It was twenty-five years ago today that Paramount took a gamble on a small, seemingly destined for failure family dramedy. As the holidays of 1983 approached, the studio hoped audiences would flock to a film where there were no special effects, or big action scenes. Terms of Endearment, based on the popular Larry McMurtry novel of the same name, had gone through the Hollywood systems for ten years, with many different stars attached along the way. The story of the turbulent relationship between a prim and proper Houston widow, and her free spirited daughter was finally given the green light by Paramount, with a rookie director at the helm.
James L. Brooks, the brains behind past hits such as The Mary Tyler Moore Show and Taxi, and future hits such as The Simpsons, Jerry Maguire and As Good As It Gets, did such a remarkable adaption of the script that the studio gave him 7 million dollars right away. What separated Brooks from the rest of the contenders was his ability to bring a comedic tone to the core of the film, by adding characters and finding humor in the pain of severe life issues. Brooks understood it could have easily danced into “movie of the week” territory, but if the film was a comedy as opposed to a melodrama, audiences would warm to the human aspect of the heavy plot. He also used the influence of Norman Rockwell and The Best Years of Our Lives to contribute to the incredible look of the film.
By casting Shirley MacLaine as the overbearing mother, Brooks gave the thirty year screen veteran the role of her career. MacLaine’s portrayal of Aurora Greenway combines dramatic chops with comedic timing in a way that has not been done before or since. As you watch MacLaine’s performance, your understand the character is feeling one way on the inside, but acting differently. It is a tribute to MacLaine as an actress that she can convey one emotion by playing the exact opposite. MacLaine has such an overwhelming screen presence, you can’t help but want to make her proud in ways her daughter is never able to do. Debra Winger, known for being a method actress, embodied the character of Emma Horton in way that can only be justified by watching the film. Jack Nicholson, in a role was not in the book, took the supporting part of a womanizing alcoholic astronaut that captures Shirley MacLaine’s heart and turned it into a career rejuvenating opportunity that allowed him to take on all the great roles for men over 45.
Terms of Endearment is an example of all the right things coming together at the right time. The film was plagued with on set drama that almost rivaled its’ screenplay.
When filming went a million dollars over budget before a one scene was even shot, Brooks had to continually push back the start date. A year later, NBC saw the screenplay and paid the rest of the budget in exchange for exclusive television rights. The cameras finally started to role in late 1982. It was at that point, Brooks masterful direction sometimes took a back seat to his role as professional babysitter. The two leads, Shirley MacLaine and Debra Winger caused a great deal of tension on the set, mostly because Debra Winger refused to break character. At one point, producer Penny Finkelman had to jump on the hood of MacLaine’s car to stop her from leaving the set. James L. Brooks lost three days of filming begging Debra Winger to come out of her hotel room. When Burt Reynolds dropped out of the role of Garret Breedlove despite loving the script (he was contractually obligated to Stroker Ace), and Harrison Ford and Paul Newman turned it down, Jack Nicholson stepped in as a favor to friend Debra Winger on the condition they schedule his shooting days around the Laker home games. John Lithgow filmed his role during a three day break from Footloose because the actor originally set to play his role dropped out as well. James L. Brooks and co-star Danny DeVito found out Taxi was cancelled during filming. The producers also had to fight for Jeff Daniels, who was relatively unknown, and not wanted by Paramount. Daniels had to co through eleven callbacks before he was cast in the crucial role of Emma’s husband.
When filming went a million dollars over budget before a one scene was even shot, Brooks had to continually push back the start date. A year later, NBC saw the screenplay and paid the rest of the budget in exchange for exclusive television rights. The cameras finally started to role in late 1982. It was at that point, Brooks masterful direction sometimes took a back seat to his role as professional babysitter. The two leads, Shirley MacLaine and Debra Winger caused a great deal of tension on the set, mostly because Debra Winger refused to break character. At one point, producer Penny Finkelman had to jump on the hood of MacLaine’s car to stop her from leaving the set. James L. Brooks lost three days of filming begging Debra Winger to come out of her hotel room. When Burt Reynolds dropped out of the role of Garret Breedlove despite loving the script (he was contractually obligated to Stroker Ace), and Harrison Ford and Paul Newman turned it down, Jack Nicholson stepped in as a favor to friend Debra Winger on the condition they schedule his shooting days around the Laker home games. John Lithgow filmed his role during a three day break from Footloose because the actor originally set to play his role dropped out as well. James L. Brooks and co-star Danny DeVito found out Taxi was cancelled during filming. The producers also had to fight for Jeff Daniels, who was relatively unknown, and not wanted by Paramount. Daniels had to co through eleven callbacks before he was cast in the crucial role of Emma’s husband.
Despite numerous set backs, Brooks managed to produce the most compelling family drama in the history of film. It was nominated for eleven Academy Awards, a won five including Best Picture. Roger Ebert gave it four stars and awarded it one of the best films of the year. It is also one of the exceptions to the rule “the book is always better than the movie.” Terms of Endearment is generally regarded in Hollywood as the best tearjerker of all time when the truth is not only is it one of the best tearjerkers of all time, it’s one of the best films of all time, period.
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