Shoot The Moon

Synopsis: A fifteen year marriage dissolves, leaving both the husband and wife, and their four children, devastated. He's preoccupied with a career and a mistress, she with a career and caring for four young children. While they attempt to go their separate ways, jealousy and bitterness reconnect them.
Genre: Drama
Director(s): Alan Parker
Production: Warner Home Video
  Nominated for 2 Golden Globes. Another 5 nominations.
Rotten Tomatoes:
124 min

No, Marianne, honey, I don't want to

look like a Spanish dancer tonight.

I'm not particularly fond of that.

- Molly, please.

- She doesn't like that thing.

And she doesn't like pink.

- In fact, I don't think...

- She wants to wear red.

...I'm going to wear a barrette, Marianne.

No, you're messing my hair worse.

Molly! Molly! Molly!

Wait a second, darling,

you can't put it on like that.

- No, look what you've done.

- No, Marianne, she doesn't like that.

- That's enough, everybody.

- She does!

- What do you know what she likes?

- That's enough.

- You like this...

- I mean it.

I don't think it's going to go with this.

You look beautiful.

You be quiet for a second.

I think I'm going to wear...

Jill, I'm going to wear it down tonight.

What are you doing? Molly, don't...

No, no, Marianne, honey, no.

The blue one, the blue one.

No, honey, I don't want the blue one.

Wait, don't.

- She doesn't want...

- She does.

How do you know what she wants?

'Cause I know my mom.

That will look really pretty. Come on.

Honey, I'm not... I think I'm not gonna

wear a barrette tonight. No.

She's not gonna wear a barrette.

She's gonna wear a bun.

No, she's gonna wear a little button.

- That's enough.

- No.

Mol, I know, but...

No, no, darlings.

Molly, what are you doing?

She's having it down.

- She's having her hair down, Marianne.

- No, Marianne, I have to go.

You guys, she looks fine!

Why don't you leave her alone?

Everybody, stop it now, please.

I have to get...

- Molly, you're not listening to me.

- Up or down?

I want some lipstick.

I know you want lipstick and I know that...

- Come on, Mom.

- No, me first.

Forget it, Mom.

You'll never get to the party.

Yeah, you guys are gonna

keep me here all night.

- Come on, Mom, just a little.

- All right, open wide.

No, Molly.

Not your mouth, your eyes, honey.

- No, I'm going second.

- Don't make faces, Molly.

You guys are always first.

- I'm going first.

- You're not going first. She's first.

It won't be easy

in the middle of all those people.

All I'll be doing is thinking about you.

Maybe I'll win. That would help.

You'll win. You're a winner.

Yeah. But even if I win, I lose,

if you know what I mean.

Forget us tonight.

Just try to have a good time.


It's been so long since I had a good time,

I wonder if I still know how.

I hate the way I look.

I think you look really great, Mom.

Hey, Mol, give us a break, okay?

- How do I look?

- Like a hooker.

So do you. Do I look like a hooker?

No, you look beautiful.

You don't look anything like a hooker.

See, I don't look anything like a hooker.

What's a hooker?

Where are you, anyway?

- At home.

- Home?

I thought you were calling

from the gas station.

You shouldn't be calling me

from your home, George.

Get off the phone, for God's sake.

Okay. I'll call you tomorrow night.

Bye. Good luck.

Good night.

- That's enough, everybody.

- She does!

- How do you know...

- Put it down. That's enough.

- Go like this, okay?

- I mean it!

- Are you off the phone?

- What?

- I asked you if you were off the phone.

- Yeah, I was just talking to Jim.

Jim, huh?

Is that why you were whispering?

Yeah, that's why I whispered.

You better hurry. Mom looks terrific.

Hey, Molly,

will you go get me my red gloves?

They're in the bathroom.

You know where they are, remember?

You're wearing gloves?

I don't think gloves will look that good

with that dress, Mom.

Sure, they'll look great.

Wait till you see. They'll look real good.

- You look really nice.

- What?

- You look really pretty.

- You seem surprised.

Oh, forget it.

Is the dress okay?

- Oh, yeah.

- Yeah?

It's the one you wore last year, isn't it?

Oh, why? Does it still have wine on it?


The wine that you spilled

when Peter Marx won instead of you.

You always remember the wrong things.

I'm not gonna be the type that's...

Well, what do you think, Sherry?

How do you think I look?

- You look great.

- No.

- Yeah.

- Nope.

I think, you know, it needs...

It needs something

to gather it up at the waist.

No, Mom, leave it like that,

all nice and smooth.

No, I need a thing.

Now whatever happened to that silk rope

that goes with my linen dress?

- I saw it somewhere.

- Molly hung it in between two big trees.

What? Where?

The dryer broke when it was Molly's turn

to do the laundry.

- Oh, no.

- She used it to hang out the wash.

What about your belt?

- Are you taking my belt?

- Yeah, come on.

- Yep, the Davy Crockett belt.

- The Davy Crockett belt?

- Oh, please.

- Yeah, it might look very good.

- Let's see what it looks like.

- Mom, that goes with jeans.

I know it goes with jeans,

but it might look very nice.

Now just take a look. What do you think?

- I think you look...

- What do you think? All right? Okay.

All right. Now everybody get ready for bed

and Molly, honey, you have to go to bed.

- Come on, Mom, you promised.

- No, I didn't.

The show doesn't come on until 11:30

and you've got school.

You promised! You promised!

I had to go to bed last year.

- You didn't promise at all, Mom.

- Come on, Mom!

All right, all right, you can stay up.

You can all stay up, okay?

Oh, Mom! Mom. That's not fair.

She's only seven.

Brush your teeth.

Sherry, do your homework and, Marianne,

don't forget your worm medicine.

I hate it! It makes my b.m.'s all red.

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Bo Goldman

There are but a few select screenwriters who are spoken of with the kind of reverence usually reserved for film Directors - Robert Towne, Alvin Sargent and Bo Goldman. Goldman is a screenwriter's screenwriter, and one of the most honored in motion picture history. The recipient of two Academy Awards, a New York Film Critics Award, two Writers Guild Awards, three Golden Globes, additional Academy Award and Writers Guild nominations and, ultimately, the Guild's life achievement Award - The Laurel. Born in New York City, Goldman was educated at Exeter and Princeton where he wrote, produced, composed the lyrics and was president of the famed Triangle show, a proving ground for James Stewart and director Joshua Logan. On graduation, he went directly to Broadway as the lyricist for "First Impressions", based on Jane Austen's "Pride and Prejudice", produced by composer Jule Styne and directed by Abe Burrows, starring Hermione Gingold, Polly Bergen and Farley Granger. Moving into television, Goldman was mentored by the redoubtable Fred Coe (the "D.W. Griffith of dramatic television") and became part of the twilight of The Golden Age, associate producing and script editing Coe's prestigious Playhouse 90 (1956)'s, "The Days of Wine and Roses", "A Plot to Kill Stalin" and Horton Foote's "Old Man". Goldman went on to himself produce and write for Public Television on the award-winning NET Playhouse. During this period, Goldman first tried his hand at screen-writing, resulting in an early version of Shoot the Moon (1982) which stirred the interest of Hollywood and became his calling card. After reading Shoot the Moon (1982), Milos Forman asked Goldman to write the screenplay for One Flew Over the Cuckoo's Nest (1975). Goldman's first produced film won all five top Academy Awards including Best Screenplay for Goldman. "Cuckoo's Nest" was the first film to win the top five awards since Frank Capra's It Happened One Night (1934). Goldman also received the Writers Guild Award and the Golden Globe Award for his work on the film. He next wrote The Rose (1979), which was nominated for four Academy Awards, followed by his original screenplay, Melvin and Howard (1980), which garnered Goldman his second Oscar, second Writers Guild Award and the New York Film Critics Circle Award for Screenplay of the Year. Goldman's first screenplay, Shoot the Moon (1982), that started it all, was then filmed by Alan Parker, starring Diane Keaton and Albert Finney, the film received international acclaim and was embraced by America's most respected film critics including Pauline Kael and Richard Schickel. For Shoot the Moon (1982), Goldman earned his third Writers Guild nomination. Over the next few years, he contributed uncredited work to countless scripts, including Milos Forman's Ragtime (1981), starring James Cagney and Donald O'Connor, The Flamingo Kid (1984), starring Matt Dillon, and Warren Beatty's Dick Tracy (1990). Goldman tried his hand at directing an adaptation of Susan Minot's novel "Monkeys", and a re-imagining of Ingmar Bergman's Wild Strawberries (1957) (aka "Wild Strawberries") as a vehicle for Gregory Peck, but for budgetary and scheduling reasons, both movies lost their start dates. Goldman returned solely to screen-writing with Scent of a Woman (1992), starring Al Pacino. Goldman was honored with his third Academy Award nomination and his third Golden Globe Award. He followed this with Harold Becker's City Hall (1996), starring Al Pacino and John Cusack, and then co-wrote Meet Joe Black (1998), starring Brad Pitt and Anthony Hopkins. More recently, Goldman did a page one uncredited rewrite of The Perfect Storm (2000). It was Goldman's script that green lit the movie at Warner Bros. and convinced George Clooney to star in the film, which went on to earn $327,000,000. In 2005, he helped prepare the shooting script for Milos Forman's Goya's Ghosts (2006), produced by Saul Zaentz and starring Natalie Portman and Javier Bardem. He wrote a script for a remake of Jules Dassin's Rififi (1955) (aka Rififi), for director Harold Becker, starring Al Pacino. Goldman is married to Mab Ashforth, and is the father of six children, seven grandchildren and one great grandchild. He resides in Rockville, Maine. more…

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Submitted on August 05, 2018

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