Prizzi's Honor


2h 9m 1985

Brief Synopsis

Mob assassins fall in love, neither realizing what the other does for a living.

Film Details

Also Known As
Prizzi's Honour, Prizzis heder
MPAA Rating
Genre
Comedy
Romance
Drama
Crime
Release Date
1985
Production Company
Ken Nunn
Distribution Company
20TH CENTURY FOX DISTRIBUTION/FILMS INCORPORATED
Location
Nevada, USA

Technical Specs

Duration
2h 9m

Synopsis

A hit-man for a close-knit Mafia family falls in love with his female counterpart, but when she makes a serious blunder against the family, he's faced with the toughest choice of all.

Crew

Richard Adee

Property Master

Dan Aguar

Production Assistant

Tomasino Baratta

Technical Advisor

Andrzej Bartkowiak

Dp/Cinematographer

Andrzej Bartkowiak

Director Of Photography

Billy Beard

Dolly Grip

Mark Belair

Other

Grace Blake

Production Coordinator

Monique Blanke

Assistant

Dustin Blauvelt

Assistant Camera Operator

Kathryn Blondell

Hair

Elizabeth Bousman

Set Designer

Tracy Bousman

Art Director

Julie Bovasso

Dialect Coach

Julie Bovasso

Technical Advisor

John Brewer

Swing Gang

Conrad F Brink

Special Effects

David Brown

Construction Coordinator

Scott Cameron

Assistant Director

David E Campbell

Sound

Parnes Cartwright

Production Assistant

Tom Case

Makeup

Crew Chamberlain

Boom Operator

Jane Clarke

Storyboard Artist

Adr Players Company

Adr Voice Casting

Linda Conaway-parsloe

Assistant Art Director

Richard Condon

Screenplay

Richard Condon

Source Material (From Novel)

Anthony Cortino

Hair

Joseph Cosko

Assistant Camera Operator

Richard L Cowitt

Props Assistant

Vanessa Crosby

Sound

Jonathan Decamp

Production Assistant

Craig Dibona

Camera Operator

Martin J Dillon

Other

Jean Diniro

Production Assistant

John K Donohue

Dolly Grip

Phil Downey

Color Timer

Barbara Dreyfus

Assistant

Joseph Fanning

Transportation Captain

Sylvia Fay

Casting

Kaja Fehr

Editor

Rudi Fehr

Editor

Bettiann Fishman

Production Assistant

John Foreman

Producer

Ken Fundus

Dolly Grip

Russ Goble

Property Master

Alixe Gordin

Casting

Penelope Gottlieb

Titles

Christopher Griffin

Assistant Director

Gregg Guellow

Dolly Grip

Ken Hardie

Craft Service

Randy Hart

Best Boy

Kerry Hayes

Photography

John J Healey

Location Scout

Phil Hedley

Production

Michael Helmy

Art Director

Norman Honath

Transportation Coordinator

Jack Hooper

Negative Cutting

Martha Huntley

Apprentice

Gary J Jensen

Grip

Fred Johanns

Electrician

Eric Lison Johnson

Location Manager

Jean J Jones

Assistant Editor

Al Kaminsky

Props

Thomas Kane

Production Manager

Chaim Kantor

Assistant Camera Operator

Jon Kilik

Production Supervisor

Donald C. Klune

Production Manager

Tommy Krigbaum

Other

Robert Laden

Makeup

Gemma Lamana

Photography

Ed Larkin

Grip

Dennis Lasker

Production Coordinator

Deborah Lee

Location Manager

William Loger

Costumes

Chris Lopez

Production Assistant

Barbara Lucey

Production Auditor

Harry Madsen

Stunt Coordinator

Sheryl Main

Production Assistant

Dennis Maitland

Sound Mixer

Kim Maitland

Sound

Lisa Marfleet

Casting Associate

Joe Marquette

Camera Operator

David Mccann

Post-Production Supervisor

David Mcclean

Best Boy

Dorothy Mcgowan

Production Coordinator

James Mcvey

Other

Steve Michaels

Wardrobe

Billy Miller

Key Grip

Rocco Muccachia

Technical Advisor

Laila Nabulsi

Production Associate

Randy Nolen

Steadicam Operator

Alex North

Music

Ken Nunn

Cable Operator

Jim Ondrejko

Production

John S Perry

Costume Department

Stephen Planck

Swing Gang

Erin Quinn

Accounting Assistant

Michael Redbourn

Sound Editor

Mark Reedall

Makeup

John T Reitz

Sound

Bill Reynolds

Props

Janet Roach

Screenplay

Bruno Robotti

Other

Arthur Rochester

Sound Mixer

Richard D Rogers

Foley

Randi Rosen

Assistant Director

Benjamin Rosenberg

Assistant Director

Daniel Rosenblum

Boom Operator

Gregg Rudloff

Sound

Liz Ryan

Dga Trainee

Cal Saint John

Casting Associate

Eric H Sandberg

Costume Supervisor

David Sardi

Production Assistant

Jim Schurmann

Color Timer

Mickey Scott

Makeup

Hank Sheppherd

Grip

Catherine Shorr

Sound Editor

Richard Shorr

Sound Design

David J Siegel

Assistant Editor

Stacy Smith-ehrenhalt

Casting Associate

Caroline Stevens

Production Assistant

Alicia M Stevenson

Other

Andy Straub

Transportation Captain

Chris Strong

Gaffer

Edward Swanson

Carpenter

Jill Taggart

Adr Editor

Guy Tanno

Costumes

Anthony Tomeo

Other

Charles Truhan

Set Decorator

John Verardi

Assistant Camera Operator

James Waldrop

Swing Gang

Dusty Wallace

Gaffer

Dan Wallin

Music

Ken Wannberg

Music Editor

Dennis Washington

Production Designer

Bruce Weintraub

Set Decorator

Denise Whiting

Adr Editor

Meta Wilde

Script Supervisor

Llandys Williams

Costume Supervisor

Marlene Williams

Hair

Doug Willis

Key Grip

Gretchen Wilson

Other

Molly Zimmerman

Production Assistant

Paul Zydel

Adr Mixer

Film Details

Also Known As
Prizzi's Honour, Prizzis heder
MPAA Rating
Genre
Comedy
Romance
Drama
Crime
Release Date
1985
Production Company
Ken Nunn
Distribution Company
20TH CENTURY FOX DISTRIBUTION/FILMS INCORPORATED
Location
Nevada, USA

Technical Specs

Duration
2h 9m

Award Wins

Best Supporting Actress

1985
Anjelica Huston

Award Nominations

Best Actor

1985
Jack Nicholson

Best Adapted Screenplay

1985

Best Costume Design

1985

Best Director

1985

Best Editing

1985
Kaja Fehr

Best Editing

1985
Rudi Fehr

Best Picture

1985

Best Supporting Actor

1985
William Hickey

Articles

Prizzi's Honor


By the mid-1980's, legendary director John Huston was nearing the end of his life. Age and emphysema had made him frail and he required an oxygen tank much of the time. But his spirit and his creativity remained strong and he wanted to make another film.

Huston had found a subject in the novel Prizzi's Honor, a story of mafia, hit men and questionable loyalties, by Richard Condon, who had previously written The Manchurian Candidate. He convinced Condon and screenwriter Janet Roach to do a script which would then be shopped around to the studios. As Lawrence Grobel wrote in his book, The Hustons, "By mid-March 1984 John wrote to Janet Roach in exasperation over the way the studios had received Prizzi's Honor, "The script has had the craziest reception I have ever known," he said. "There is immediate enthusiasm and it would seem that only the price had to be negotiated. [Producer John] Foreman thought he was in a position to play the studios off against one another. But then they suddenly retract. This has happened now four times. Not even Jack Nicholson, say they, could make lovable a man who would kill his wife for money. All of which serves to demonstrate to what low depths the intelligentsia of the present masters of our great industry have fallen. They all miss the point, of course, that the picture is a comedy, a fact very hard to get over. Have you ever tried explaining a joke to someone?"

Once 20th Century Fox gave Prizzi's Honor (1985) the green light, Huston found that his star Jack Nicholson had the same problem with the script as the studio heads. He didn't realize the film was a comedy. Kathleen Turner remembered their first reading of the script. "Jack took the first reading and as soon as I read my line, 'What kind of creep wouldn't catch a baby?' we're all laughing and Jack goes, 'This is funny.' And we go, 'Yeah'. John [Huston] said, 'It's a very funny story, what's wrong with you?' And Jack said, 'It's a comedy?' He never thought that until he heard it out loud."

Huston's daughter, Anjelica, was cast in the role of Maerose Prizzi. She worked hard to get her characterization of a mafia daughter right. "It was up to us to get our accents down, so Jack [Nicholson] went to the Brooklyn betting shops and I went to a Brooklyn church." During preproduction she was in the costume department trying on a black designer dress from the fifties with a frilly taffeta piece that came over the shoulder. She told the designer it would be interesting to take off the ruffle and drape it in Schiaparelli pink. "Just then my father entered the room, and said, 'Well, what do you think about making the ruffle in Schiaparelli pink?' That was the moment I knew there was no separation in how we saw the character."

Anjelica Huston and Jack Nicholson, who had lived together for several years, found that working together all day and going home to be together all night would be difficult, so they lived in different hotels while on location in Brooklyn. Said Anjelica, "I don't endorse the idea that actors should live their parts, but in spite of oneself, it sometimes does follow you home. There were elements of the hit-man in Jack at the time and I didn't want to be around him too much. Jack said that he generally dropped Charley Partanna [his character] toward dinnertime. I said that I often carried Maerose [her character] through to dessert."

Not only was Prizzi's Honor a family affair, with Huston casting his daughter, Anjelica and Jack Nicholson, but it was a reunion of sorts as well. Huston used old friends and co-workers: his former secretary, Ann Selepegno played the Don's wife; his first script girl on The Maltese Falcon (1941), Meta Wilde, was script supervisor, and Rudi Fehr, who was the editor on Key Largo (1948) came out of retirement and worked with his daughter, Kaja (now an editor on Desperate Housewives).

Prizzi's Honor was released on June 13, 1985 to universal acclaim. Film critic Pauline Kael wrote in her review, "If John Huston's name were not on Prizzi's Honor, I'd have thought a fresh, new talent had burst on the scene, and he'd certainly be the hottest new director in Hollywood." The Academy of Motion Picture Arts and Sciences were in agreement: the film was nominated for eight Academy Awards: Best Picture, Director (for Huston), Actor in a Leading Role (Jack Nicholson), Actor in a Supporting Role (William Hickey), Actress in a Supporting Role (Anjelica Huston), Costume Design (Donfeld), Editing (Rudi and Kaja Fehr), and Best Writing, Screenplay Based on Material from Another Medium (Richard Condon and Janet Roach).

On the night of the awards, John Huston repeated what he had done nearly forty years before: he directed a family member in the film that won them a Best Supporting Oscar. In 1948 it was his father, Walter, in The Treasure of the Sierra Madre. In 1986, it was his daughter, Anjelica. Hers would be the only award the film would win, but for John Huston, it must have been the most important.

Producer: John Foreman
Director: John Huston
Screenplay: Janet Roach, Richard Condon (based on his novel)
Cinematography: Andrzej Bartkowiak
Production Design: J. Dennis Washington
Music: Alex North
Film Editing: Kaja Fehr, Rudi Fehr
Cast: Jack Nicholson (Charley Partanna), Kathleen Turner (Irene Walker), Robert Loggia (Eduardo Prizzi), John Randolph (Angelo Partanna), William Hickey (Don Corrado Prizzi), Anjelica Huston (Maerose Prizzi), Lawrence Tierney (Lt. Hanley).
C-129m. Letterboxed.

by Lorraine LoBianco

SOURCES:
The Hustons by Lawrence Grobel
The Internet Movie Database
Prizzi's Honor

Prizzi's Honor

By the mid-1980's, legendary director John Huston was nearing the end of his life. Age and emphysema had made him frail and he required an oxygen tank much of the time. But his spirit and his creativity remained strong and he wanted to make another film. Huston had found a subject in the novel Prizzi's Honor, a story of mafia, hit men and questionable loyalties, by Richard Condon, who had previously written The Manchurian Candidate. He convinced Condon and screenwriter Janet Roach to do a script which would then be shopped around to the studios. As Lawrence Grobel wrote in his book, The Hustons, "By mid-March 1984 John wrote to Janet Roach in exasperation over the way the studios had received Prizzi's Honor, "The script has had the craziest reception I have ever known," he said. "There is immediate enthusiasm and it would seem that only the price had to be negotiated. [Producer John] Foreman thought he was in a position to play the studios off against one another. But then they suddenly retract. This has happened now four times. Not even Jack Nicholson, say they, could make lovable a man who would kill his wife for money. All of which serves to demonstrate to what low depths the intelligentsia of the present masters of our great industry have fallen. They all miss the point, of course, that the picture is a comedy, a fact very hard to get over. Have you ever tried explaining a joke to someone?" Once 20th Century Fox gave Prizzi's Honor (1985) the green light, Huston found that his star Jack Nicholson had the same problem with the script as the studio heads. He didn't realize the film was a comedy. Kathleen Turner remembered their first reading of the script. "Jack took the first reading and as soon as I read my line, 'What kind of creep wouldn't catch a baby?' we're all laughing and Jack goes, 'This is funny.' And we go, 'Yeah'. John [Huston] said, 'It's a very funny story, what's wrong with you?' And Jack said, 'It's a comedy?' He never thought that until he heard it out loud." Huston's daughter, Anjelica, was cast in the role of Maerose Prizzi. She worked hard to get her characterization of a mafia daughter right. "It was up to us to get our accents down, so Jack [Nicholson] went to the Brooklyn betting shops and I went to a Brooklyn church." During preproduction she was in the costume department trying on a black designer dress from the fifties with a frilly taffeta piece that came over the shoulder. She told the designer it would be interesting to take off the ruffle and drape it in Schiaparelli pink. "Just then my father entered the room, and said, 'Well, what do you think about making the ruffle in Schiaparelli pink?' That was the moment I knew there was no separation in how we saw the character." Anjelica Huston and Jack Nicholson, who had lived together for several years, found that working together all day and going home to be together all night would be difficult, so they lived in different hotels while on location in Brooklyn. Said Anjelica, "I don't endorse the idea that actors should live their parts, but in spite of oneself, it sometimes does follow you home. There were elements of the hit-man in Jack at the time and I didn't want to be around him too much. Jack said that he generally dropped Charley Partanna [his character] toward dinnertime. I said that I often carried Maerose [her character] through to dessert." Not only was Prizzi's Honor a family affair, with Huston casting his daughter, Anjelica and Jack Nicholson, but it was a reunion of sorts as well. Huston used old friends and co-workers: his former secretary, Ann Selepegno played the Don's wife; his first script girl on The Maltese Falcon (1941), Meta Wilde, was script supervisor, and Rudi Fehr, who was the editor on Key Largo (1948) came out of retirement and worked with his daughter, Kaja (now an editor on Desperate Housewives). Prizzi's Honor was released on June 13, 1985 to universal acclaim. Film critic Pauline Kael wrote in her review, "If John Huston's name were not on Prizzi's Honor, I'd have thought a fresh, new talent had burst on the scene, and he'd certainly be the hottest new director in Hollywood." The Academy of Motion Picture Arts and Sciences were in agreement: the film was nominated for eight Academy Awards: Best Picture, Director (for Huston), Actor in a Leading Role (Jack Nicholson), Actor in a Supporting Role (William Hickey), Actress in a Supporting Role (Anjelica Huston), Costume Design (Donfeld), Editing (Rudi and Kaja Fehr), and Best Writing, Screenplay Based on Material from Another Medium (Richard Condon and Janet Roach). On the night of the awards, John Huston repeated what he had done nearly forty years before: he directed a family member in the film that won them a Best Supporting Oscar. In 1948 it was his father, Walter, in The Treasure of the Sierra Madre. In 1986, it was his daughter, Anjelica. Hers would be the only award the film would win, but for John Huston, it must have been the most important. Producer: John Foreman Director: John Huston Screenplay: Janet Roach, Richard Condon (based on his novel) Cinematography: Andrzej Bartkowiak Production Design: J. Dennis Washington Music: Alex North Film Editing: Kaja Fehr, Rudi Fehr Cast: Jack Nicholson (Charley Partanna), Kathleen Turner (Irene Walker), Robert Loggia (Eduardo Prizzi), John Randolph (Angelo Partanna), William Hickey (Don Corrado Prizzi), Anjelica Huston (Maerose Prizzi), Lawrence Tierney (Lt. Hanley). C-129m. Letterboxed. by Lorraine LoBianco SOURCES: The Hustons by Lawrence Grobel The Internet Movie Database

TCM Remembers - Lawrence Tierney


A SCREEN TOUGH GUY WHO WAS MEANER THAN A JUNKYARD DOG

Lawrence Tierney, one of the screen's toughest tough guys, died February 26th at the age of 82. He first startled audiences with his impassioned work in the 1940s but Tierney's rowdy off-screen life eventually pushed him out of the limelight. Though he kept working in small parts, Tierney found a new generation of fans with a few memorable roles in the 80s and 90s.

Tierney was born March 15, 1919 in Brooklyn, New York. He grew up in New York and was a track star in school before becoming interested in acting. (His two brothers also became actors though they changed their names to Scott Brady and Ed Tracy.) He went through the usual period of stage appearances before getting bit parts in little-remembered films. His first credited role was in Sing Your Worries Away (1942) but Tierney quickly made his mark playing the title role in Dillinger (1945). A string of memorable roles followed in films like San Quentin (1946), The Devil Thumbs a Ride (1947), Born to Kill (1947) and the Oscar-winning circus drama from director Cecil B. DeMille, The Greatest Show on Earth (1952) in which Tierney played the villain responsible for the epic train wreck toward the film's conclusion. However, Tierney had a knack for real-life trouble and was arrested several times for disorderly conduct and drunken driving. By the end of the 50s he only found sporadic acting work, sometimes not working for several years between films. During this period his best-known work was in Custer of the West (1967) and Andy Warhol's Bad (1977).

Slowly in the 1980s, Tierney landed small but frequently noticable parts in Hollywood films such as Prizzi's Honor (1985) and The Naked Gun (1988). He appeared on TV shows like Hill Street Blues, Star Trek: The Next Generation and Seinfeld (as Elaine's father). In 1992 that changed when Quentin Tarrantino cast Tierney as the crime boss in Reservoir Dogs, an unforgettable part that gave him new fans. While the subsequent roles or films didn't get any bigger, Tierney was finally a recognized name. One of his oddest roles was the half-hour Red (1993) based on the infamous mid-70s Tube Bar tapes where a real-life bar owner responds with startlingly over-the-top remarks to prank phone calls. (If that sounds familiar it's because The Simpsons based Moe's responses to prank calls on these tapes. Tierney provided a voice in the 1995 Simpsons episode "Marge Be Not Proud.") Tierney's last film appearance was in Armageddon (1998)!

By Lang Thompson

CHUCK JONES, 1912 - 2002

Animator Chuck Jones died February 22nd at the age of 89. Jones may not have boasted quite the name recognition of Howard Hawks or John Ford but he was unquestionably one of the greatest American directors. His goals might have been primarily to entertain, which he did so wonderfully that his 50 and 60 year old cartoons seem fresher than most anything produced in the 21st century. But Jones displayed a sense of movement, timing and character barely equalled elsewhere. Literary critics have a saying that while there are no perfect novels there are certainly flawless short stories. Several of Jones' cartoons reach a perfection that Hawks and Ford could only have dreamed about.

Jones was born September 21, 1912 in Spokane, Washington but grew up in Hollywood. As a child he would watch films by Charlie Chaplin and others being made in the streets, absorbing the process and supposedly even appearing as an extra in Mack Sennett shorts. After graduating from L.A.'s Chouinard Art Institute (now California Institute of the Arts), Jones started selling pencil drawings on street corners. He soon landed a job in 1932 with ground-breaking animator Ub Iwerks as a cel washer (somebody who removes ink from the expensive celluloid frames so they could be reused). The following year Jones began to work for Leon Schlesinger Productions which was sold to Warner Brothers. There he directed his first film, The Night Watchman in 1938.

Jones would stay at Warners for almost 25 years until it closed the animation division. Here is where Jones did some of his most-beloved work, putting Bugs Bunny, Daffy Duck, the Road Runner, Marvin Martian and numerous others through many of their most memorable exploits. Who can forget Bugs and Daffy's hilariously convoluted arguments about hunting season in Rabbit Seasoning (1952) and Duck Rabbit Duck (1953)? Or the Coyote's tantalized, endless pursuit of the Road Runner? What's Opera Doc? (1957) sending Elmer and Bugs to Bayreuth? A cheerfully singing and dancing frog that, alas, only performs for one frustrated man? Daffy tormented by the very elements of the cartoon medium in Duck Amuck (1953)? That's only a fraction of what Jones created while at the Warners animation studio, affectionately known as Termite Terrace. This building on the Warners lot boasted an array of individualist talents that Jones, like Duke Ellington, could pull into a whole. There was voice artist Mel Blanc's impeccable timing, writer Michael Maltese's absurdist love affair with language, music director Carl Stalling's collaged scores and perhaps best of all a studio that knew enough to just leave the gang alone so long as the cartoons kept coming.

After Warners shuttered its animation division in 1962, Jones moved to MGM where he worked on several Tom & Jerry cartoons, his inimitable lines always immediately apparent. In 1966 he directed How the Grinch Stole Christmas from Dr. Seuss' book, one of the finest literary adaptations. A feature version of Norman Juster's classic The Phantom Tollbooth followed in 1969. Along with his daughter Linda, Jones was one of the first to see the value of original animation art and in the late 70s began a thriving business. (For more info see http://www.chuckjones.com.) Jones made cameo appearances in Joe Dante's Gremlins (1984) and Innerspace (1987). In 1989, he wrote a touching and funny memoir, Chuck Amuck, that's pretty much essential reading.

Jones won an Best Short Subject Cartoons Oscar for The Dot and the Line (1965), having earlier been nominated twice in 1962. His Pepe LePew film For Scent-imental Reasons (1949) and public-health cartoon So Much for So Little also won Oscars though not for Jones himself. In 1996 he was awarded an honorary Oscar "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century."

By Lang Thompson

GEORGE NADER, 1921 - 2002

Actor George Nader, best known for the B-movie anti-classic Robot Monster, died February 4th at the age of 80. One-time co-star Tony Curtis said, "He was one of the kindest and most generous men I've ever known. I will miss him." Nader was born in Pasadena, California on October 19, 1921 and like many other actors started performing while in school. His first film appearance was the B-Western Rustlers on Horseback (1950) and he made other appearances, often uncredited, before the immortal Robot Monster in 1953. This dust-cheap, charmingly inept film (originally in 3-D!) features Nader as the father of Earth's last surviving family, everybody else having been wiped out by a gorilla in a diving helmet. Shortly after, Nader landed major roles in RKO's Carnival Story (1954) and with Curtis in Universal's Six Bridges to Cross (1955), bringing a beefy charm that earned him numerous fans. As a result, in 1955 Nader shared a Golden Globe for Most Promising Male Newcomer. He then appeared in numerous lower profile studio films before closing out the decade playing Ellery Queen in a short-lived TV series. He relocated to Europe in the sixties where he found steady work. As secret agent Jerry Cotton, he made a series of spy thrillers which earned him a cult reputation in Europe, starting with Schusse aud dem Geigenkasten (aka Operation Hurricane: Friday Noon) (1965). The eighth and final entry in the series was Dynamit in gruner Seide (aka Dynamite in Green Silk) (1968). His film career ended in the mid-70s when a car wreck damaged his eyes so that he could no longer endure a film set's bright lights. Nader began writing novels, most notably the recently reprinted Chrome (1978), an acclaimed science fiction novel with openly gay characters.

By Lang Thompson

TCM REMEMBERS HAROLD RUSSELL, 1914 - 2002

Oscar-winning actor Harold Russell died January 29th of a heart attack at age 88. As a disabled veteran whose hands had been amputated in The Best Years of Our Lives (1946), Russell won Best Supporting Actor but also an honorary award "for bringing hope and courage to his fellow veterans." This made Russell the only person to receive two Oscars for the same role. Russell was born in Nova Scotia on January 14, 1914 but grew up in Cambridge Massachusetts. He joined the US Army after the attack on Pearl Harbor and while training paratroopers lost both hands in an accidental explosion. He then made a training film where director William Wyler saw Russell. Wyler was so impressed that he changed the character in The Best Years of Our Lives from a man with neurological damage to an amputee so that Russell could play the part. After winning the Oscar, Russell followed Wyler's advice and went to college, eventually running a public relations company and writing his autobiography. He made two more film appearances, Inside Moves (1980) and Dogtown (1997), and appeared in a few TV episodes of China Beach and Trapper John MD. Russell made waves in 1992 when he decided to sell his acting Oscar to help cover expenses of his large family. The Motion Picture Academy offered to buy the statue for $20,000 but it sold to an anonymous bidder for $60,000. About the other statute, Russell said, "I'd never sell the special one. The war was over, and this was the industry's way of saying thank you to the veterans."

By Lang Thompson

TCM Remembers - Lawrence Tierney

A SCREEN TOUGH GUY WHO WAS MEANER THAN A JUNKYARD DOG Lawrence Tierney, one of the screen's toughest tough guys, died February 26th at the age of 82. He first startled audiences with his impassioned work in the 1940s but Tierney's rowdy off-screen life eventually pushed him out of the limelight. Though he kept working in small parts, Tierney found a new generation of fans with a few memorable roles in the 80s and 90s. Tierney was born March 15, 1919 in Brooklyn, New York. He grew up in New York and was a track star in school before becoming interested in acting. (His two brothers also became actors though they changed their names to Scott Brady and Ed Tracy.) He went through the usual period of stage appearances before getting bit parts in little-remembered films. His first credited role was in Sing Your Worries Away (1942) but Tierney quickly made his mark playing the title role in Dillinger (1945). A string of memorable roles followed in films like San Quentin (1946), The Devil Thumbs a Ride (1947), Born to Kill (1947) and the Oscar-winning circus drama from director Cecil B. DeMille, The Greatest Show on Earth (1952) in which Tierney played the villain responsible for the epic train wreck toward the film's conclusion. However, Tierney had a knack for real-life trouble and was arrested several times for disorderly conduct and drunken driving. By the end of the 50s he only found sporadic acting work, sometimes not working for several years between films. During this period his best-known work was in Custer of the West (1967) and Andy Warhol's Bad (1977). Slowly in the 1980s, Tierney landed small but frequently noticable parts in Hollywood films such as Prizzi's Honor (1985) and The Naked Gun (1988). He appeared on TV shows like Hill Street Blues, Star Trek: The Next Generation and Seinfeld (as Elaine's father). In 1992 that changed when Quentin Tarrantino cast Tierney as the crime boss in Reservoir Dogs, an unforgettable part that gave him new fans. While the subsequent roles or films didn't get any bigger, Tierney was finally a recognized name. One of his oddest roles was the half-hour Red (1993) based on the infamous mid-70s Tube Bar tapes where a real-life bar owner responds with startlingly over-the-top remarks to prank phone calls. (If that sounds familiar it's because The Simpsons based Moe's responses to prank calls on these tapes. Tierney provided a voice in the 1995 Simpsons episode "Marge Be Not Proud.") Tierney's last film appearance was in Armageddon (1998)! By Lang Thompson CHUCK JONES, 1912 - 2002 Animator Chuck Jones died February 22nd at the age of 89. Jones may not have boasted quite the name recognition of Howard Hawks or John Ford but he was unquestionably one of the greatest American directors. His goals might have been primarily to entertain, which he did so wonderfully that his 50 and 60 year old cartoons seem fresher than most anything produced in the 21st century. But Jones displayed a sense of movement, timing and character barely equalled elsewhere. Literary critics have a saying that while there are no perfect novels there are certainly flawless short stories. Several of Jones' cartoons reach a perfection that Hawks and Ford could only have dreamed about. Jones was born September 21, 1912 in Spokane, Washington but grew up in Hollywood. As a child he would watch films by Charlie Chaplin and others being made in the streets, absorbing the process and supposedly even appearing as an extra in Mack Sennett shorts. After graduating from L.A.'s Chouinard Art Institute (now California Institute of the Arts), Jones started selling pencil drawings on street corners. He soon landed a job in 1932 with ground-breaking animator Ub Iwerks as a cel washer (somebody who removes ink from the expensive celluloid frames so they could be reused). The following year Jones began to work for Leon Schlesinger Productions which was sold to Warner Brothers. There he directed his first film, The Night Watchman in 1938. Jones would stay at Warners for almost 25 years until it closed the animation division. Here is where Jones did some of his most-beloved work, putting Bugs Bunny, Daffy Duck, the Road Runner, Marvin Martian and numerous others through many of their most memorable exploits. Who can forget Bugs and Daffy's hilariously convoluted arguments about hunting season in Rabbit Seasoning (1952) and Duck Rabbit Duck (1953)? Or the Coyote's tantalized, endless pursuit of the Road Runner? What's Opera Doc? (1957) sending Elmer and Bugs to Bayreuth? A cheerfully singing and dancing frog that, alas, only performs for one frustrated man? Daffy tormented by the very elements of the cartoon medium in Duck Amuck (1953)? That's only a fraction of what Jones created while at the Warners animation studio, affectionately known as Termite Terrace. This building on the Warners lot boasted an array of individualist talents that Jones, like Duke Ellington, could pull into a whole. There was voice artist Mel Blanc's impeccable timing, writer Michael Maltese's absurdist love affair with language, music director Carl Stalling's collaged scores and perhaps best of all a studio that knew enough to just leave the gang alone so long as the cartoons kept coming. After Warners shuttered its animation division in 1962, Jones moved to MGM where he worked on several Tom & Jerry cartoons, his inimitable lines always immediately apparent. In 1966 he directed How the Grinch Stole Christmas from Dr. Seuss' book, one of the finest literary adaptations. A feature version of Norman Juster's classic The Phantom Tollbooth followed in 1969. Along with his daughter Linda, Jones was one of the first to see the value of original animation art and in the late 70s began a thriving business. (For more info see http://www.chuckjones.com.) Jones made cameo appearances in Joe Dante's Gremlins (1984) and Innerspace (1987). In 1989, he wrote a touching and funny memoir, Chuck Amuck, that's pretty much essential reading. Jones won an Best Short Subject Cartoons Oscar for The Dot and the Line (1965), having earlier been nominated twice in 1962. His Pepe LePew film For Scent-imental Reasons (1949) and public-health cartoon So Much for So Little also won Oscars though not for Jones himself. In 1996 he was awarded an honorary Oscar "for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than a half century." By Lang Thompson GEORGE NADER, 1921 - 2002 Actor George Nader, best known for the B-movie anti-classic Robot Monster, died February 4th at the age of 80. One-time co-star Tony Curtis said, "He was one of the kindest and most generous men I've ever known. I will miss him." Nader was born in Pasadena, California on October 19, 1921 and like many other actors started performing while in school. His first film appearance was the B-Western Rustlers on Horseback (1950) and he made other appearances, often uncredited, before the immortal Robot Monster in 1953. This dust-cheap, charmingly inept film (originally in 3-D!) features Nader as the father of Earth's last surviving family, everybody else having been wiped out by a gorilla in a diving helmet. Shortly after, Nader landed major roles in RKO's Carnival Story (1954) and with Curtis in Universal's Six Bridges to Cross (1955), bringing a beefy charm that earned him numerous fans. As a result, in 1955 Nader shared a Golden Globe for Most Promising Male Newcomer. He then appeared in numerous lower profile studio films before closing out the decade playing Ellery Queen in a short-lived TV series. He relocated to Europe in the sixties where he found steady work. As secret agent Jerry Cotton, he made a series of spy thrillers which earned him a cult reputation in Europe, starting with Schusse aud dem Geigenkasten (aka Operation Hurricane: Friday Noon) (1965). The eighth and final entry in the series was Dynamit in gruner Seide (aka Dynamite in Green Silk) (1968). His film career ended in the mid-70s when a car wreck damaged his eyes so that he could no longer endure a film set's bright lights. Nader began writing novels, most notably the recently reprinted Chrome (1978), an acclaimed science fiction novel with openly gay characters. By Lang Thompson TCM REMEMBERS HAROLD RUSSELL, 1914 - 2002 Oscar-winning actor Harold Russell died January 29th of a heart attack at age 88. As a disabled veteran whose hands had been amputated in The Best Years of Our Lives (1946), Russell won Best Supporting Actor but also an honorary award "for bringing hope and courage to his fellow veterans." This made Russell the only person to receive two Oscars for the same role. Russell was born in Nova Scotia on January 14, 1914 but grew up in Cambridge Massachusetts. He joined the US Army after the attack on Pearl Harbor and while training paratroopers lost both hands in an accidental explosion. He then made a training film where director William Wyler saw Russell. Wyler was so impressed that he changed the character in The Best Years of Our Lives from a man with neurological damage to an amputee so that Russell could play the part. After winning the Oscar, Russell followed Wyler's advice and went to college, eventually running a public relations company and writing his autobiography. He made two more film appearances, Inside Moves (1980) and Dogtown (1997), and appeared in a few TV episodes of China Beach and Trapper John MD. Russell made waves in 1992 when he decided to sell his acting Oscar to help cover expenses of his large family. The Motion Picture Academy offered to buy the statue for $20,000 but it sold to an anonymous bidder for $60,000. About the other statute, Russell said, "I'd never sell the special one. The war was over, and this was the industry's way of saying thank you to the veterans." By Lang Thompson

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Miscellaneous Notes

Voted Best Director, Best Actor (Nicholson), and Best Supporting Actress (Huston) by the 1985 National Society of Film Critics.

Voted Best Picture, Best Director, Best Actor (Nicholson), and Best Supporting Actress (Huston) by the 1985 New York Film Critics Circle.

Voted Best Supporting Actress (Huston) and One of the Year's Ten Best Films by the 1985 National Board of Review.

Voted Best Supporting Actress (Huston) by the 1985 Los Angeles Film Critics Association.

Released in United States Summer June 14, 1985

Re-released in United States on Video February 21, 1995

Re-released in United States on Video February 21, 1995

Released in United States Summer June 14, 1985

Began shooting October 3, 1984.