Reviews for One from the Heart ( 1982 ) 1080p

"Sick and tired"

By: Steffi_P
Those new wave filmmakers who revolutionised Hollywood during the 1970s were among the first generation of film geeks – people who got into the movies because they loved being at the movies. That's why, when people like Martin Scorsese, Steven Spielberg and Francis Ford Coppola started getting the cash and influence together to fund their own personal projects in the 1980s, they were liable to blow inordinate sums of money on homages to the cinema they had grown up on. It's odd, because these new wave directors and their work were in many ways the antithesis of classic Hollywood and its ways of doing things.

In One for the Heart, writer-producer-director Coppola attempts homage to 1950s musicals like Singin' in the Rain and Guys and Dolls, swing-time romances in which city streets would be recreated in studios for that glitzily artificial look. However, rather than commission a score for the characters to sing, Coppola follows the trend of more recent Bob Fosse musicals, and One from the Heart's numbers are a non-diagetic commentary on the action. This is not a bad idea in itself, except that the music here is especially unmemorable and lacklustre. The songs sound like the end of a bad night out, with Tom Waits voice like the drawl of some predatory sex pest. This is not stuff you'll be singing on the way home.

As a director Coppola seems to have mistaken the exaggerated look of the picture's influences for one of bluntness. Often the sets are drenched in coloured lighting, which sometimes changes within the shot, seemingly to highlight contrasts between the two leads and their environments. This and things like having the camera impossibly far back from the leads at their end of their first scene simply look obvious and overdone. On the other hand Coppola does at least display some musical sensitivity (as he did in the more conventional and very good Finian's Rainbow from 1968). The peak of the picture is during the extended music and dance sequence in the middle, in which Coppola shows incredible detail in the handling of the crowd, flashing various extras across the foreground in complement to the score.

But there is little else one can say in One for the Heart's favour. The acting performances are mostly dull, and whenever they do broaden out a bit they verge on the silly. The story is hardly inspiring, and we never really sympathise with the characters because they are not made especially likable in the first place. The dialogue is lousy. Coppola had a great idea, but he did not follow it up with one single thought, and the picture works neither as a classic-style homage nor as an updated take on the genre. The musicals of old had a fairytale quality to them. This modern romantic drama, with its swearing, nudity and blazing rows, is mixed with the fake sets and ensemble dance routines like some bizarre and botched Frankenstein's monster. Coppola would now spend years trying to pay off his debts with routine features, and still has yet to rediscover the cinematic gold he struck in the 1970s, with which he had made his name and fortune.

This ones from the heart !

By: dmy62
Dreamy ! Sedate and defined ! I first watched this movie when I was on my own and it made me think of my girlfriend .It is so fantasy in a modern day setting that it cannot fail to enchant .I don't know if it is charming or stark but it does have realism in an unreal state .The story is simple but nevertheless believable .You know how they feel ! It is one of my favourites and it takes me away to a fantasy place - I have not taken drugs but I imagine that this is what is would be like .It is a fantasy world of warmth and seduction , bright and shiny coupled with building site realism and everyday feelings .You truly suspend realism and that is what films are supposed to be about .If you are looking to escape for a couple of hours , watch this

a stylistic marvel with substance that does not quite click, it's an absorbing, strangely affecting experiment

By: MisterWhiplash
This is one of those rare movies where the cinematography (by the incomparable Vittorio Storaro) and the music (by the equally incomparable Tom Waits, probably his most beautiful bunch of songs and instrumentals ever recorded) warranted (and for the latter received) some Oscar nominations, while the script warranted a golden raspberry. Coppola decided to take a risk and experiment even further after Apocalypse Now- to go to something 'light' like musicals he directed in college after going through such a dark experience like A.N.- and in the process made something that, had it paradoxically been a silent film with most of the accompanying music, would've been a full-blown masterpiece. To say it's gorgeous to look at isn't suffice; anyone who has any interest in the abstract qualities that film can offer, the sublime levels of a "movie" in all its plastic qualities of lavish and stylized production design, ideas put into the construction of a world of fantasy with music, and bright primary colors and compositions that look like they're out of a dream, would have to make it a must-see.

If it's necessarily a good movie is another matter. The problem is, as mentioned, when the characters have to read the lines, which have only so much development as a stunted fetus. Despite all the efforts put in by the unconventional leading players Frederic Forrest and Teri Garr, plus Raul Julia, Natassia Kinski, and Harry Dean Stanton in some clever and juicy supporting roles, and even a couple of moments of real, genuine heart and heartbreak (the latter being of note when Forrest tries to sing "You are my sunshine"), t's just too thin a story to nearly justify all the effort put into it. It makes it almost a frustrating experience to see it all unfold, as the little moments that the characters do connect are overshadowed by the moments of surrealism that Coppola can't pull off. Unlike Apocalypse Now where Coppola managed to equate the complex nature of the characters with he tremendous vision, here he can only do the latter.

That being said, I wish it could've done a better at the box-office, if only had it been released as an art-house film, or (dare I say it) hadn't been so overblown with the finances in it, as it was the film that first put Coppola into chapter 11. However, anytime I want to hear the saddest songs of love recorded in the 80s I can always put on the soundtrack. And it provides more than a few moments of cinematography that will remain unparalleled in the years to come even as digital film grows stronger and film grows more obsolete. Bottom line, only Coppola could roll the dice on this one and almost make it a bona-fide classic.

A neon-lit love story...where was Coppola's heart?

By: moonspinner55
The marriage of a bickering couple in a fantasy-version of Las Vegas comes to a boil when the wife decides to leave (she wants a little excitement, but hubby is a homebody); both he and she link up with other partners, but will married-love win out? Frederic Forrest and Teri Garr star in this lavishly-designed, studio-shot concoction from director Francis Ford Coppola, who seemingly put all his heart into the unreality of the film's look and forgot to shape the characters (and involve the audience). There's nobody here worth giving a damn about, not Forrest nor Garr, nor their new paramours, Latin smoothie Raul Julia or pixieish showgirl Nastassia Kinski (who has the film's best scene walking a tightrope, which may have been stolen from "King of Hearts"). The country music by Tom Waits and Crystal Gayle hopes to work as a narrative theme, when actually a stronger screenplay might have sufficed. * from ****

Beautiful art and good supporting roles, but lackluster in the story telling and the leading roles

By: Rufus-T
The art work is amazingly dazzling. I would watch the movie again just for the art alone. Much credit should be given to those who are involved in the art direction and the setting. Another bright side of the movie is the exotic appearance of the talented Nastassja Kinski. Her role was brief, much too brief. She light up the screen in those brief appearance. The scene of her dancing on the cocktail glass like a ballerina is worth a sight. She even give a nice small singing rendition, kinds of a reincarnation of Leslie Caron in her prime. Finally, the two male supporting roles of Raul Julia and Harry Dean Stanton were quite lively.

Despite the incredible art work, the enchanting performance by Nastassja Kinski, and the worthy male supporting role performances, this is really not a good movie. With all due respect, Coppola did not have his touch in his directing job to make the story interesting. Although this is a musical, since the leading actor of Frederic Forrest and Teri Garr can't sing, most of the songs were background singing by Tom Waite and Crystal Gayle. The singing and the music were nice music, but at times distracting to the movie. The casting for the leads of Frederic Forrest and Teri Garr were really nothing to be brag about. The two supporting roles of Raul Julia and Nastasja Kinski would have made the better leads.

Great flick; awful directors cut

By: cfrank-6
Since it opened on Valentine's day, 1982, One From the Heart was among my top 10 flicks. Indeed, I kept an old Betamax alive for years simply so I could view my tape copy. For a decade, I've eagerly anticipated a definitive re-mastered DVD release.

I'm still waiting. As other reviewers have noted, the DVD contains only a directors cut -- without even the option to view the original release -- that utterly undermines everything exciting and magical about the movie. Ten years of waiting turned into ten frustrating minutes of watching before I ejected and junked the disc.

The 1982 release of One From the Heart was universally considered a disaster because, supposedly, its theatrical run closed after only a week. Had Coppola instead circulated the directors cut version on the 2004 DVD, it would have shuttered in a day.

If you've got a One From the Heart "jones," buy the Tom Waits/Crystal Gayle soundtrack. But, at least until Coppola returns to the original version, stay clear of the DVD.

One Of The Best From Coppola.

By: greene515
After years of owning a grainy VHS, Its great to see Coppola's little Seen but superb 'one from the heart' On a much finer format,

Coppola's 'one from the heart' tells the of story of Frannie and hank, A loving couple, but on the 4th of July things take a different Turn, During an argument Hank and Frannie go their separate ways, But Can a Frolic with a European circus performer, a Tempting tango with a Piano Playing waiter Change the outcome of their relationship? The cast is Outstanding particularly Nastasha Kinski as the alluring Circus performer Leila, The Very much missed Raul Julia as the suave ray, Harry dean Stanton (Always a delight is on hand as hank's long suffering pal, Filmed on the stages of Zoetrope studios, the film is an Affectionate 'Love letter' to the musicals of yesteryear, Coppola even Has it filmed In standard 1.33.1 Aspect Ratio, to evoke the look of the Classic Musical. The production design of Vegas is superbly recreated On the stages of Zoetrope by long time Coppola Collaborater Dean Tavoularis is stunning as is the photography By Vittorio storaro,

Stunning, charming, real and rhinestone all at once

By: writestuff-1
To enjoy "One From the Heart", it might help to have been brought up on musical re-runs. Coppola takes a cheesy genre, accentuates the fake and unreal and uses the most ordinary "real" actors he can find.

This combination of pure fantasy and recognisable characters drives the story. This pretty boring almost middle-aged couple re offered a last shot of romance and glamour - and dive into it headlong. Tom Waits' incredible songs add a brilliant running commentary.

And then there is the visual side, a smorgasbord of lush effects and glaring colors. Like so many movies, "One From the Heart" runs best on a movie screen, rather than a TV. The trailers I've seen don't do justice to this oddball combination of corn and touching emotion.

So you'll just have to see it and make up your own mind.

Too Much Brain... and Not Enough Heart

By: hokeybutt
ONE FROM THE HEART (4 outta 5 stars)

Don't read too much into the 4 star rating I give this movie. It is NOT an easy movie to like... there is so much wrong with it (bland, dislikable lead characters, poor dialogue, over-stylized sets) but it means well... and there are also a lot of things that DO work (Tom Waits' music, the young and sexy Raul Julia and Nastassia Kinski, the airport scene). Frederic Forrest and Teri Garr play the two long-time partners... both kind of bored with the other and wishing for something new and exciting in their lives. Over the course of a day they break up, meet a fascinating new person, have a one-night-stand and then come to realize what they want most in life. Not much of a plot, is it? How much you like this movie will be pretty much determined by how much you like Tom Waits' music... which is heard throughout. He and Crystal Gayle sing slow, romantic ballads which give the movie the feel of a longggggggggg music video. (One the new DVD edition you can watch the movie listening to a "music only" track... and, honestly, it's probably better that way.) Forrest and Garr are kind of hard to accept as romantic leads... they both seem a little too bland and ordinary (which was the director's intention)... but also come across as too unlikable: Garr is a whiny shrew and Forrest is a macho jerk. Again, it was the director's intention that they be "real people" so he wanted to portray them with warts and all. Unfortunately he didn't seem to give audiences enough reason to *like* these people. If Raul Julia and Nastassia Kinski had been the main characters the movie may have been more successful. I think that main problem with this movie is that director Francis Ford Coppola put too much *thought* into what is supposed to be a movie heavy on *emotion*. It does seem a little cold and distancing at times... technically perfect... but not fully satisfying as a story. Still, I've seen it about ten times... and I don't think think Coppola has made a better movie *since*.

The end of the great Coppola

By: reddeath614
Many film fans are keenly aware of the circumstances surrounding Francis Coppola's "One From the Heart." It was the first film to launch his self financed Zoetrope Studios. He recruited many of the industries best and brightest for the production. It was Coppola's follow up to the legendary "Apocalypse Now." The film was supposed to mark a new direction for filmmaking as a whole. Zoetrope was to be a place where directors and storytellers could produce their films without studio interference. The artists would control the medium, not the business men. And with "One From the Heart", Coppola's dream came to a thundering halt after just one movie. Though not as well known, it stands along side "Heaven's Gate" as a film that proved that the wonder directors of the 70's would not be given the keys to the castle. "Heart" was that once in a decade disaster and it's not hard to see why it was such an ignored film. It turns out that this story behind the film is far more interesting to follow than the film itself.

"One From the Heart" is as stylized as films can come. Shot entirely on the sets at Zoetrope, "Heart" attempts to tell the story of Franny and Hank, a long together couple possibly nearing the end of their rope with one another. The couple calls it quits and they seek solitude in the arms of more adventuresome lovers for one night in an entirely reproduced Las Vegas. Coppola's decision to cast Frederic Forest and Teri Garr seems daring at first, almost brave. But casting two such down to Earth actors against the overwhelming design of "One From the Heart" leaves the two with nothing to do but drown under the neon cinematography. Garr and Forest give it a go, but their problems seem minor against the wave of the film itself. It's possible no two actors could've asserted themselves against this backdrop. Coppola has infused every shot in "Heart" with enough technique and design that he seems to have completely forgotten to add any element of genuine drama into the proceedings. The story never moves far beyond the 'will they stay together or break up' arc. It isn't without possibility, but it's more suited to a smaller more intimate scale, not the phantasmagoric, neon coated reality that constantly draws attention to itself that Coppola labors to construct. All the design is admirable and on occasion very gorgeous. But it won't take an astute viewer very long to see that "One From the Heart" is a film more intended to be looked at than actually watched. A technological achievement in filmmaking? Yes. A genuinely involving film? No.

Despite disliking the film I'm glad to see it's finally available on DVD in a watchable format. Viewers can finally see this much maligned film for themselves and decide about its merits. The film is also noted for it's songs and score by Tom Waits and Crystal Gail.


By: Canhenha
I have to start by saying that I've had this film on videotape for so long and have seen it so many times that I believe the tape must be damaged by now. I'm a huge fan of Francis Ford Coppola's films, not only his "Godfather" films, but also what he has produced in the 80's and 90's. "One from the Heart" stands as one of most beautiful and poetic art pieces I've seen, ever. He created an entire world on set, something that resembles Vegas, but that I feel, extends a bit beyond that, someplace where love does exist (and Frederic Forrest and Terri Garr are great, because they do represent the average man and woman that want to surpass their mediocrity and have the dream, represented by the late Raul Julia and the gorgeous Nastassja Kinski). The beautiful score by Tom Waits, and the entire dance acts are so wonderfully entwined, that it's impossible not to feel the taste of real cinema there. The cinematography is stunning and I can only sum this up by saying that this film is an incredible experience to watch. Please do so.

It's supposed to look fake

By: aculprit
I'm glad this film is finally being re-released. The trailer states it's "the movie you never saw," but quite a few of us did see it. I loved it in 1982 (3?), so much so that I went out and bought the S/T, which I still listen to (yes kids, on vinyl). Just saw the film again, and except for being a tad embarrassed that we wore such silly clothes back then, I think it holds up beautifully. Yes, it could have been cast differently. But the point was to drop the normal-looking, average joe and mary into a fantasy setting. IT'S SUPPOSED TO LOOK FAKE. The sets are gorgeous! It's based on what Vegas used to look like, before they tore it all down and put up that oversized Disneyland. The music is some of the best Tom Waits has ever made--I only just learned that Waits selected Crystal Gayle; (FFC had requested Bette Midler (after hearing her duet w/ Waits on "Never Talk to Strangers") having listened to this LP for 20 years I'm glad he did. There's not much to the story, (no back story, no character development), but there's not supposed to be. Doncha think FFC could've made that film if he'd wanted to? (and really, we've had 20 years of films that pick apart relationships ad nauseum). This film works the way it was intended to. Sit back and enjoy it, it's musical fantasy-realism, it doesn't matter that Nattassja can't sing.

The best Coppola movie; resembles a European film

By: vyto34
If you like intelligent European films and don't much care for American blockbusters, gore-fests, or trivial comedies, this is a film for you. It totally stiffed at the box office (I think there were 2 other people in the theater when I saw it), but it is an exceptionally fine, unusual flick. The Coppola film for those of us who would rather watch Antonioni.

Surprisingly good!

By: IlyaMauter
When I went to see this movie I didn't expect much of it, but I was wrong. What we have here is a very good Francis Coppola's reinvention of a musical made in 1982. A beautifully filmed and well acted romantic film with wonderful music score and songs from Tom Waits, who was then nominated for Oscars in the Best Song category for this picture. "One from the Heart" was entirely filmed on Coppola's Zoetrope Studios, what brings to memory great movies of the Hollywood Studio Era. It really contributes perfectly to create "dreamy" mood of the film, it feels like a dream wondering through studio night Las Vegas probably as false as the real Las Vegas itself. And on this background we have a very simple and sweet romantic story of a love crisis in a relationship of a simple American couple wonderfully played by Terri Garr and Frederic Forrest. Perhaps it′s a kind of movie that you either love or hate. I loved it. 9/10

The musical beauty of romance, as only Coppola or Woody Allen could picture it

By: umyde
I have never been in the United States, least of all in New York. But through some directors' works I have built up an image of the city that never sleeps that's made of jazz, petty crooks and gangsters, Godard-lovers, intellectual wanna-be socialite... For all I know, New York is what can be seen through the eyes of Woody Allen, Martin Scorsese... and Francis Ford Coppola.

I would pretty much compare ONE FROM THE HEART to Allen's MANHATTAN, in the sense that both are new-yorkers visions of romance and beauty, filtered through a broadway theatrical and glamorous sensibility. This film, however, unlike MANHATTAN, isn't about New York. It's about spining through the spotlights of a city that parties all night long (cabarets, jazz, dance and magical flirts), only to realize that in the end, it's going to be your simple significant other waiting for you in the backstage.

The staging of the whole movie helps a lot, in the sense that's it's all filmed in studio. Magical skies and dawns that make it easy to pass from a store-window directly to a sunset in Bora-Bora; lust and life and music in what I would consider the last great musical. Every once in a while, Coppola gives us a glimpse of his more passionate side. This would then be the sunny side of the melancholic DRACULA.

Add to the magical staging the nightly cabaret-like musical score by Tom Waits and Crystal Gayle and one can't help but be amazed with it all. And I thought I was surprised by Woody Allen's EVERYONE SAYS I LOVE YOU.

If this is the way new-yorkers see life, that's the city I want to live in.

One of the most self-indulgent films ever made

By: BigCombo
It's no wonder Zoetrope went bankrupt after this lavish, great-looking but bad-tasting bore of a film. Coppola had clearly lost his mind by this point (the APOCALYPSE NOW production, as we all know, is the most probable reason) and went way over-budget with the sets, etc. Yes, they look great, but great sets and cool camerawork can only take you so far. You need a script, too, and this film didn't really seem to have one. I can only think of one director who ever worked well without a script and that was Godard (see PIERROT LE FOU for a great example of spontaneous filmmaking).

That said, some of the acting here is inspired, especially that of Frederic Forrest. Kinski is cute but dull, but here's an honest question - why is Teri Garr constantly getting naked in this film? I'd rather see Kinski sans clothing.

One more caveat in this bad review: the opening title sequence is amazing.

A Fellini-esque musical ode to Las Vegas. A visual feast!

By: N.L.
Francis Ford Coppola and Zoetrope Studios went nearly bankrupt for this movie and it's worth every tear they must have shed! Having built the entire Las Vegas strip inside an enormous sound stage (which cost many $), Coppola was able to control every little visual nuance (just like the master, Fellini). Coppola created neon sunsets and an electric glow to bathe his cris-crossed little love story about two people looking for magic in fantasy land. Songs by Tom Waits and sung as ironic commentary by Waits and Crystal Gayle add an extra cynical spice.

Exquisite demonstration for use of color & lighting in film!

By: Mikey-102
People who find this film boring, clearly "don't get it!" It's not an action, sci-fi, mystery, or horror film. It's not "pop" film making to achieve "box office success". It's a piece about the "art" of filmaking, about style, and use of color and lighting. It's also about elements of personality and relationships that we don't find easy to look at or admit to. It's a brilliant film by one of our most brilliant filmakers!

Amazing accomplishment.

By: chrisw-3
One of the most amazing accomplishments of a master filmmaker, Coppola built Las Vegas on a soundstage to achieve a deliberate level of artificiality. The story is "boy and girl fight, have flings and get back together"...a simple schematic to hang the visuals on.

One has to pay attention to the songs by Tom Waits; half the plot is told by the lyrics. In addition to Frederic Forrest as the male lead "Hank" and Teri Garr as "Franny", Harry Dean Stantion as Hank's friend and Lanie Kazan as Franny's, and Raul Julia and Nastassja Kinski, Tom Waits and Crystal Gayle are a "greek chorus", commenting on the action and the inner thoughts of Hank and Franny.

Coppola used a number of knock-out "in camera" effects, including scrims and half-silvered mirrors. Also, he worked closely with Sony to develop "Electronic Cinema" - this may be the first electronically edited film. He was roundly criticized for this at the time, but of course now virtually every film is electronically edited.

This film was shot in 4:3, with prime lenses for amazing depth of field. It is optimally seen on a large projection screen.

"One From The Heart" is one of my favorite films. It's not a conventional film, nor was it intended to be.

Boring movie, boring people, boring plot

By: detruth
I received no joy from watching this boring movie about boring people and their boring lives. It was a complete waste of my time and everyone who was involved in the making of this movie. The only reason that I watched the whole movie was to see if it would get any better, it didn't. It was uniformly bad throughout. I give this movie two thumbs down because I only have two thumbs, but if I could borrow another thumb it would be three thumbs down. If you ever get a chance to see this movie don't.
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