biography
Release Date
1989
Distribution Company
MIRAMAX
Location
Wicklow, Ireland; Ardmore Studios, Dublin, Ireland

Technical Specs

Duration
1h 43m

Synopsis

This emotionally jarring story is a captivating character study. Based on a true story, Daniel Day Lewis won an Oscar for his portrayal of Christy Brown, crippled by cerebral palsy since birth. Brown uses his left foot, the only part of his body that can move, to communicate, eventually learning to write. Through perseverance and sheer force of will he becomes a renowned painter and writer. Brenda Fricker won a Best Supporting Actress Oscar for her role as Brown's resolute mother in this astonishing film by Jim Sheridan.

Crew

Mary Allguen

Production Manager

Russ Bailey

Construction Manager

Kevan Barker

Assistant Director

Joan Bergin

Costume Designer

Elmer Bernstein

Music

Elmer Bernstein

Music Conductor

Frances Boston

Wardrobe Assistant

Jean Bourne

Continuity

Stephen Bradley

Assistant

Peter Brayham

Stunt Coordinator

Christy Brown

Book As Source Material

Alan Butler

Other

Denis Butler

Carpenter

David Byrne

Assistant Director

Paddy Byrne

Projectionist

Brenda Campbell

Sound

Patrick Condren

Stunts

Shane Connaughton

Screenplay

Jack Conroy

Director Of Photography

Louis Conroy

Gaffer

Noel Cullen

Electrician

Eddie Cunningham

Carpenter

Ron Davis

Sound Editor

Mike Dawson

Sound

Paul Delaney

Boom Operator

Steve Dent

Stunts

Maura Dillon

Stand-In

Bernie Dooley

Hair Assistant

Eileen Doyle

Hair Assistant

Colm Duffin

Driver

J Patrick Duffner

Editor

Anne Dunne

Hair

Carol Dunne

Hair Assistant

Paddy Dunne

Other

Kathy Durning

Music Editor

Pat Egan

Driver

Joe Fagan

Driver

Tom Fannin

Driver

Jim Farrell

Best Boy

Paul Fleming

Other

Brenda Foreman

Titles

Donal Fortune

Stand-In

Vincent Gallagher

Driver

Brendan Geraghty

Assistant Director

Donal Geraghty

Accounting Assistant

Mark Geraghty

Assistant Art Director

Jo Gibney

Other

Johnny Gilbert

Driver

John Green

Driver

Paul Heller

Executive Producer

Nye Heron

Assistant

Jonathan Hession

Photography

James Hickey

Technical Advisor

Peter Hill

Driver

Dave Holland

Stunts

Kieran Horgan

Sound Mixer

Jeanine Hurley

Assistant Editor

Ken Jennings

Makeup

Jazzer Jeyes

Stunts

Gerry Johnson

Special Effects Coordinator

Jimmy Kavanagh

Other

Mick Kearney

Electrician

Michael Kearns

Special Effects Assistant

Michael Kelliher

Sound Editor

Eamon Kelly

Other

Paul Kelly

Stunts

Irene Keogh

Music Coordinator

Gene Lambert

Technical Advisor

Arthur Lappin

Line Producer

Andy Lee

Production

Shirley Lynch

Set Decorator

Guinnes Mahon

Other

John Markey

Stand-In

Susan Marshall

Other

Music Masterton

Music

Shamie Mccabe

Driver

John Mcdonald

Assistant Director

Christy Mcginn

Storyboard Artist

Nuala Moiselle

Casting Director

Owen Monaghan

Props

John Moore

Production Accountant

Kevin Moriarty

Production Accountant

Steve Morrison

Executive Producer

Sunny Mulligan

Production

Owen Murname

Other

Tony Nicholson

Props

Niamh Nigrainee

Assistant Director

Niamh Nolan

Other

Eamonn O'higgins

Property Master

Janet O'leary

Wardrobe

Gay O'reilly

Special Effects Assistant

Grania O'shannon

Location Manager

Alan Pabner

Camera Operator

Noel Pearson

Producer

Terry Plumber

Stunts

Gerry Quigley

Production

Robert Quinn

Production Assistant

Dave Rath

Painter

Robbie Reilly

Other

Adrienne Ross

Assistant Editor

Michael Rowland

Stunts

Mick Rowland

Assistant Director

Brian Saunders

Sound

Liam Saurin

Sound Mixer

Phil Searls

Carpenter

Colman Sharkey

Driver

Brian Sheridan

Generator Operator

Jim Sheridan

Screenplay

P J Smith

Props

Austen Spriggs

Production Designer

Ann Stokes

Wardrobe Assistant

John Thompson

Driver

Niall Thompson

Driver

Denis Tolton

Driver

Derek Wallace

Props

Alan Walsh

Stunts

Bill Whelan

Music Coordinator

Dave Whelan

Carpenter

Des Whelan

Camera Operator

Jenny Lee Wright

Foley Artist

Film Details

MPAA Rating
Genre
Drama
Biography
Release Date
1989
Distribution Company
MIRAMAX
Location
Wicklow, Ireland; Ardmore Studios, Dublin, Ireland

Technical Specs

Duration
1h 43m

Award Wins

Best Actor

1989
Daniel Day-Lewis

Best Supporting Actress

1989
Brenda Fricker

Award Nominations

Best Adapted Screenplay

1989

Best Director

1989
Jim Sheridan

Best Picture

1989

Articles

My Left Foot


The extraordinary struggles of an Irish writer/painter born with severe cerebral palsy are dramatized in Jim Sheridan's 1989 film My Left Foot: The Story of Christy Brown. Daniel Day-Lewis's landmark performance earned him his first Academy Award for Best Actor for his portrayal of the young man born into poverty who, due to the congenital condition, had muscular command of little else but his titular left foot.

Brown (played in his childhood years by Hugh O'Conor) is raised in a house crowded with siblings and without the financial resources to allow him medical treatment, or even a wheelchair. Nevertheless, his determined mother (Brenda Fricker, Oscar®-winner for Best Actress in a Supporting Role) finds ways to stimulate the deprived boy's imagination, and nurtures his ability to express himself, beginning with a piece of chalk held between his toes.

As an adult, Brown manages to express himself through painting, as well as writing (most of the story is told in flashbacks, as a nurse [Ruth McCabe] reads Brown's autobiography). When he undergoes treatment from the unorthodox Dr. Eileen Cole (Fiona Shaw), Brown makes great strides in his physical development. As a bond of friendship forms between them, Brown must face the realization that -- being unlike the typical man -- he may be deprived of the thing he has come to crave: a romantic relationship.

The project came into being during a party in Dublin, where producer Noel Pearson met a somewhat inebriated Day-Lewis and began discussing the life and work of Christy Brown. The episode was later reported in The New York Times: "I thought he was bored out of his brain," Pearson recalled, "He didn't say much, didn't look interested." Nevertheless, Pearson sent Day-Lewis an unsolicited script, and received a call only two days later, "Why didn't you tell me you were doing this?" Day-Lewis asked, "I was fascinated by the story." "Fascinated?" Pearson replied, "I thought you were drunk."

It is said that Day-Lewis was intrigued by the screenplay from scene one, in which a record is placed on a turntable by a foot. "I thought this was one of the most unusual first pages I'd ever encountered," Day-Lewis told The New York Times, "I was delighted with it. Then I thought, how on earth could I do this? It's impossible."

Beyond the challenges of playing a person with severe cerebral palsy, Day-Lewis was fascinated by Brown's battles to express himself. In the book Daniel Day-Lewis: The Fire Within, author Garry Jenkins quotes Day-Lewis: "One of the things I am most intrigued by is inarticulacy. And I don't mean the ability to put words together... Christy Brown's struggle -- as it is for most of us -- was to express himself. And that is the thing I'm nearly always attracted to in a part; the difficulties, the personal problems people have in giving of themselves. Whether it's in words, in painting or passion."

Day-Lewis met with Pearson, who introduced him to first-time director Jim Sheridan, and their mutual passion for the script propelled it toward production.

As it often is with independent films, the final cost of My Left Foot is difficult to determine: £600,000 by some reports, £1.7 million, $2 million, $3 million by others. Regardless of the sum, financing the project proved difficult for producer Pearson, even with a rising star cast in the lead. Biographer Jenkins reports that Day-Lewis agreed to appear in the film for the modest sum of £70,000, plus a percentage of profits. But even that proved more than Pearson could raise. While the film was in preproduction, only 40% of the funds were in place. "'A week before we were due to begin shooting, I had to ring Daniel and tell him we would not have the money to pay him.' the producer remembered later. Daniel's response was instantaneous: 'It doesn't matter,' he said. 'I'm arriving on Tuesday anyway.'"

Production lasted nine weeks, with filming taking place in Dublin and at the Ardmore Studios in County Wicklow, Ireland.

To research the physical aspects of the role, Day-Lewis worked with disabled painter Gene Lambert in Dublin.

He also spent time at a prominent Dublin treatment center: the Sandymount School and Clinic. At first, headmaster Tony Jordan was reluctant to allow an actor to spend time with the staff and patients. "He told me he was Daniel Day-Lewis, which didn't mean anything at all to me at the time... There had been several efforts to do a life of Christy Brown in the past. I wasn't very interested in giving the man much time really." Fortunately, Jordan was acquainted with Pearson, and knew of Sheridan's reputation in the theatre, and agreed to allow Day-Lewis to mingle with some of the patients with cerebral palsy.

After reading the screenplay, Jordan was perturbed by the presence of "Dr. Eileen Cole." In Daniel Day-Lewis: The Biography, author Laura Jackson quotes the Sandymount headmaster as saying, "The character in the film Dr. Eileen Cole never existed. She was supposed to represent an amalgam of several people who helped Christy. Robert Collis was his mentor in every way -- in his education and physical development but, more than that, he encouraged him to paint and write. In fact, he proofread Christy's first book and contacted the publishers for him -- the lot. Dr. Patricia Sheehan, who had played a very important role in Christy's development, was very much against the portrayal of Eileen Cole in the film."

Throughout filming, Day-Lewis "lived the role" of Christy Brown, replicating the author/artist's physical state as a means of staying firmly in character -- a character who required an extraordinary amount of physical discipline. He remained in a wheelchair throughout the shoot -- even when he was not filming. He also maintained Brown's strained paralytic speech at all times. But Day-Lewis was quick to dismiss the suggestion that he was employing a conventionalized acting technique. "I don't follow the Method," he told The New York Times, "I don't even have a normal way of working. I tend to be suspicious of all systems of acting, so I was just trying to come to terms with the more extreme physical problems of playing someone who is disabled."

In spite of his accomplishments on stage and screen, Day-Lewis seems to have a love-hate relationship with acting. At the time he was first given the script of My Left Foot, The New York Times reported, "He was suffering the somewhat sour aftertaste of becoming a star, the anticlimax that followed the rapid succession of films -- My Beautiful Laundrette [1985], The Unbearable Lightness of Being [1988], A Room with a View [1985], Stars and Bars [1988] -- that had quite suddenly marked him as one of the most extraordinary British actors of his generation," wrote Fintan O'Toole, "He was adrift, depressed, refusing all offers of work."

The physical challenges of playing Christy Brown -- and the pressures of becoming a world renowned actor -- brought about a case of "nervous exhaustion," causing Day-Lewis to walk off the stage mid-performance in the National Theatre production of Hamlet (1989). It was three years before he would return to the screen.

A decade after this break from acting -- a decade in which he appeared in The Last of the Mohicans (1992), Sheridan's In the Name of the Father (1993), and an adaptation of Arthur Miller's The Crucible (1996) -- Day-Lewis announced his retirement from the stage and screen, and unveiled his plans to move to Italy and become a cobbler. Day-Lewis made good on his vow, at least until Martin Scorsese convinced him to return from seclusion to appear in his historical epic Gangs of New York (2002), for which he received another Oscar® nomination.

My Left Foot had its North American premiere on September 13, 1989, at the Toronto Film Festival, then played the New York Film Festival ten days later, captivating critics and audiences alike. In his four-star review for the Chicago Sun-Times, Roger Ebert wrote, "My Left Foot is a great film for many reasons, but the most important is that it gives us such a complete picture of this man's life. It is not an inspirational movie, although it inspires. It is not a sympathetic movie, although it inspires sympathy. It is the story of a stubborn, difficult, blessed and gifted man who was dealt a bad hand, who played it brilliantly, and who left us some good books, some good paintings and the example of his courage."

The New York Times heralded the film as "an intelligent, beautifully acted adaptation," but felt it was perhaps too "polite." Vincent Canby wrote, "My Left Foot might have been even better if it had been even more caustic."

Caustic or not, My Left Foot was a triumph at the box-office. It earned $14.7 million in the U.S. alone and, because of its low cost, was ranked the tenth most profitable U.S. release of the year. In addition to the Oscar® wins for Day-Lewis and Fricker, it earned Academy Award nominations for Best Picture, Best Director and Best Adapted Screenplay.

Ironically, My Left Foot had been rejected from the Cannes Film Festival the year before.

In 2007, some controversy was stirred by the publication of the book Christy Brown: The Life that Inspired My Left Foot by Georgina Louise Hambleton, who sought to expose the true character of Brown's wife Mary Carr (who appears in the film as the nurse who reads the autobiography). Carr, the book claims, was not a nurse but a dental receptionist, and alleges that she was a substance-abusing prostitute and lesbian. As a key source of information, the book relied upon Christy's brother Sean, who remarked, "Christy loved her but it wasn't reciprocated because she was not that kind of person. If she loved him like she said she did, she wouldn't have had affairs with both men and women."

Having been a personal friend of Brown's, producer Pearson was no doubt aware of the stormy final chapter of the writer's life, and seems to have consciously skirted the issue of Brown's relationship with Carr -- and the uncomfortable fact that "Christy choked to death on September 6, 1981, while Mary was feeding him a meal of lamb and potatoes" (London Daily Mail). Rather than diminish Brown's triumphs over adversity with a tragic end, Pearson and Sheridan opted to judiciously fade to black and roll the credits just as that problematic chapter of Brown's life was beginning.

Director: Jim Sheridan
Producer: Noel Pearson
Screenplay: Shane Connaughton, Jim Sheridan
Based on the book by Christy Brown
Cinematography: Jack Conroy
Production Design: Austen Spriggs
Music by Elmer Bernstein
Cast: Daniel Day-Lewis (Christy Brown), Brenda Fricker (Mrs. Brown), Fiona Shaw (Dr. Eileen Cole), Ray McAnally (Mr. Brown), Alison Whelan (Sheila), Kirsten Sheridan (Sharon), Declan Croghan (Tom), Cyril Cusack (Lord Castlewelland).
c-103m. Letterboxed.

by Bret Wood
My Left Foot

My Left Foot

The extraordinary struggles of an Irish writer/painter born with severe cerebral palsy are dramatized in Jim Sheridan's 1989 film My Left Foot: The Story of Christy Brown. Daniel Day-Lewis's landmark performance earned him his first Academy Award for Best Actor for his portrayal of the young man born into poverty who, due to the congenital condition, had muscular command of little else but his titular left foot. Brown (played in his childhood years by Hugh O'Conor) is raised in a house crowded with siblings and without the financial resources to allow him medical treatment, or even a wheelchair. Nevertheless, his determined mother (Brenda Fricker, Oscar®-winner for Best Actress in a Supporting Role) finds ways to stimulate the deprived boy's imagination, and nurtures his ability to express himself, beginning with a piece of chalk held between his toes. As an adult, Brown manages to express himself through painting, as well as writing (most of the story is told in flashbacks, as a nurse [Ruth McCabe] reads Brown's autobiography). When he undergoes treatment from the unorthodox Dr. Eileen Cole (Fiona Shaw), Brown makes great strides in his physical development. As a bond of friendship forms between them, Brown must face the realization that -- being unlike the typical man -- he may be deprived of the thing he has come to crave: a romantic relationship. The project came into being during a party in Dublin, where producer Noel Pearson met a somewhat inebriated Day-Lewis and began discussing the life and work of Christy Brown. The episode was later reported in The New York Times: "I thought he was bored out of his brain," Pearson recalled, "He didn't say much, didn't look interested." Nevertheless, Pearson sent Day-Lewis an unsolicited script, and received a call only two days later, "Why didn't you tell me you were doing this?" Day-Lewis asked, "I was fascinated by the story." "Fascinated?" Pearson replied, "I thought you were drunk." It is said that Day-Lewis was intrigued by the screenplay from scene one, in which a record is placed on a turntable by a foot. "I thought this was one of the most unusual first pages I'd ever encountered," Day-Lewis told The New York Times, "I was delighted with it. Then I thought, how on earth could I do this? It's impossible." Beyond the challenges of playing a person with severe cerebral palsy, Day-Lewis was fascinated by Brown's battles to express himself. In the book Daniel Day-Lewis: The Fire Within, author Garry Jenkins quotes Day-Lewis: "One of the things I am most intrigued by is inarticulacy. And I don't mean the ability to put words together... Christy Brown's struggle -- as it is for most of us -- was to express himself. And that is the thing I'm nearly always attracted to in a part; the difficulties, the personal problems people have in giving of themselves. Whether it's in words, in painting or passion." Day-Lewis met with Pearson, who introduced him to first-time director Jim Sheridan, and their mutual passion for the script propelled it toward production. As it often is with independent films, the final cost of My Left Foot is difficult to determine: £600,000 by some reports, £1.7 million, $2 million, $3 million by others. Regardless of the sum, financing the project proved difficult for producer Pearson, even with a rising star cast in the lead. Biographer Jenkins reports that Day-Lewis agreed to appear in the film for the modest sum of £70,000, plus a percentage of profits. But even that proved more than Pearson could raise. While the film was in preproduction, only 40% of the funds were in place. "'A week before we were due to begin shooting, I had to ring Daniel and tell him we would not have the money to pay him.' the producer remembered later. Daniel's response was instantaneous: 'It doesn't matter,' he said. 'I'm arriving on Tuesday anyway.'" Production lasted nine weeks, with filming taking place in Dublin and at the Ardmore Studios in County Wicklow, Ireland. To research the physical aspects of the role, Day-Lewis worked with disabled painter Gene Lambert in Dublin. He also spent time at a prominent Dublin treatment center: the Sandymount School and Clinic. At first, headmaster Tony Jordan was reluctant to allow an actor to spend time with the staff and patients. "He told me he was Daniel Day-Lewis, which didn't mean anything at all to me at the time... There had been several efforts to do a life of Christy Brown in the past. I wasn't very interested in giving the man much time really." Fortunately, Jordan was acquainted with Pearson, and knew of Sheridan's reputation in the theatre, and agreed to allow Day-Lewis to mingle with some of the patients with cerebral palsy. After reading the screenplay, Jordan was perturbed by the presence of "Dr. Eileen Cole." In Daniel Day-Lewis: The Biography, author Laura Jackson quotes the Sandymount headmaster as saying, "The character in the film Dr. Eileen Cole never existed. She was supposed to represent an amalgam of several people who helped Christy. Robert Collis was his mentor in every way -- in his education and physical development but, more than that, he encouraged him to paint and write. In fact, he proofread Christy's first book and contacted the publishers for him -- the lot. Dr. Patricia Sheehan, who had played a very important role in Christy's development, was very much against the portrayal of Eileen Cole in the film." Throughout filming, Day-Lewis "lived the role" of Christy Brown, replicating the author/artist's physical state as a means of staying firmly in character -- a character who required an extraordinary amount of physical discipline. He remained in a wheelchair throughout the shoot -- even when he was not filming. He also maintained Brown's strained paralytic speech at all times. But Day-Lewis was quick to dismiss the suggestion that he was employing a conventionalized acting technique. "I don't follow the Method," he told The New York Times, "I don't even have a normal way of working. I tend to be suspicious of all systems of acting, so I was just trying to come to terms with the more extreme physical problems of playing someone who is disabled." In spite of his accomplishments on stage and screen, Day-Lewis seems to have a love-hate relationship with acting. At the time he was first given the script of My Left Foot, The New York Times reported, "He was suffering the somewhat sour aftertaste of becoming a star, the anticlimax that followed the rapid succession of films -- My Beautiful Laundrette [1985], The Unbearable Lightness of Being [1988], A Room with a View [1985], Stars and Bars [1988] -- that had quite suddenly marked him as one of the most extraordinary British actors of his generation," wrote Fintan O'Toole, "He was adrift, depressed, refusing all offers of work." The physical challenges of playing Christy Brown -- and the pressures of becoming a world renowned actor -- brought about a case of "nervous exhaustion," causing Day-Lewis to walk off the stage mid-performance in the National Theatre production of Hamlet (1989). It was three years before he would return to the screen. A decade after this break from acting -- a decade in which he appeared in The Last of the Mohicans (1992), Sheridan's In the Name of the Father (1993), and an adaptation of Arthur Miller's The Crucible (1996) -- Day-Lewis announced his retirement from the stage and screen, and unveiled his plans to move to Italy and become a cobbler. Day-Lewis made good on his vow, at least until Martin Scorsese convinced him to return from seclusion to appear in his historical epic Gangs of New York (2002), for which he received another Oscar® nomination. My Left Foot had its North American premiere on September 13, 1989, at the Toronto Film Festival, then played the New York Film Festival ten days later, captivating critics and audiences alike. In his four-star review for the Chicago Sun-Times, Roger Ebert wrote, "My Left Foot is a great film for many reasons, but the most important is that it gives us such a complete picture of this man's life. It is not an inspirational movie, although it inspires. It is not a sympathetic movie, although it inspires sympathy. It is the story of a stubborn, difficult, blessed and gifted man who was dealt a bad hand, who played it brilliantly, and who left us some good books, some good paintings and the example of his courage." The New York Times heralded the film as "an intelligent, beautifully acted adaptation," but felt it was perhaps too "polite." Vincent Canby wrote, "My Left Foot might have been even better if it had been even more caustic." Caustic or not, My Left Foot was a triumph at the box-office. It earned $14.7 million in the U.S. alone and, because of its low cost, was ranked the tenth most profitable U.S. release of the year. In addition to the Oscar® wins for Day-Lewis and Fricker, it earned Academy Award nominations for Best Picture, Best Director and Best Adapted Screenplay. Ironically, My Left Foot had been rejected from the Cannes Film Festival the year before. In 2007, some controversy was stirred by the publication of the book Christy Brown: The Life that Inspired My Left Foot by Georgina Louise Hambleton, who sought to expose the true character of Brown's wife Mary Carr (who appears in the film as the nurse who reads the autobiography). Carr, the book claims, was not a nurse but a dental receptionist, and alleges that she was a substance-abusing prostitute and lesbian. As a key source of information, the book relied upon Christy's brother Sean, who remarked, "Christy loved her but it wasn't reciprocated because she was not that kind of person. If she loved him like she said she did, she wouldn't have had affairs with both men and women." Having been a personal friend of Brown's, producer Pearson was no doubt aware of the stormy final chapter of the writer's life, and seems to have consciously skirted the issue of Brown's relationship with Carr -- and the uncomfortable fact that "Christy choked to death on September 6, 1981, while Mary was feeding him a meal of lamb and potatoes" (London Daily Mail). Rather than diminish Brown's triumphs over adversity with a tragic end, Pearson and Sheridan opted to judiciously fade to black and roll the credits just as that problematic chapter of Brown's life was beginning. Director: Jim Sheridan Producer: Noel Pearson Screenplay: Shane Connaughton, Jim Sheridan Based on the book by Christy Brown Cinematography: Jack Conroy Production Design: Austen Spriggs Music by Elmer Bernstein Cast: Daniel Day-Lewis (Christy Brown), Brenda Fricker (Mrs. Brown), Fiona Shaw (Dr. Eileen Cole), Ray McAnally (Mr. Brown), Alison Whelan (Sheila), Kirsten Sheridan (Sharon), Declan Croghan (Tom), Cyril Cusack (Lord Castlewelland). c-103m. Letterboxed. by Bret Wood

Elmer Bernstein (1922-2004)


Elmer Bernstein, the film composer who created unforgettable music for such classics as The Magnificent Seven, To Kill a Mockingbird, and won his only Academy Award for Thoroughly Modern Millie, died of natural causes at his Ojai, California home on August 17. He was 82.

Elmer Bernstein, who was not related to Leonard Bernstein, was born on August 4, 1922, in New York City. He displayed a talent in music at a very young age, and was given a scholarship to study piano at Juilliard when he was only 12. He entered New York University in 1939, where he majored in music education. After graduating in 1942, he joined the Army Air Corps, where he remained throughout World War II, mostly working on scores for propaganda films. It was around this time he became interested in film scoring when he went to see William Dieterle's The Devil and Daniel Webster (1941), a film whose score was composed by Bernard Herrmann, a man Bernstein idolized as the ideal film composer.

Bernstein, who originally intended to be a concert pianist and gave several performances in New York after being discharged from military service, decided to relocate to Hollywood in 1950. He did his first score for the football film Saturday's Hero (1950), and then proved his worth with his trenchant, moody music for the Joan Crawford vehicle Sudden Fear (1952). Rumors of his "communist" leanings came to surface at this time, and, feeling the effects of the blacklist, he found himself scoring such cheesy fare as Robot Monster; Cat Women of the Moon (both 1953); and Miss Robin Caruso (1954).

Despite his politics, Otto Preminger hired him to do the music for The Man With the Golden Arm, (1955) in which Frank Sinatra played a heroin-addicted jazz musician. Fittingly, Bernstein used some memorable jazz motifs for the film and his fine scoring put him back on the map. It prompted the attention of Cecil B. De Mille, who had Bernstein replace the ailing Victor Young on The Ten Commandments (1956). His thundering, heavily orchestrated score perfectly suite the bombastic epic, and he promptly earned his first Oscar® nod for music.

After The Ten Commandments (1956), Bernstein continued to distinguish himself in a row of fine films: The Rainmaker (1956), Sweet Smell of Success (1957), Some Came Running (1958), The Magnificent Seven (a most memorable galloping march, 1960); To Kill a Mockingbird (unique in its use of single piano notes and haunting use of a flute, 1962); Hud (1963); earned a deserved Academy Award for the delightful, "flapper" music for the Julie Andrews period comedy Thoroughly Modern Mille (1967), and True Grit (1969).

His career faltered by the '80s though, as he did some routine Bill Murray comedies: Meatballs (1980) and Stripes (1981). But then director John Landis had Bernstein write the sumptuous score for his comedy Trading Places (1983), and Bernstein soon found himself back in the game. He then graced the silver screen for a few more years composing some terrific pieces for such popular commercial hits as My Left Foot (1989), A River Runs Through It (1992) and The Age of Innocence (1993). Far From Heaven, his final feature film score, received an Oscar® nomination for Best Score in 2002. He is survived by his wife, Eve; sons Peter and Gregory; daughters Emilie and Elizabeth; and five grandchildren.

by Michael T. Toole

Elmer Bernstein (1922-2004)

Elmer Bernstein, the film composer who created unforgettable music for such classics as The Magnificent Seven, To Kill a Mockingbird, and won his only Academy Award for Thoroughly Modern Millie, died of natural causes at his Ojai, California home on August 17. He was 82. Elmer Bernstein, who was not related to Leonard Bernstein, was born on August 4, 1922, in New York City. He displayed a talent in music at a very young age, and was given a scholarship to study piano at Juilliard when he was only 12. He entered New York University in 1939, where he majored in music education. After graduating in 1942, he joined the Army Air Corps, where he remained throughout World War II, mostly working on scores for propaganda films. It was around this time he became interested in film scoring when he went to see William Dieterle's The Devil and Daniel Webster (1941), a film whose score was composed by Bernard Herrmann, a man Bernstein idolized as the ideal film composer. Bernstein, who originally intended to be a concert pianist and gave several performances in New York after being discharged from military service, decided to relocate to Hollywood in 1950. He did his first score for the football film Saturday's Hero (1950), and then proved his worth with his trenchant, moody music for the Joan Crawford vehicle Sudden Fear (1952). Rumors of his "communist" leanings came to surface at this time, and, feeling the effects of the blacklist, he found himself scoring such cheesy fare as Robot Monster; Cat Women of the Moon (both 1953); and Miss Robin Caruso (1954). Despite his politics, Otto Preminger hired him to do the music for The Man With the Golden Arm, (1955) in which Frank Sinatra played a heroin-addicted jazz musician. Fittingly, Bernstein used some memorable jazz motifs for the film and his fine scoring put him back on the map. It prompted the attention of Cecil B. De Mille, who had Bernstein replace the ailing Victor Young on The Ten Commandments (1956). His thundering, heavily orchestrated score perfectly suite the bombastic epic, and he promptly earned his first Oscar® nod for music. After The Ten Commandments (1956), Bernstein continued to distinguish himself in a row of fine films: The Rainmaker (1956), Sweet Smell of Success (1957), Some Came Running (1958), The Magnificent Seven (a most memorable galloping march, 1960); To Kill a Mockingbird (unique in its use of single piano notes and haunting use of a flute, 1962); Hud (1963); earned a deserved Academy Award for the delightful, "flapper" music for the Julie Andrews period comedy Thoroughly Modern Mille (1967), and True Grit (1969). His career faltered by the '80s though, as he did some routine Bill Murray comedies: Meatballs (1980) and Stripes (1981). But then director John Landis had Bernstein write the sumptuous score for his comedy Trading Places (1983), and Bernstein soon found himself back in the game. He then graced the silver screen for a few more years composing some terrific pieces for such popular commercial hits as My Left Foot (1989), A River Runs Through It (1992) and The Age of Innocence (1993). Far From Heaven, his final feature film score, received an Oscar® nomination for Best Score in 2002. He is survived by his wife, Eve; sons Peter and Gregory; daughters Emilie and Elizabeth; and five grandchildren. by Michael T. Toole

Quotes

Trivia

Miscellaneous Notes

Voted Best Picture of the Year (1989) by the New York Film Critics Circle.

Released in United States 1989

Released in United States 1993

Released in United States 1994

Released in United States Fall November 10, 1989

Released in United States February 6, 1989

Released in United States May 1989

Released in United States October 6, 1989

Released in United States on Video June 13, 1990

Released in United States September 15, 1989

Released in United States September 1989

Shown at Cannes Film Festival (market) May 1989.

Shown at Mill Valley Film Festival October 6, 1989.

Shown at Montreal World Film Festival (in competition) August 24-September 4, 1989.

Shown at New York Film Festival September 23 & 24, 1989.

Shown at Tokyo International Film Festival (in competition) September 29-October 8, 1989.

Shown at Toronto Festival of Festivals September 15, 1989.

Shown at Vancouver International Film Festival September 29 & October 1, 1989.

Film marks debuts for director Jim Sheridan, director of photography Jack Conroy, and producer Noel Pearson.

Began shooting July 18, 1988.

Released in United States 1989 (Shown at Montreal World Film Festival (in competition) August 24-September 4, 1989.)

Released in United States 1989 (Shown at Tokyo International Film Festival (in competition) September 29-October 8, 1989.)

Released in United States 1989 (Shown at Vancouver International Film Festival September 29 & October 1, 1989.)

Released in United States 1993 (Shown at AFI/Los Angeles International Film Festival (Tribute to Andrzej Wajda) June 10 - July 1, 1993.)

Released in United States 1994 (Shown in New York City (Walter Reade) as part of program "In the Name of the Nation: Celebrating Irish Filmmaking 1910-94" June 10 - July 7, 1994.)

Released in United States February 6, 1989 (Benefit screening in Washington DC to support the American Disabilities Act February 6, 1989.)

Released in United States on Video June 13, 1990

Released in United States September 1989 (Shown at New York Film Festival September 23 & 24, 1989.)

Released in United States September 15, 1989 (Shown at Toronto Festival of Festivals September 15, 1989.)

Released in United States May 1989 (Shown at Cannes Film Festival (market) May 1989.)

Released in United States October 6, 1989 (Shown at Mill Valley Film Festival October 6, 1989.)

Released in United States Fall November 10, 1989