One From the Heart - Movie Reviews - Rotten Tomatoes

One From the Heart Reviews

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Super Reviewer
March 1, 2016
An overdirected and overproduced exercise of style that can be tremendously annoying with its insane excess of colors, sounds and neon signs in a fake Las Vegas that looks dated even as a satirical concept - all as an end in itself and without anything interesting or substantial to say.
jjnxn
Super Reviewer
July 30, 2014
Notoriously expensive film is a visual fest for the eyes but the slender bones of the story that all those images rest on can't support it or hold the viewers interest. Frederic Forrest is a good actor but he wasn't cut out to be a leading man.
Super Reviewer
September 18, 2007
Gorgeous to look at, but kind of slow, but the cinematography is stunning, but it's fairly uneven, but that uneven-ness is photographed by Vittorio Storaro.

I would also like to note that it's a crime that so much of Stararo's work isn't avaliable on blu-ray.
Super Reviewer
½ September 6, 2010
I liked this movie for the most part, the story, sets, and songs go well together, but it could have been better.
Super Reviewer
May 27, 2010
One From the Heart is really only recognized as a box office torpedo anymore, which is sort of a shame. It has a bevy of flaws, and its status as an obvious vanity project will turn off most viewers (especially those coming into the movie off of the high of Coppola's previous movie, Apocalypse Now). I found most of it unconventional and sweet, and the soundtrack is just fantastic - it has turned me into a Tom Waits fan. The plainness of the two leads is sort of difficult to get behind, but they have to be ordinary in contrast with the extraordinary people they meet up with later, and thus to convince us that they belong together. The bombing of this film confuses me in a sense, as Frannie and Hank make for successful audience avatars. You could blame it on the lack of market value of Frederic Forrest and Teri Garr, both of whom give strong performances here. They aren't completely depthless or without personality, but their struggles and lives are immediately relatable; they feel more like friends or acquaintances than surrogates or metaphors.

One From the Heart falters in its excess, such as a scary propensity toward slapstick comedy that is every bit as bad as it sounds. Forrest + Bugs Bunny = the stuff of my nightmares. The film also has a tendency to let its characters shriek unbearably about whatever's troubling them, which grows obnoxious after a while. The first half an hour of the movie is sort of an endurance test, when their relationship is at its rockiest. If you can't stomach these people in this passage of the film, you should really just stop watching. Furthermore, the visual approach is distracting and, though unique, doesn't seem to serve much of a purpose in the film's goals at large. Bathing the shot in overcontrasted red or blue or yellow looks cool the first couple of times, but then you start to wonder what it's all for.

Despite all that excess, One From the Heart sort of registers as a trifle, which is the last think Coppola wanted it to be I think. With its comparatively high budget, histrionic composition and the overall challenge that appreciating the film seems to bring, something about it doesn't really feel consistent. Perhaps musical romantic comedy is just a genre in which I'm not versed, but I didn't find it to be an exceptional movie, even though I appreciated and sympathized with it. This will assuredly be remembered as the point of Francis Ford Coppola's burnout, an unfair role for it to assume in history. I do recommend it, but only as a strange pit stop into some of the murkier depths of his filmography.
Super Reviewer
April 2, 2011
Well, there is brief nudity from Teri Garr, but otherwise you can see why this movie flopped and ruined Francis financially. It is always good to see Raul Julia though.
Super Reviewer
July 12, 2010
The film that ruined Francis Ford Coppola. I know it gets a lot of shit, but I rather enjoyed it. The sets, the lighting, and the music creates am eerie, dreamlike quality that allows the story to transcend the real world. Not all of the film works, but Coppola was really trying something different here and I really like that. In my opinion he mostly succeeded. The best thing is that Tom Waits score with some wonderful sad songs.
Super Reviewer
½ November 8, 2008
I felt the music took me out of the story, it was too distracting. An interesting, surrealistic feeling and background were the best thing about the film.
Super Reviewer
August 30, 2008
Oh...this one I loved from Frances Ford Coppola so long ago in 1982. The movie was awesome, but I need to rewatch it again to review it accurately. But it was a great movie. :)
½ June 25, 2015
Coppola's One From the Heart is unfortunately the cause for his later bombs and disappointments but the film alone is actually a stunning celebration of early Hollywood with some pacing issues.
½ August 12, 2014
One from the Heart (Francis Ford Coppola, 1982)

One from the Heart initially stuck in my head because of Sneak Previews, the original Siskel and Ebert movie review show back when it was on public television. My favorite section of the show was always the Dog of the Week, at the end, when each critic would highlight the worst film he'd seen that week. I got a lot of recommendations from the Dog of the Week. That, naturally, led to a year-end list of the ten worst movies of the year. If a movie showed up on the Ten Worst list, I was almost guaranteed a good time. One from the Heart was on Gene Siskel's ten worst list for 1982; if I recall correctly, it was #1. (Pretty much anything that made their lists from that year is gold; they also included Inchon, Pink Floyd: The Wall, and Halloween III.) But I'd never gotten a chance to see it until recently. While Coppola has always been an on-and-off director for me, I've found over the years that it's pretty hard to go wrong with Frederic Forrest, and with One from the Heart, Forrest gets a rare starring role. It's not the best movie in the world-certainly not in the same league as Forrest's other major 1982 film, Hammett-but it's certainly not one of 1982's worst movies.

Plot: Hank (Forrest) and Frannie (Tootsie's Teri Garr) have been living together for coming up on ten years. The two of them have settled into boredom and routine, and Frannie has had enough; she announces, on the eve of their fifth anniversary, that she's leaving. Hank puts up token resistance, but when it comes right down to it, he's more perturbed by the disturbing of the routine. Soon after, the two of them meet their dream mates in Ray (Tempest's Raul Julia) and Leila (Cat People's Nastassja Kinski), but Hank soon realizes that dream girl or no dream girl, Frannie is the one he really loves. What lengths is he willing to go to in order to get her back?

Read as a straight film, One from the Heart does indeed make very little sense. I hesitate to speculate on Coppola's mental state (or state of inebriation) at the time he was making this movie, but asking oneself "what was everyone involved in this movie smoking?" on a regular basis will not put you too many standard deviations away from the norm. On the other hand, if you read this as Coppola's attempt-and one should always remember that Coppola began his career in the Corman factory with the similarly off the wall Dementia 13 almost twenty years before this-to make a psychedelic musical, the way L. Q. Jones had tried to make a psychedelic science fiction film seven years before with A Boy and His Dog, One from the Heart starts making a little more sense. The plot's fuzziness, the somewhat puerile sense of humor on occasion, the sometimes silly decisions made by the characters. It all falls into place. That doesn't excuse the movie's shortcomings, but at least it allows you to have some fun with them. ** 1/2
½ March 25, 2014
Most artists and directors have their different eras, Coppola in the 60s tried his hand at different things, like working for Corman and doing some independent work and weird things like "Finian's Rainbow". He followed up in the 70s with nothing but success. The first two "Godfather" films, "The Conversation", and "Apocalypse Now" (he even wrote "Patton"). But the 80s and 90s could really be called the "One from the Heart" period...as the financial disaster of this film meant that almost every job he took in the 80s and the bulk of the 90s was really just a means to pay off his debt. This isn't really a terrible film...but it isn't all that great easy. It is an odd musical drama with lots of expansive sets in the style of old time musicals but set in more modern times (and a soundtrack by Tom Waits). I can't say I'm surprised it bombed, it doesn't have a whole lot going for it, but the repercussions sort of hurt Coppola's career a bit. "Apocalypse Now" had emotionally drained him, and "One From The Heart" hurt his credibility and his financial standing...sadly...he had sort of peaked. He had some decent films afterwards, but not many nearly as good as those films.
½ December 22, 2013
I wanted to like this movie. Everything that you come to expect from a Coppola production seems to be here, at least, in terms of casting and production values. The music by Tom Waits, the cinematography by the legendary Vittorio Storraro, as well as the amazing set design which recreates the Vegas Strip to incredible detail. Clearly, Coppola had his heart in this project, but unfortunately, he fails to give the audience a reason to care about any of it. The story is barely there, the characters are sketchily designed, more type than person. If all you're after in your film viewing is a feeling and narrative is of secondary importance to you, you'll really enjoy this. Anyone else will be bored despite the technical beauty.
September 13, 2009
Not bad at all, but very bizarrely experimental. Some of it works and some of it doesn't, and none of it all the time. I'm not really sure what to think about this film, but it certainly had its memorable moments and it looked very pretty (most of the time.)
November 11, 2010
Francis Ford Coppola's notorious flop is fill with beautiful set design and visuals. Unfortunately, Coppola ruins the whole thing by wasting it all in a story that's probably one of the least inspired attempts at a romantic comedy musical put onto celluloid. A Oscar-nominated score by Tom Waits is also wasted.
½ June 22, 2010
Although it is quite interesting that they were able to film an entire movie on a stage in a theater, I can't decide weather that was a good idea or not. On one hand, the whole movie feels really claustrophobic and everything looks fake. On the other hand, the fake sets enhance the feelings of Garr's character, and the idea that Las Vegas is a fake city. Another device I don't think worked well was the Tom Waits songs sung while the characters were either lying around, walking around, or just sitting around. Why couldn't they sing themselves like in an ordinary musical? They just looked lazy. I loved the part where Raul Julia gets to sing and dance with Terri Garr, it was very romantic. Plus, the ending is predictable, but unexplained. There were a lot of things I liked about this movie, but some things that I didn't like. You just have to see it for yourself.
May 9, 2010
Underrated archetypal movie depicting the dangers of projection as a romantic search engine. This is my favorite movie of all time and the sound track is a must-have. No other movie so precisely nails what happens to relationships after the razzle dazzle of "chemistry" fades and one begins to withdraw the fantasy based projections. It reveals the "swindle" we experience after the pheromones fall away and one is left "Picking Up After You". As a marriage and couples therapist, I see this pattern repeating endlessly.

This film is as classic as they come. That some find it pure boredom only tells me that they have yet to look within to see the truth this film delivers--or they have, and looked away. The beauty of the film to me is that the couple is able to find their way back to one another, to recover what was not based on fantasy but the real bond between them, and that, in the end, it is not only "enough" but beautiful. The connectedness, stripped of its cultural overlay of crap, is real and palpable. "Take me home, you silly boy, wrap your arms around me. Take me home ,you silly boy, cause I'm still in love with you".
The settings serve up Americana as we know it today--the over stylized, consumer-driven advert addled ninny splashing in the shallow waters. Yet, in the tinsel town carnival, Coppala still finds deep water in the truth, real connection,and heart. I love this film. It just gets better with time.
October 21, 2009
Got mixed feelings. First, it's not really my kind of music or film, so it's kind of hard to be objective. Visually it was very well done. Strangely, I liked the supporting roles by Raul Julia & Nastassia Kinski better than the leading roles (especially Frederic Forrest). Why did they show so much of Teri Garr's skin, but the men couldn't even be seen from behind without their tighty whities on? I watched this just to hear Tom Waits and sadly he was truly out of his element. It's probably the best singing he's ever done, but without the edge, well, Tom Waits just isn't Tom Waits. For lovers of musicals only.
½ April 30, 2009
Coppola once again delivers over stylized, extremely pretentious tripe that he thinks is fine cinema art. I feel bad for the performers, they do try, but with the ridiculous material they have to work with they sink. What a mess of a movie. The only thing about this movie that is good is the score.
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