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Since Angelina Jolie’s new movie Changeling opens next week (and in limited theaters this week!), I thought I would share some fun facts about the film that reader Ligaya passed along. When I see a movie, one of the first things I do is go to imdb.com to check out the trivia/facts about it, so I loved reading this.
• Angelina had to learn to roller skate while wearing high heels for scenes at the telephone exchange, a documented practice of the period.
(Roller skating in high heels?? Can you imagine?)
• Eastwood sometimes asked Jolie to play a scene quietly, as if just for him. At the same time he would ask his cameraman to start filming discreetly, without Jolie’s seeing it. Some of these takes made it into the completed film.
• Amy Ryan cited the filming of a fight scene during which Eastwood showed her “how to throw a movie punch” as her favorite moment of the production.
• “One day we were shooting a scene where [Collins and Briegleb] talk about her case… We started shooting at 9:30 a.m. and it was seven or eight pages, which is usually an 18-hour day. Around 2:30, [Eastwood] goes, ‘That’s lunch and that’s a wrap.’… I’ve made close to 100 films now and that’s certainly a phrase I’ve never heard in my entire life.” —John Malkovich discusses Eastwood’s famously economical directorial style, which extended to Changeling’s set.
• To ensure the veracity of the story, writer Straczynski incorporated quotes from the historical record and direct testimony directly into the script.
• The film was still in post-production one week before the start of the Cannes Film Festival.
I am very eager to go see this. I won’t be able to see it on opening night since it’s also Halloween and I’ll be taking my kids trick-or-treating. However, I’m hoping to go see it over the weekend with my husband because I’d like to contribute to the box office numbers. Hopefully it can hit number one, but even if it doesn’t every viewer helps.
Really though, with Angelina Jolie, Clint Eastwood, and John Malkovich all teamed up, how could you go wrong?
Speaking of fun, I also wanted to share a video that reader isacutie wrote about. Her friend draws Angelina Jolie on the computer and it’s quite stunning to watch – go check it out!
So let’s see a raise of hands – who’s going to see Changeling at the advanced screenings in select cities this Friday, the 24th and who’s going to see it over official opening weekend between October 31st and November 2nd?
Image used with permission: Universal Pictures
i can’t even imagine rollerskating in high heels… OUCH
No kidding, that sounds crazy. Anyway, here is a great photo slideshow with Angie and CLint Eastwood, lots of other nice details too.
http://www.usatoday.com/life/l081016_jolie_changeling/flash.htm?gid=734&aid=3528
And have you seen these other photos of her that Brad did?
http://www.celebitchy.com/17249/brad_pitts_arty_photos_of_angelina_jolie_in_w_include_nips_and_bare_butt_semi_nsfw/
I think they’re great, he has a good artistic sense.
i have problem rollerskating just wearing regular sneakers, i can’t even begin to imagine how difficult doing it in high heels would be. and i also like that quote from john malkovich.
I saw the W magazine. A lot of copies at the Borders I went to. I haven’t visited the popular Barnes & Noble a few miles away but I’m sure they don’t have any or will run out of copies. Good to go to the back alley stores.
Why would she need to learn to roller skate in high heels?
dhc, because that’s what they did back then – at least the supervisors, so they could skate from one end of the line of operators to the other quickly. There are photos documenting it.
I knew they skated, but not that they did it in high heels.
UNDER MOD (heh): dhc, my explanation . . .
Your explanation Ligaya is still under mod so i’m curious about the roller skating too, i wonder how did her practice went?
I saw different clips from the movie in yahoomovies.com – upon seeing those clips, i would recommend that it’s a must see Jolie performance.
I have just come back from a week vacation and there are so many things to catch up here at Pittwatch!
Thanks LizA for the links to the photos. I love the slideshow of Angie and Clint Eastwood. They look so sweet together, just like father and daughter. Now I understand why Clint said Angie has the most gorgous face on the planet! She looks really beautiful in these pics.
Oh by the way, can anyone please explain why Clint called Angie “Angie Dickinson” and she did not get upset because she took it as a compliment. What is the story behind “Dickinson”? Thanks.
Fan From Vietnam, Angie Dickinson is a very beautiful actress that is best known, at least here in the Philippines, for the 70’s TV Show “Policewoman.” Anyway, I think she was one of the first to break tradition in the sense that she was the lead in show, and that show is a police show that is normally dominated by men. The other posters might have a better explanation though.
I’ll see the movie the weekend of Oct 31…hubby will be out of town, so I can eat popcorn, enjoy the movie, and have a great time on my own. Plus, it’ll help the weekend gross figures.
Maybe hubby can see it via Netflix later. Good idea. That means I can see it twice!
Hurrah, Pittwatchers! We’re Angelina’s Army, or Angels, or Angelina’s Army of Angels!
But seriously, Saw V & HSM3 will take the top spots because they’re the crowd pleasers (SV, teen boys/20s males & their dates; HSM3, girls & families), AND they’re in 1000s of theaters as opposed to Changeling’s handful. And both SV &HSM3 have built-in audiences from their prequels.
I’ll be *very* happy if Changeling makes the top 10. At the very least, I’d love to see it have a high per-screen-average. When Changeling opens wide next weekend, I hope it’ll be in the top 5.
Today, after I send out a few “No on 8” letters to the editors, will be my Angelina day. I’ll see a matinee and watch by myself, then hubby and I have a movie date this evening. In between, I’ll pore over the W I got last night.
UNDER MOD:
Saw V & HSM3 will take the top spots because they’re the crowd pleasers AND they’re in 1000s of theaters as opposed to Changeling’s handful. . .
BOO-YAH!! Roger Ebert rated Changeling 3.5 out of 4 stars. San Francisco Chronicle’s Mick LaSalle rated it 5 of 5 stars (Little Man jumping out of chair clapping).
In the SF Bay Area, exclusive engagement at San Francisco (Blooomingdales).
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20081023/REVIEWS/810239995/-1/email_headlines
Changeling
By Roger Ebert, October 23, 2008
Clint Eastwood’s “Changeling” made me feel sympathy, and then anger, and then back around again. It is the factual account of a mother whose little boy disappeared, and of a corrupt Los Angeles Police Department running wild. Angelina Jolie stars as Christine Collins, whose 9-year-old son, Walter, went missing in March 1928. Some months later, the LAPD announced her son had been found alive in DeKalb, Ill.
There was a problem. Collins said the boy was not hers. The police, under fire for lawlessness and corruption, had positioned the case as an example of their good work. They were determined to suppress Collins’ protests. Even though the returned boy was three inches shorter than Walter, was not recognized by his teacher and classmates, and had dental records that did not match, Collins was informed that she was crazy and locked up in a psychiatric ward on the strength of a captain’s signature.
If her “rediscovered son” was a poster boy for the cops, her disappearance became the cause of an early radio preacher named the Rev. Gustav Briegleb (John Malkovich), who had been thundering against police corruption. Meanwhile, a determined detective named Lester Ybarra (Michael Kelly) was led to the buried bodies of 20 young boys on an isolated chicken ranch outside Winesville, Calif.
Eastwood’s telling of this story isn’t structured as a thriller, but as an uncoiling of outrage. It is clear that the leaders of the LAPD serve and protect one thing: its own tarnished reputation. Collins joins many other female prisoners whose only crime was to annoy a cop. The institution drugs them, performs shock treatment, punishes any protest. Mental illness is treated as a crime. This is all, as the film observes, based on a true story.
Eastwood is one of the finest directors now at work. I often say I’m mad at Fassbinder for dying at 38 and denying us decades of his films. In a way, I’m also mad at Eastwood for not directing his first film until he was 41. We could not do without his work as an actor. But most of his greatest films as a director have come after “retirement age.” Some directors start young and get tired. Eastwood is only gathering steam.
“Changeling” displays the directness and economy of his mentor, Don Siegel. It has not a single unnecessary stylistic flourish. No contrived dramatics. No shocking stunts. Not a gunshot. A score (by Eastwood) that doesn’t underline but observes. The film simply tells its relentless story and rubs the LAPD’s face in it. This is the story of an administration that directed from the top down to lie, cheat, torture, extract false confessions and serve to protect its image. In a way, it is prophetic.
The Los Angeles Police Department, perhaps in part because it is unlucky enough to exist in Los Angeles, has often had a dark image in recent movies. Consider “L.A. Confidential,” “Training Day,” “Lakeview Terrace.” Lots of movies involve corrupt cops, but no city’s police department has been as dramatically portrayed. Yes, there are hero cops, but they’re mavericks. Dirty Harry, for all his problems, might have admired this movie.
Jolie, Malkovich and Geoff Pierson, as a lawyer who takes Collins’ case before the Police Board, are very good at what they do very well. The film’s most riveting performance is by Jason Butler Harner as the murderous Gordon Northcott. The character could not be adequately described on the page. Harner’s mesmerizing performance brings him to sinister life as a self-pitying weasel specializing in smarmy phony charm. He doesn’t play a sick killer. He embodies one.
The screenplay by J. Michael Straczynski follows the factual outlines of the story while condensing, dramatizing and inventing. A man like Northcott can never be explained, but much of his oddness may have emerged from his childhood. That, and his parents, are left out of the film. He didn’t discover until later that his real parents were his sister and his father. Surely he sensed something was very wrong.
This whole background of Northcott is wisely sidestepped by Eastwood; eerie as it is, it would have been a detour in the story’s relentless progress. Northcott comes over in Harner’s portrayal as a man like John Wayne Gacy, Ted Bundy and Jeffrey Dahmer: irretrievably evil, inexplicable, unreachable from the sane world. You don’t have to gnash your teeth to be evil. Profoundly creepy is more like it.
Jolie plays Christine Collins without unnecessary angles or quirks. She is a supervisor at the telephone company, she loves her son, they live in a nice bungalow, all is well. She reacts to her son’s disappearance as any mother would. But as weeks turn into months, and after the phony “son” is produced, her anger and resolution swells up until it brings the whole LAPD fabrication crashing down. Malkovich as the minister is refreshing: He’s not a sanctimonious grandstander who gets instructions directly from God, but a crusading activist. And one more thing: The phony boy’s reason for pretending to be Walter. It almost makes you want to hug him. Almost.
UNDER MOD: Roger Ebert’s review, you can see it at rogerebert.com.
Subtle, Superb, Nuanced
http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/10/24/DDEC13MFBM.DTL
Movie review: Eastwood’s superb ‘Changeling’
Mick LaSalle, Chronicle Movie Critic
Friday, October 24, 2008
Clint Eastwood is in the midst of one of cinema’s most notable late growth spurts. Until he reached his 70s, he’d been a solid, above-average filmmaker with a signature style and a capacity for greatness. But since turning 70, Eastwood has been on a tear, with one masterpiece (“Million Dollar Baby”), one near-masterpiece (“Mystic River”) and a project of epic dimensions, the mirror-image World War II films “Flags of Our Fathers” and “Letters From Iwo Jima.”
“Changeling” maintains Eastwood’s creative streak. It might not be as exalted as “Million Dollar Baby,” but there are things about it that set it apart and make it one of the most enjoyable of his recent films. It’s a woman’s story, which is a departure for Eastwood. (Even “Million Dollar Baby” was about a woman as seen through the eyes of a man.) And because the story has no built-in aura of significance – because it’s simply a sad account of something that happened to somebody long ago – Eastwood’s abilities stand out in sharper relief. The history doesn’t make the movie important. Rather, Eastwood makes the history important.
He does it by simply taking a really good story and directing it well, though in fact there’s nothing simple about the artistic intelligence on display here. That intelligence permeates every aspect of the picture, and yet the hand is light, and if you don’t look for it, you might not notice it. Tom Stern’s cinematography, for starters, is a thing of subtle beauty. The colors are ever so slightly faded, and yet always there will be something in the frame that leaps out – a yellow cab, or Angelina Jolie’s lipstick.
The overall effect is to make us aware of color and aware that we’re seeing an era – the late 1920s and early 1930s – that we know almost entirely in black and white. We’re seeing not only history but also a dream of history, and that double effect, which adds texture to the experience, is accomplished gently and lands right on the border of consciousness.
Eastwood makes this world so visually appealing and fascinating in its details that we just want to linger there, look at Jolie in a cloche and watch her take her son to school on a Los Angeles streetcar. When the story intrudes, it feels like an intrusion on our world, too: A single mother, Christine Collins (Jolie) comes home from work to find that her son is missing. Gone. No trace. Vanished.
“Changeling” is based on a true story, but knowing that it’s true couldn’t have made it any easier for Eastwood and the actors to pull off the pivotal scene. After several months, Christine is told by the Los Angeles police that her son has been located. Accompanied by a police captain (Jeffrey Donovan), she goes to meet the boy at the train, but the boy turns out not to be her son. However, news reporters are nearby, and the captain, not wanting to expose the department to embarrassment, insists that the boy is her son. And so, for that moment, and for the benefit of the press, Christine persuades herself that the changeling is the real thing.
This is an unlikely turn. Why would a mother choose to believe that a strange boy is her child? The answer is in Jolie and Eastwood’s complete understanding of the scene’s emotional dynamics. Christine is disoriented. She is disappointed as few have ever been disappointed. She is still in that halfway zone between receiving bad news and not wanting to believe it. And so, in that moment of vulnerability, she accepts this kid, who looks nothing like her child, as her son.
That’s really where the movie begins. What follows is a harrowing saga, in which Christine fights to have her real son found, while coming up against the self-protective, corrupt police department. The details are best left for you to discover, but the story, in an incidental way, touches on the respective differences in status between men and women in this earlier time.
Jolie is a creature of the screen, as strange looking as an alien from the planet Movie Star, but emotionally ready, present and understated. She never grandstands; she just delivers. John Malkovich is very much in the period as a crusading minister/radio personality, a fellow who spent most of his life in the 19th century and has the theatricality to prove it. Also not to be overlooked is Jason Butler Harner, who plays one of the best movie psychos I’ve ever seen – a frightened, sniveling wreck whose mind is disintegrating.
“Changeling” is a disturbing film about grim subject matter, but the overall experience is more exhilarating than saddening. There’s just something satisfying about seeing a movie so well made.
I will see the 31th oct. it’s my day off , and with my hubby over the weekend.
Can’t wait for this, will have to see it early in the day though to save some money.
A girl who saw it today advised lots of hankies.
isacuti, thanks for your explanation.
The reviews seem to focus mainly on praising Clint Eastwood. What about Angie’s performance in the movie? I lreally hope both Clint and Angie will win oscar awards this time.
OK, they weren’t stiletto heels, they were mid-height block heels -the fashion of the day. So not quite a feat as we thought. (But I still couldn’t do it.)
Saw Changeling yesterday, no one was sobbing but definitely lots of sniffling all around the auditorium. So a hanky would be good.
Fan from VN, I’ll post the reviews focusing on Angelina as I find them. This one was from Cannes in May 2008.
http://www.cinematical.com/2008/05/20/cannes-review-changeling/
Eastwood relies largely on the strength of Jolie’s performance to carry the film, playing up the bully-victim relationship to the hilt to create a sense of opposing forces crashing into each other. Jolie’s mama-lioness performance is powerful — she plays Christine as both strong and vulnerable, a woman who is both tethered to the restraints of the society in which she must maneuver, and fiercely resilient in her search for the truth about what happened to her son.
Jolie’s performance evokes her stylistically similar performance in A Mighty Heart; she spends most of the film wrenched in anguish that resonates to the core. In the latter third of the film, Christine undergoes a dramatic shift from the tragic woman who’s lost a child to a heroine who must advocate for the rights of other women in similar situations, and one can’t help but draw parallels to Jolie’s own personal activism.
Jolie portrays a classic tragic heroine in the film; a single mother abandoned by Walter’s father, she’s raised her boy alone, and he’s all she has. Her reaction to Captain Jones’s refusal to accept that the boy the police have brought home to her is not her son goes from earnest insistence to stark disbelief to anger. The police captain, unwilling to acknowledge the failings of his department, makes her the enemy rather than the victim, alternately painting her in the press as a negligent mother who simply doesn’t want to take responsibility for her son now that he’s found, or perhaps a hysterical woman with delusions of paranoia.
Anytime a film centers on the idea of a child in peril, the dramatic tension stakes are raised accordingly, but the conflict in the film works on many levels: in Christine facing the police captain; in the captain versus the preacher; in good cop versus bad cop; and, of course, in the broader theme of Christine facing the challenges women of that time faced in society generally. Watching that very real history play out — the whole, “there now, be a good girl, keep your mouth shut and just do as you’re told” mentality, rankles me to my very core, as I expect it will to most modern women watching it.
This is a case of real life being stranger (or perhaps, more horrific) than fiction. If a screenwriter had written a script like this that was purely fictional, audiences would find it hard to accept. It seems rather fantastic to imagine that the police wouldn’t simply believe a mother who says, this is not my child. Of course she would know her own child; I’d know any of my kids in a pitch black room, by the outline of their profiles, the feel of their hair, their unique scents. It’s important to keep in perspective, though, that the film takes place in 1928, during a time with corruption on the police force was rampant, women were viewed as emotional and prone to bouts of hysteria, and people could be locked in a mental hospital to get them out of the way of those in power.
UNDER MOD: Fan from VN, I’ll post the reviews focusing on Angelina as I find them. Kim Voynar, Cinematical -
Eastwood relies largely on the strength of Jolie’s performance to carry the film…Jolie’s mama-lioness performance is powerful…Christine undergoes a dramatic shift from the tragic woman who’s lost a child to a heroine who must advocate for the rights of other women in similar situations, and one can’t help but draw parallels to Jolie’s own personal activism…
UNDER MOD x 2:
Fan from VN, I’ll post the reviews focusing on Angelina as I find them. Kim Voynar, Cinematical: . . .
Fan from VN, here are some excerpts about Angelina from reviews at Cannes. Next I’ll post some more recent excerpts. I’ve left out the URLs to try not getting moderated. If you want the URLs, let me know.
James Christopher, Times: I shall eat the next person who tells me that Angelina Jolie cannot act. Starring as Collins, she is the entire, anxious point of Eastwood’s film, and absolutely terrific as a mother who is forcibly reunited with the wrong boy by a Los Angeles Police Department rotten to the core. The anguish of Jolie’s performance is inexplicably real.
Roger Friedman, Fox News: Jolie is riveting. There are no histrionics, and I can’t recall more than one time when she cries. Otherwise her performance as a single, powerless mother with few resources is the model of restraint. She is often sublime. Is “Changeling” Oscar material? The word around here is definitely yes.
Gareth Owen: Angelina Jolie, in a career best performance, plays Christine Collins – a hard working single mother in late 1920s California – who returns home from work one day to find her son has disappeared…Eastwood cements his reputation as being a master of the game with this film. It has ‘Oscars’ written all over it.
“Beautifully produced and guided by Eastwood’s elegant, unostentatious hand, it also boasts a career-best performance by Angelina Jolie who has never been this compelling,” writes Mike Goodridge in Screen Daily.
Somecamerunning: Jolie’s performance as Collins is one of her best in years; no doubt channelling some fierce maternal instinct but at the same time dialing things down quite a bit, she very nearly transcends her somewhat otherworldly physical appearance and embodies a classic heroine.
Todd McCarthy in Daily Variety called her performance “top notch.” And Kurt Honeycutt wrote in the Hollywood Reporter, “Jolie puts on a powerful emotional display.”
Independent: The Changeling is a magisterial piece of work. Set in the late 1920s and early 1930s, it features a performance from Angelina Jolie which will almost certainly win her award nominations. Thanks to her media profile, Jolie cuts such an absurd figure it is easy to forget how accomplished she can be. This is a performance of subtlety and power. Jolie’s Christine is the female equivalent to those upstanding heroes fighting against corruption that you find in old Frank Capra movies. “Never start a fight, but if you’re in one, make sure you finish it,” is her mantra. She represents an old-fashioned idea of American decency.
International Herald Tribune: “Changeling” is the rare Eastwood with a heroine. Jolie, as Collins, is as fearless as Hilary Swank was in his “Million Dollar Baby.” In “Girl, Interrupted,” Jolie played a young girl in a mental institute, interned for good reason. “Of course I saw Angelina in “Girl, Interrupted,” said Eastwood. “She’s a tremendous actress. Sometimes she’s taken for granted because you see her in the tabloids. But she’s terribly smart, like a lot of the actresses of the past – Bette Davis, Katherine Hepburn, Susan Hayward – and she’s one of the prettiest women in the world.”
FUN FACT: With a star of Jolie’s caliber in the film’s lead ( Reese Witherspoon and Hilary Swank campaigned for the part), the filmmakers and Universal discussed releasing “Changeling” wide immediately, as DreamWorks and Paramount did with “Flags of Our Fathers,” in the hopes that Jolie would make the film an event.
Ix-nay on the top 10-ay. At #50 out of 61 movies, Changeling is in a total of *15* theaters! At #1 is HSM3: Senior Year with 3,623.
http://www.latimes.com/entertainment/news/movies/la-et-word23-2008oct23,0,3898972.story
Universal intends to bring “Changeling” to 15 theaters in nine different markets this weekend, and immediately expand the film’s national release the following week, with the movie playing in between 1,800 and 1,900 theaters.
Because the film will first be available in only a few theaters, its early adopters will theoretically be serious movie fans, who will recommend the film to their friends. “The kind of people who fight to get those first tickets can become great advocates for the film,” Fogelson says.
Now that Changeling has opened, it seems like a good time to review the BOFFO!!! SOCKO!!! Summer Angelina had. As of October 9, 2008:
KUNG FU PANDA: Worldwide = $629,897,523 (Foreign $414,462,392 65.8%, Domestic $215,434,591 34%).
WANTED: Worldwide = $334,416,512 (Foreign $200,089,387 59%, Domestic $134,327,125 40.2%).
KFP + W: Worldwide = $964,304,035!!!
The DVD version of the original “Panda” will be coming out in stores on Sunday, November 9, alongside its direct-to-video companion film, “Secrets of the Furious Five.”
Kung Fu Panda’ Sequel Officially Set for 2011 – http://www.aceshowbiz.com/news/view/00018750.html
A sequel to hit animation film “Kung Fu Panda” is indeed on the work and eyes 2011 release. On Wednesday, October 1, DreamWorks Animation SKG have revealed their plans on the follow-up movie announcing that they have set “Pandamonium” to hit the big screen on June 3, 2011 and are expecting it to be released worldwide in both conventional and IMAX theaters. The sequel will be produced using stereoscopic 3D technology and is going to have Jack Black, Angelina Jolie and other original cast members once again to voice the characters. The 2011 date means that “Panda” will be sharing the summer with Disney/Pixar’s “Cars 2,” which Disney moved from a 2012 release to summer 2011 last week.
UNDER MOD: Now that Changeling has opened, it seems like a good time to review the BOFFO!!! SOCKO!!! Summer Angelina had. As of October 9, 2008:
KFP + W: Worldwide = $964,304,035!!!
(+ KFP dvd release date and sequel info)
Ligaya, thanks so much for all the information. It is great reading those praises for Angie’s performance. She deserves another Oscar!
allaboutme, I do not know why you come to this site in the first place. What you say seems to contradict with what you do. If I were you, I wouldn’t even come here at all!
ligaya, thanks for the reviews you posted. i’m having goosebumps just by reading them.
i can’t wait to watch the movie myself!
(Thanks – Fan from VN, Timi & Sherry. Sorry, Pittwatchers, for all my posts, but when it rains, it pours. If you want fewer reviews, box office/sequel/dvd info, fun facts, etc., let me know.)
We did GOOD! Variety, Hollywood Reporter:
Universal got spectacular results from 15 runs of “Changeling” in nine markets. The Clint Eastwood-helmed pic bowed with $502,000, or $33,441 per house (the highest of all the limited run movies). WOOHOO!
I know some of us were lucky enough to see Changeling this weekend. I’m curious about your impressions – just in general so we don’t spoil it for Pittwtachers who’re seeing it this coming weekend when it opens wide in 1800-1900 theaters. My husband and I really liked Changeling, as much as we liked A Mighty Heart – very different movies with the one thing in common of Angelina grieving and searching for a loved one suddenly lost.
Changeling is a very old fashioned movie told in an old-fashioned way. It’s not like L.A. Confidential that has the same time period and subject, because L.A. Confidential was filmed from a modern sensibility – i.e., we look at what’s happening using our modern values.
Changeling plays like a movie made in that era. It’s a lot like the “women’s weepies” – melodramas from the 1940s that I loved so much, with heroines facing tremendous odds. We become immersed in that world where the good guys are good guys, and the bad guys are bad guys. It was very clear, there wasn’t any ambiguity. The westerns, war movies, gangster movies I used to see as a kid were black and white like that, and not just the kind of film.
It’s a great argument against the death penalty.
The matinee was about half full, and people clapped. The evening show was ¾ full, some clapped.
The trailers were Gran Torino (Clint in his senior Dirty Harry mode), CCBB, and Australia – the audience liked them all.
UNDER MOD:
We did GOOD! Variety, Hollywood Reporter:
Universal got spectacular results from 15 runs of “Changeling” in nine markets. The Clint Eastwood-helmed pic bowed with $502,000, or $33,441 per house (the highest of all the limited run movies). WOOHOO!
I just came back from watching the movie, and I have to say, Angie did an extraordinary performance. She was so moving, so realistic, so intense, I cried and prayed that no mother should ever have to deal with what she had endured. Although I was a little disappointed in the ending (because I wanted to see a happy ending), knowing that it is a true story made me understand why it had to be like that (because that’s how it was — or is). I thought it was a very well made movie, definitely worth your money. Mommies, give your kids a big hug tonight, and tell them you love them!
i think that changeling was sad but it was a well done movie and me and my family went to go see it last night!!!me and my brother named jared have been wondering if walter lived because it said that he got away from that mean man and that non guilty little boy NAMED SAMUEL!!!:)