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AND SO IT GOES

About The Music
When Oren meets Leah, he learns she is attempting to make it as a singer in local restaurants, such as The Oaks Bistro (actually filmed at the Long Ridge Tavern in Stamford). "She's a frustrated lounge singer, who doesn't really know what she's doing with her life," Douglas states. "And she has the unfortunate habit of never being able to finish any of her songs."

The songs which Leah - and Keaton - sing were chosen together by the actress and her director. "We went through a lot of different catalogs and tried to figure out what kinds of things she would be singing," Reiner recalls. "We tried to mix it up. We felt she probably played in some musical comedies, so there are some older standards."

While the score for the film was written by Marc Shaiman, Reiner himself selected the terrific group of songs heard throughout the film, representing tunes from Leah and Oren's prime.

The film opens and closes with the Judy Collins' 1960s classic, "Both Sides Now." "I had that idea from the beginning, because I wanted to do music that was of their era," Reiner explains. "I wanted that song for the opening and closing credits, but if we'd used the original recording, with our budget, we couldn't afford it." The only way to make the song affordable was to ask Collins to re-record it especially for the film. "She's done it thousands of times, and wanted to put a new spin on it, as most artists would. But I always remembered her version from when I was a kid, which is an iconic memory. And that's what she did, just like she had done originally."

Leah's own singing performances indeed have one fatal flaw: she can't get through an entire song without falling apart. "It makes her think about her husband," says Reiner. "So anytime she's singing something that reminds her of her husband, she starts breaking down. And I love it, because every once in a while, she just cries. And she just says, 'It's just something I do.'"

Part of the problem is her between-song banter, in which she can't stop herself from talking about the late Eugene. "I try to help her with that," Douglas says. "She always tends to bring in her dead husband, so I tell her to stay away from dead people."

Oren indeed appoints himself her unofficial manager. Keaton explains, "Michael Douglas's character Oren helps Leah immensely, because he gives her the opportunity to sing in a venue that she's never had - a golden opportunity to have a kind of sideline career - which is really a great way of expressing herself through singing," and this connection eventually leads to a romance between the two.

Besides a new manager, Lea also has her trusty piano player, an affable fellow with a bad toupee named Artie, who has an uncanny resemblance to that "Meathead" guy on "All in the Family." "I found an actor who would work for scale," informs Reiner, whom he apparently then got rid of and took the spot himself.

"I don't really like to be in movies that I direct," he says. "I just did a part in THE WOLF OF WALL STREET, and that was fun because I didn't have any of the headaches. They were all Marty Scorsese's to have. But when I'm directing, I don't like it, because my brain gets split in two places. I'm in costume, and then I'm directing, and I'm walking around like an idiot. But every once in a while I'll see something and say, 'Well, geez, I could play this part.'"

And the hairpiece? "It's completely undetectable," he says. "Actually, it was a process. I had to find something that looked really bad. At one point, we cut it, and I looked like Hitler. And I thought, 'Geez, this isn't good. Jewish guys shouldn't be looking like Hitler." Adjustments were made, though, and as Douglas notes, "That piece was something fierce."

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