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Ajouter une intrigue dans votre langueA successful advertising executive finds his freewheeling life crashing to a halt when his parents end their longtime marriage.A successful advertising executive finds his freewheeling life crashing to a halt when his parents end their longtime marriage.A successful advertising executive finds his freewheeling life crashing to a halt when his parents end their longtime marriage.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 1 nomination au total
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Someone mentioned about last night, which they also hated, well its the opposite for me. I was around the ages of the main characters when both these came out and liked both of them. In this movie, you sorta see the early goofy (but very Funny) Tom Hanks doing his transition to the more serious Hanks as the movie goes on. And pretty much was his last real comedy role. Hanks does his usual funny shtick and it works well. And Gleason is great, and sad as an aging ex great sales rep, trying to hang on to his cust. as a changing world leaves him without a place. And the divorce of Hanks Parents thrown in sorta makes this a bittersweet comedy. Overall, its a good movie.
NOTHING IN COMMON (1986) ***1/2 Tom Hanks, Jackie Gleason, Hector Elizondo, Eva Marie Saint, Sela Ward, Bess Armstrong, Barry Corbin. Garry Marshall's winning serious comedy about ad exec Yuppie Hanks who faces the inevitable: caring for his at odds parents including separations, ageism and finally acceptance. Warm and slyly comic turn by Hanks with some great moments. Armstrong is adorable and Ward is sexy (just needed to state this for no other apparent reason). Best moment: Hanks telling off bullying client Corbin.
I happened to catch this movie in college back in 1989. At the time though, I only caught the last half, but it really piqued my interest b/c the last scene where Tom Hanks is pushing a wheel-chair-bound Jackie Gleason down a hospital corridor through a windowed overpass was actually filmed where I was born -- Northwestern Memorial Passavant Hospital in Chicago.
Years later, I was finally saw "Nothing in Common" in its entirety on video, and while I liked some parts of it -- mostly b/c of its numerous Chicago location shots -- I thought the film's production value was a little bit low for a Hollywood film as it was produced and directed in such a way as to be reminiscent of network television soap operas and made-for-TV movies. The overlaid 80's soundtrack, for example, gave this movie a sappy feel and exuded tres gauche, maudlin schamltziness, IMO.
Nevertheless, Tom Hanks was great, as usual, in his reprisal of the sympathetic 'everyman' role that has now become his trademark, and I believe that this was Jackie Gleason's last performance. Sela Ward, however, is the number one reason to see this film, as she is from beginning to end the unequivocal scene stealer.
Not only is Sela Ward hot hot hot, Ward brought a certain amount of authenticity in her portrayal of a big-city advertising executive circa 1980s. This is because long before Ward became a model and began her acting career, Ward, who majored in advertising at Ole' Miss, was a real-life advertising copywriter and exec on Madison Avenue in NYC in the late 70's and early 80's. Regardless, Ward's drop-dead gorgeousness did not detract from her believability as the cutthroat yuppie executive, Cheryl Ann Wayne, by one iota.
Great Chicago references though, e.g., Wrigley Field, location shoots in neighborhood pubs, downtown scenes, etc.
Years later, I was finally saw "Nothing in Common" in its entirety on video, and while I liked some parts of it -- mostly b/c of its numerous Chicago location shots -- I thought the film's production value was a little bit low for a Hollywood film as it was produced and directed in such a way as to be reminiscent of network television soap operas and made-for-TV movies. The overlaid 80's soundtrack, for example, gave this movie a sappy feel and exuded tres gauche, maudlin schamltziness, IMO.
Nevertheless, Tom Hanks was great, as usual, in his reprisal of the sympathetic 'everyman' role that has now become his trademark, and I believe that this was Jackie Gleason's last performance. Sela Ward, however, is the number one reason to see this film, as she is from beginning to end the unequivocal scene stealer.
Not only is Sela Ward hot hot hot, Ward brought a certain amount of authenticity in her portrayal of a big-city advertising executive circa 1980s. This is because long before Ward became a model and began her acting career, Ward, who majored in advertising at Ole' Miss, was a real-life advertising copywriter and exec on Madison Avenue in NYC in the late 70's and early 80's. Regardless, Ward's drop-dead gorgeousness did not detract from her believability as the cutthroat yuppie executive, Cheryl Ann Wayne, by one iota.
Great Chicago references though, e.g., Wrigley Field, location shoots in neighborhood pubs, downtown scenes, etc.
David Basner (Tom Hanks) is a lovable cocky successful Chicago ad exec who just got promoted returning from vacation. He wants his boss Charlie Gargas (Hector Elizondo) to make him partner. Then his mother (Eva Marie Saint) leaves his father (Jackie Gleason). He must shuttle between his stubborn crass father, and his mother who is happy with her new found freedom. Donna Mildred Martin (Bess Armstrong) is his best friend and high school sweethearts. He is trying to land a big airline account and uses his charm on the owner Andrew Woolridge (Barry Corbin). He sleeps with the media director Cheryl Ann Wayne (Sela Ward) who turns out to be Woolridge's daughter. His father does nothing but complains and is struggling. Then he gets fired from his salesman job.
This movie tries too hard to be jokey. Director Garry Marshall is allowing Hanks to clown around a little too much. The broad comedy doesn't quite fit seeing how he's suppose to be a professional sweet talking the client. He is playing strictly as a wild creative ad exec who jokes around. The broad jokes don't fit either when the movie tries to move into more serious territories. The serious stuff has a bit more heft and that's due to genius of Jackie Gleason. He and Hanks have pretty good chemistry. I also have a minor problem with the over-use of montages to drive the story forward. It's lazy writing.
This movie tries too hard to be jokey. Director Garry Marshall is allowing Hanks to clown around a little too much. The broad comedy doesn't quite fit seeing how he's suppose to be a professional sweet talking the client. He is playing strictly as a wild creative ad exec who jokes around. The broad jokes don't fit either when the movie tries to move into more serious territories. The serious stuff has a bit more heft and that's due to genius of Jackie Gleason. He and Hanks have pretty good chemistry. I also have a minor problem with the over-use of montages to drive the story forward. It's lazy writing.
This is a great movie. It combines several emotional aspects of the human condition. Classic Tom Hanks humor, emotionally touching realism as well as some serious drama.
Over the years since it was released I have watched this dozen's of times. I never get tired of it. I am moved as David Basner is forced to face the reality of his parents divorce and tries to build an individual relationship with each of his parents.
I think this is much better than Splash, probably on par with BIG. Of course, just about anything with Tom Hanks is great simply because he is able to carry the load.
Over the years since it was released I have watched this dozen's of times. I never get tired of it. I am moved as David Basner is forced to face the reality of his parents divorce and tries to build an individual relationship with each of his parents.
I think this is much better than Splash, probably on par with BIG. Of course, just about anything with Tom Hanks is great simply because he is able to carry the load.
Le saviez-vous
- AnecdotesRumor has it that director Garry Marshall would not go ahead with the making of this film without the inclusion of Jackie Gleason. In poor health, Gleason had grown tired of filmmaking, and wished to retire from the business. After several attempts to get him on board, Marshall finally called Gleason on the phone and insisted that if he didn't do this film, that the last film he would be remembered for was the box-office bomb Cours après moi shérif 3 (1983). Gleason immediately accepted the offer on the condition that this would be his last acting role. In Marshall's 2012 memoir, "My Happy Days in Hollywood," he credits Ray Stark with asking Gleason the question about if he wanted "Smokey and the Bandit 3" being how he would be remembered.
- Citations
[last lines]
Max Basner: [to David] You're the last person I ever thought would come through for me.
- Versions alternativesOne "unedited" print, formerly in HBO's library, removes the exchange between Max and David about their "best friends."
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- How long is Nothing in Common?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- Nada en común
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 32 324 557 $US
- Week-end de sortie aux États-Unis et au Canada
- 3 279 650 $US
- 3 août 1986
- Montant brut mondial
- 32 324 557 $US
- Durée1 heure 58 minutes
- Mixage
- Rapport de forme
- 1.85 : 1
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By what name was Rien en commun (1986) officially released in India in English?
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