Una post-adolescente se muda a la ciudad de Nueva York, se enamora de una belleza con corazón frío y luego encuentra el verdadero amor con una chica leal.Una post-adolescente se muda a la ciudad de Nueva York, se enamora de una belleza con corazón frío y luego encuentra el verdadero amor con una chica leal.Una post-adolescente se muda a la ciudad de Nueva York, se enamora de una belleza con corazón frío y luego encuentra el verdadero amor con una chica leal.
- Dirección
- Guionistas
- Elenco
- Nominado a 1 premio Óscar
- 8 nominaciones en total
- Barbara's Stage Play Crew
- (as Ron Colby)
- Baby Boy in Carriage
- (sin créditos)
- Commerce Street BG
- (sin créditos)
- Dirección
- Guionistas
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opiniones destacadas
For full details of the filming of this first real Coppola movie see my memoirs Dropping Names which is available from my website www.davidbenedictus.com Oh and by the way clips of Dementia 13 which Coppola filmed in a couple of weeks in Ireland (he mentioned to me some nudie films which he may or may not have directed but Dementia 13 is probably his first acknowledged work) are used several times throughout You're A Big Boy Now (I imagine he didn't have to pay copyright on them!) and they look powerful to me.
A sad memory is that Elizabeth Hartman who plays the sexy man-hater with great precision and style was to have a serious nervous breakdown after the end of her marriage and threw herself out of a window to her death. She was some actress and you may have seen her in The group and A Patch Of Blue (opposite Sydney Poitier)
Unfortunately by the halfway point of "You're a Big Boy Now" it totally runs out of steam and you begin to understand that its obscurity is well-deserved. Coppola's script is the problem because the cast are generally excellent and you can tell they had a lot of fun making the film. Even minor cast members like Dolph Sweet do a good job and there are great little sequences like Kastner's after dark explorations of the New York City streets. But unlike "Herald and Maude", Coppola says nothing with this film; consequently it ends up as a classic case of the whole being considerably less than the sum of its parts.
I am not in love with Coppola as a director, but even those who are will acknowledge the incredible distance between his good stuff and the vast majority of his films. This is not his good stuff but is worth checking out if you like Hartman, Harris, and Page.
The biggest mystery to me is how FFC assembled such an outstanding Broadway cast—Harris, Paige, Torn—for a Master's Thesis. And who's inspired touch is that "attack chicken" that bedevils the girls, or the Neanderthal cop who's never off duty. Anyway, if you're not insisting on a conventional style and are willing to put up with some pretty self-indulgent passages, the movie may have genuine appeal, especially for those either nostalgic or curious about the free-wheeling 60's.
A lot of the humor is cutaway humor. In the end the movie isn't a masterpiece but has some funny stuff. It's sort of a cross between the zany comedies that dominated the '60s and a Woody Allen movie. One of the most interesting things is the soundtrack. The Lovin' Spoonful did the music, and it includes some songs - among them "Amy's Theme" - that I had heard but never knew whence they came.
I recommend the movie. It's a perceptive look at the youth culture, and also at mid-'60s New York. We even get shots of movie theaters running noted movies of the era! It's really a movie that you gotta love. I bet that when "The Godfather" debuted, people were shocked that it was directed by the same man who directed "You're a Big Boy Now".
And remember, wooden legs and aggressive chickens.
But while the movie is directed with gusto, it doesn't manage to mask a big problem with the movie. The first half of the movie is really slow going with the story. Sure, the direction hides this thin story for a while, but eventually you realize that not much of substance is actually happening. Things do start moving after the halfway point or so, but it's kind of hard to get involved with what's happening because none of the characters are really all that sympathetic. Even the hero fails to arouse sympathy, because he is for the most part a real spineless wimp. The fact that all the performers give really broad performances doesn't help. In the end, the movie can only be recommended to people with real special interest in Hollywood filmmaking from this period, and even they might find it tough going at times.
¿Sabías que…?
- TriviaAlthough he had quit film school some years earlier, this film was acceptable for Francis Ford Coppola as his thesis at U.C.L.A. film school in 1966, earning him a Master of Fine Arts degree.
- ErroresAlbino therapist's skin coloring was as tanned as that of non-albino patient Barbara Darling; real albinos lack pigmentation, resulting in flesh that looks nearly white.
- Citas
Jailer: [as he unlocks and opens Bernard's jail cell] Out you go.
Bernard Chanticleer: Why?
Jailer: You're out in custody. Your bail's been paid.
Bernard Chanticleer: [after a thoughtful pause] I've been in the custody of my parents for almost twenty years now. And they've taught me nothing but self-doubt, frustration, and perpetual guilt. I'm going to be in my own custody from now on. I won't go!
Jailer: A nice-lookin' girl paid it.
Bernard Chanticleer: I'll go!
[Gets up and walks out]
- ConexionesEdited into The Kid Stays in the Picture (2002)
- Bandas sonorasGirl, Beautiful Girl
Written by John Sebastian (as John B. Sebastian)
Performed by The Lovin' Spoonful
Selecciones populares
- How long is You're a Big Boy Now?Con tecnología de Alexa
Detalles
Taquilla
- Presupuesto
- USD 800,000 (estimado)