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List Price: $29.98 | | Label: Fantoma / American Zoetrope
Salesrank: 33702
Released: January 27, 2004 |
| Our Price: $16.99 |
| Used Price: $8.74 |
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MPAA Rating: NR (Not Rated)
Media: DVD |
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Editorial Review:
From the director of Apocalypse Now and The Godfather comes a different kind of love story...
Legendary director Francis Ford Coppola shines his spotlight on a Las Vegas couple (Teri Garr, Frederic Forrest) whose break-up on the 4th of July leads them both to a night on the strip in pursuit of their romantic fantasies (Raul Julia, Nastassia Kinski). But in this town of gamblers and dreamers, should they bet it all on dreams, or give true love another roll of the dice? Featuring breathtaking design, show-stopping set pieces, the stunning photography of Vittorio Storaro (Apocalypse Now, The Last Emperor) and accompanied by the wonderful Oscar® nominated music of the one and only Tom Waits, this neon explosion of color, sound and innovation is a cinematic valentine for all movie lovers.
Description of One From The Heart:
One of the most famous productions of its time, Francis Coppola's One from the Heart is a "little movie" that grew into a gigantic, studio-bankrupting behemoth. Entirely shot on glorious sets in Coppola's Zoetrope studio, the teeny story follows a bickering Las Vegas couple (Teri Garr and Frederic Forrest) during a night's madness with others. It would be nice to recommend the film to romantics, or movie-musical mavens, but really this film is for the technologically minded: it's a flashy display of camera trickery and painted sets (anticipating Moulin Rouge). Alas, the techno-dazzle is somewhat at odds with the clunky performances and choppy editorial flow... and it has all the warmth of neon. Since its initial botched release, the film has developed a small but devoted following, in part because of the terrific song score by Tom Waits (sung by Waits and Crystal Gayle). It should be seen, not least as a case study in bravado. --Robert Horton
One From The Heart Reviews:
At Least He Makes Good Wine 
2009-05-03 - "The Godfather" and "Apocalypse Now" are two landmark achievements of American cinematic history. Which makes it puzzling that "One From the Heart" may be one of the worst films EVER. This includes cheesy horror films and the collective works of Ed Wood. Everything goes wrong here. Unappealing leads, uninteresting visuals, inept script, shoddy direction. What was the point of recreating the Vegas strip on a soundstage when the real one would suffice? Tom Waits contributes a semi-interesting soundtrack that acts as a greek chorus to what's going on but it's completely wasted. Maybe the only other thing noteworthy is Teri Garr's gratuitous nude scenes. Debacle and misfire would be the adjectives to best describe this enterprise.
How could I have forgotten this??? 
2007-12-14 - I was reading another obscure Copplia movie review, when I came on this movie and just came to a stop. This quirky movie stopped me dead in my tracks 20 or so years ago and instigated a extended discussion about it with my companion for hours over dinner. I bought the album because the Tom Watts and Crystal Gayle soundtrack was just so captivating and bluesy ( maybe it was the music and not Terri Garr you think?) Or perhaps it's just an unconventional telling of an ordinary tale with visually amazing sets. Definitely a "character piece" ( no action what so ever ). For people who want to think and be entertained.
How people yearn for a romantic ideal, supreme happiness, a utopia 
2007-07-02 - ONE FROM THE HEART (1982) iill attract a viewership on account of
Francis Ford Coppola's fame, or perhaps from its talented, sincere
cast, comprising Nastassja Kinski, here shown very young, with a
ballerina's physique, yet still very green in her emotional, human
aspects ons screen.
What works best, is the strong dream-like atmosphere that it brings
forth, taking viewers into another dimension, and the romanticism of
the actual story. Indeed, after 5 years in a monogamous
relationship, as each partner consciously grows older, seeing each
other turning into furniture so to speak, this aging and boredom
stress-tests each partner into finding out who they are, what they
are they made of, their character, what is the key to happiness.
For the girl, played superbly by Teri Garr, (in fine physical
shape), with a mature yet youthful, realistic approach in her
acting, happiness is a husband singing, dancing, going to a remote
tropical resort, in sum, the presence of romanticism. For the man,
Frederic Forrest, happiness is maintaining a routine, living
day-to-day, with limited ambition or possibilities of variance in
the agenda, paying the bills on time, seeing reality.
There are multiple aspects that bring the picture down. The first,
and foremost, is the astounding lack of subtlety in the "crooner"
song numbers, such that the audience is left with the impression
that the story, and the singing revolving about "feelings" and "lack
of utopic, perfect love" is onanistic, an irritation. There is a
whining attitude, over-the-top, deranged singing, reminscient of
Barbara Streisand's hysterical "Woman in Love" for example.
Secondly, the opening and closing credits, publicize the Zoetrope
Studios, as if this means anything to the audience in the US, Canada
or around the world. It's silly.
Third, the exteriors, backdrops filmed of many kinds (sunset,
sunrise, simulated motel and streets) are blatantly and obviously
fake, as the audience can see it's a studio, not the real thing.
Only a photographer can prefer a set like this to the real thing,
filmed in a neighborhood. Simply because there is "no dust" or
"photographic imperfections" of any kind, doesn't mean Zoetrope was
better because it's made in a sterile, artificial room vs. the real
thing.
Fourth, the real shocker, and unrealistic aspect, is the complete
lack of moral, religous dimension to the behavior of the characters,
including Raul Julia, who seduces Garr, much like Kinsky seduces
Forrest. The film suggests people are zombies, only obeying to a
"master", an internal compass instructing them to maximize and
reach a "utopic, supreme level of pleasure, happiness, excitement"
as if human life was only about a day at the amusement park,
figuring out which ride is the most fun.
Fifth, although some may disagree, over 90 mins, over and over
again, the actors and actresses are shown either dressing up or
taking their clothes off, with frequent upper nudity of both Kinsky
and Garr, and when not the case, in pajamas, intimate night wear,
underpants or stockings. This brings forth an intimate setting with
the audience, and sensuality (as does Garr's lovely red dress, on
her figure), but there is an unsettling, queasy voyeuristic aspect
to this.
As for Julia, he's clearly in supreme form, slim, youthful,
energetic, charismatic, and enjoying every moment, especially the
scenes filmed with the crowds in the street. A fair bit of humor is
present, such as Julia's stint as a waiter.
Overall, this picture is very human, feminine in its outlook,
showing how people in relationships yearn for a romantic ideal, a
supreme happiness, a utopia, to the point of one night stands.
Still my favorite movie..
2007-01-23 - Back in the '80s I was fond of telling people this was my favorite movie of all time. (Well, maybe in a tie with The Wild Bunch) but the years passed and I suspected that like so much of what I valued then, I would now see this movie in a much harsher light.
Boy, was I wrong! I remain baffled by the way Coppola was mocked and vilified for hurling his whole creative (and financial) being into this little dream of his. But it remains a beautiful dream. While at once creating vivid, indelible characters so perfectly flawed as to resemble no one and everyone, it functions as a sort of second chance for Adam & Eve. Yielding to temptation, Hank and Frannie ultimately learn what matters most. I still end up in tears. Tears of redemptive joy.
Needless to say, Tom Waits' music functions beautifully as wry commentary on the ill-fated blunders of the principals. Waits here is at the peak of his powers as heir to the great American songwriter tradition. This is before he wandered off to the junkyard to pursue the ghost of Harry Partch.
In an era that scorns the very concept of beauty, when film critics rave over "documentaries" about men who have sex with horses, this little jewel of a movie might as well come from a million years ago. If you've loved and lost, (or won), if there's a trace of a heart left in you, you can't be unmoved by this film.
a mood piece more than a movie
2007-01-18 - Like the real city of Las Vegas, you have to be in the right mood to allow yourself to sink beneath the flashy, dazzling, and artificial veneer that made up this dream-like cinematic mood piece. You have to let go. Stop thinking about why the hell would Francis Coppola made a movie like this. Stop thinking about the almost absurd acting and outsider-art like directions. Go chug down that two finger of bourbon, and sink into the neons. Which mood am I talking about exactly? I think looking at the DVD cover or listening to the nocturnal soundtracks done by the unlikely duo of Tom Waits and Crystal Gayle gives you a pretty good idea. It's not exactly fancy-pants snobby cinematic high art, but it has more of a three AM Fremont Street on a cold winter night kinda feel to it. This movie is jazzy, smoky, humorous (in a midnight carnival type of way), and there is a nary sense of melancholy to it. On that note, I think nobody but Tom Waits could have done the scores for a film like this. I love this movie and almost everything about it - the first time I watched it and ever since.
