Motion Picture
Successes-~Financi:]
1 2r..O Critical
An Honors Thesis (ID 499)
by
David E. Long
ThE:sis Dirnctor
Ball. St8.t", University
Muncie, Indi8.na
M3.Y 1')81.:.
SrCc:.11
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Out1ine
Title:
Introd1)cti:Jn:
What
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A.
-f'
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-."... .l _~ .•. !':"~
B.
Peo~le'~
Chclce
In~orm~l
movi0 polJ taken at
Aw~rds
financial and critir:al
'1TT
..
,,j..
.......
CorlC l\.lsion:
SUCC'PSS
Ba~.l
State campus
Motion Picture Successes--Financial and Critical
The
of
cre8.tor~~
eve!~y
fj1.m want. their [jIm tc be
The fIlm car. become a financ:.a;
suc~cs.:,
audience and making a Jot of money.
2.
"success."
by qttr~\cting a large
The film can
becc~e
a criti8al
success when movie reviewerE eive the filr a favorqble rating,
referring to it as "briPiant" or "a c}assjc."
t~
Achieve both types cf success, although few
Fim·mcially-succpssfuJ
which most people go.
fill~S
;:].re
M'J:;t T5b'l::3 ''lttempt
a~tual]y
do.
b2.sic3.11y those films to
DolJar amounts change from year i.e year,
but a financial success must be a motic·n picture wr.icl,,- rJ)t only
makes back its cost,
b~t
dollar amounts change as
rising
fj
makes a
l:n costs.
pro~it,
~lso
~
retu~ns
a considerable profit.
result of such
f2cto~s
28
The
inflation and
When considering the faint ;:].t whier, a film
one must tnke into
consld~ratlon
the costs of the
actual film (director. actors. technicians, script, sets, costumes,
and other
COEtS),
the cost of
~~vertisjng
tho film, gnd the share
of the pro:'it;s that go to thE, inii.vidual thpatre:)wTlcr:.
A cr':tically-succes;3flll film ':s onE' 1f:hich th(" n::ition's (and
world's)
to say."
criti~s
generally agree is we2]-made and "hns something
2Rrely does a film P8rn r3'le reviews from all of the
n8tion's leading critics, but definite
tr~nds
in the rev1pws
from
s8id,
t,~,
recon::.'tr 1):>t;icn
Arrer~.(,::ul
c18ssi~,"
,~....
r,v p_ ~,~ r· • t
~_
~
f'"'.'~~f~
.. ri...
v.
t:":
')~)C'r:j,
fl:rt-Jut S:;,:;2(:
Ansen c;"llled it "th,:
1;~
I: •.
S'
_ _ t_.......
1.'I
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~\...
i,':
~,.\T~,
• I.
4· Ebert
~
:'\
~
"thp
+, ..h p
1
__
y-, ..... 'Ic"'c.r:.1;1:.1
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(1(12:;),
., r.'
1
!\.)
and New[!wp.p.k's :)avid
note~,
r. (."1 ~,. .
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.
',,",
?
tI'-
.~;f the ,:,re:J;·."J
mnV1(
e._ th v0
soci~J1
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fa r~
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p. 10 •
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t
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'SJ
19~J,
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Shew
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p.
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"P,r:~:,
Dp~0~her
25
,
1 ')
~1
(,
L
8h1-
J
conscientiously
•
•
1
•Q
./
all thp virtups of the orlGl.nc.---o....'
ob]iter~ted
While nc film sty2.e has
genre," two
::,tyle:c~
been the "biggest
~:ilways
mcr:f:y-r;:~d<:in[,
have been in genera11y com-:;tant f3vor w3.. th the
epics and comedies.
ticket-buying public:
Epics typically have
many fqctors which appeal to audiences, such as expensive sets ani
r;
ostumps,
It
gY'and-scale" (' inerna tog;aI~hy, hi hJ ica]
settings, dr2,matic musical
SCCrf"~:,
8r~c
Listodca::!.
ar:d 'lttractive, heroic leading
':;omed ies c ffer aud ienc €.~~ favorite c c mi.e:3 and a c hanee
c harqc t ers.
to "laugh their trouble::: aW::-JY."
cf the
Tta~~sn 8abir~a
+crl'ro~l
"... "....
\. ... . " , . .apI'c'
,
..
( r~Yl'"
_, . ,
r
'-'~+"r'
j~..
r)~
"-
th.-'
.....~
'o"v>"";,,l'
._.
n. V '., • /
U
(1956),
c
,-),
! .••
11.
filmR (1014-1928) and J. W.
r;1 () ..,
F
i
...
\
• •'
\
h'ir,l
;,..r~'l
" .' ,
• , • C-'.
r
v;'~
e- r.ic,··:
l~'"
the Wor].d
"
f'
,_
1'1",
00
"',1""
•,\.rc.)I:'".,ld
"'~____________~
_____
' __
"'_'~,~y~.)
9 D'1"!
• " v 1. (~
", Anson,
"Monday
1983, p.
/y.sr+'/>l'lS;Y'ly
1- ..-..
.....{ _'.JC..
L
_,
~o~ning
+ho
v . '"
h"i~
... _
-.J
Gr~ffith's
his-
r"~LV1·.'_·
,
1' .0?n,.:·
".
•
·'r·.~~
" ",.
10J{'lC'
• ~"',
'l'k"
; , ,. ro
(19c::t::'
/UJ,
and Ben-Hur (1959).
B12h~,"
Newsweek,
rT1he
.l..
},
"
~~:et'f'~
J..
.y
'.'
V cl..
rlr~lJ~l
,Ce..
"~L.~)t
_
C.;I"
+Lh.~
n.f
' _
y0~.'i"~
_. - •
~l·~a.~~.,t
U
St-'<~
-
.
mO~6~/-m,~
~lKP~."
. '.
hC_
-
:'1
the
lloyd. ,
movie
st~r
of all
:Jnd Brine:} ~lg Up 3d by
...... +
\.
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I., J
. l
...
~
( 1 ....,....,,..., \
.
Is i
if cl
~l
j.,... ,.,
..J'j
almost a:ways
. , .t..
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I,
r',"v..,r (t.
'f
rel'..,..,-."1 ~ ......j
.,.~
I . . .1..J...
."1..',
nec2ssa~~.
pr'l
~J'_.I.
h'\'
i
........
tho rontinuing
su~ce3S
o~
5
up to 198-0 10 reflects such "identifiable types" as Jo~n '.V:J.yne
(tough and All-American), Gary Cooper (honest), Bing Crosby (e:1sygoing
croone~),
Eastwood
Pau~
Clark Gable (masculine individualist), Clint
(st:~one:
and s:'lent), Bob Hope (wisecrack} ng narc issist) ,
Newman (self-confident outcast), Doris Day (spunky), Rock
Hudson (manly), and Cary Grant (elegant and witty).
A prime
example of a modern director with box office appeal is Steven
Spielberg, who directed 4 of the top 10 highest-grossine films of
the past 10 :l8QrS (Jaws (1975), Close EnGounters cf the Third Kind
(1977), Raid""rs of the Lost Ark (1981), 2,nd E. T.--The Extr(1.-
Terrestrial (1982)).
As mentioned
befo~e,
one which rr:o;:;t audience
no single type 0f movie has remained the
member~;
attend..
Many of the c;:2nges in
attendance patterns havr:o to do 'I'd th the changes in film technology
and wi th the ever-chancing "attitUdinal
~limate"
in th-:-) world.
This has caused "up amI :'lawn" cycles in many film styles and their
ability to succeed fins.ncially.
In the early days of motion pictures, audiences were
8. ttr:,3.C-
ted to the technical gimmickry in films, such as the surrealistic
effects in Melies's A Trip to the Moon (1902).'
After the public
became used to the mere f3Ct of images moving on a screen, they
demanded that the films also tell stories, a phenomenon believed
to have been started by The Great Train Robbery (1903).
Since
10 Paul Kerr, ItStars and Stardom," in Anatomy of the Movies,
ed. David Pi~ie (New ~crk: MacMillan Publishine Co., Inc., 1981),
p. 111.
(;
t~~
silent periJd
fe2tu~ed
much physical, "slapstick" humor.
While pre-World V,'ar I fil118
stq~S
Mary
lik~
~ickford
refl·~ct!?d
pC)~;t--Vict()rLm
Gish, the mar? cynical post-
3nd LJJlian
W::r' era fe3tuTsd -nore ris'lue fi Im;~ wi th openly sexy
as Gl::H'ia
Sw~mson,
liudolph
mc:,',ls with
Va=-0nt~no,
Clar8 R)w,
~)t2rs,
~amon
such
Nov"lrr'o,
and Joan 8rawford.
alre~dy
of
"dqn2e"
~usi~21s
~lassics,
d~ring
thp
sj]en~
era).
This resJltert In dozens
being released durIng the 1927-1931 period.
including The
Ja~z
Singer (1927),
B~oad~~y
Some were
Melody (1929),
and Apolause (1929), but most werp reworkings of the big musi~als
Never
mat~hi~g
the large
q~antity
those early years, a handful of
of musicals made during
~u8i~a18
been ahle to make respectable profits.
pe2"'io'::
vl:-J. 2
the 1960s, ',vhen
Sf'"lP:"8
beed me f1 r:~, nc ia 1 bJ oc kbus ters
~
of Music (1965), and Fl..:nr..'/ G.:r:
each year
A particularly
interestin~
1 ex pr'!nS ive Broad waJ- h~13ed mu SiC~ll s
Ides t
s td e
:. -:ar..:L (1 061 ), The So un::
(1'168)), whil? ()the"" uxpen:~lve
Paint :'our Wagon (1969)). 11
11 Geoff Brovm, "rfus:1.cals," in Anatomy of the Movies, ed.
MacMillan P~hlishing Co., Inc., 1981),
David Pirie (New York:
p. 260-261.
7
Horeor films have a "corne
Ho!'ror su·::,ce:::38S date
t~ck
CD" histc!'y 2t thl:; box office.
OJ,,,j
t;::, si lent hi ts
SllCh
a2
the German ex-
pressionistic films The Cabinet of Dr. Caligari (1919) 2nd
o~
Hunchback
~nd
Notre Dane (192])
The
Pha~tom
of the Opera (1925).
Th·? "c}c:sslc'" era of e8rly sounri horror hits i"1cludes Dracula
Fran~enstein
(19J1),
(19JJ).
~ing Kon~
(1931), Dr. Jekyll and ~r. Hyde (1932). ani
Thi~
~f
group
films still attracts audiences
(usually late at night).
The 1950s saw
resurgence of horror films ln 2 styles:
~
the literate Vin2ent Price thrillers Rnd horror
nw~ 1 e.'1r-~ge
st~rie~
3bout
The Fric e fi Ims t which were often based
r1utants.
on st0r ies b;;,r Edgar Allan Poe. inc lude House of Wax (1953), The
House on Haunted Hill (1959). and The Fall of the House of Usher
(1959).
phors
"""1)ta~'lt"
The
~hout
the
Thing (19S1)"
co
~""")
m
<~ ".
h
lL c;
..... '.)
i
..... _
1:
t
the devil,
l'
-,
_ ..h t.
rrovies, Wh1
)n~~jhle
r;'
.~
x n...'.~Y"' c·~ J..~ s~...t
p~'ompt"'~
(1
\.....,
includp The
_~...
.1 b'"'. ,v't
.'
J
"l. .
'I
n
"".~
11
o.!.
rl b..,.
girl possossed by
'1 whJle ser:.0s of "demon
The Ompn (1976), :arrie
Today, the most
n~ergy.
~'1':~-+~3·-
',!1C; Godzilla (1956).
07 ':' )
,,I
wert> somctl.mes seen':)'
of 2tomic
danger~
The~ (lJ:iJ.),
~~h
(19?~),
~rofjt8ble
and The Amityville Horror (1979).
horrcr
f~
1ms
3.rp
thE' f})ry, low-b:J.dget
"de2d teenqgE,r" fi"1.ms (8-::; critir:s Gene ::-;iskal and Roger Ebert
refer to them) and are typicnlly such mindlessly bloody films 1ike
the HallowePrl
;~.n:l
Friday
tr. c
! ) th
r"lovi es.
8
"Cops-and-ro bbers" fi 1 ms
h~ve
bee~
3.rol1nd s inc e the 191 Os,
but there have been times when they were
~o~e
~uccessfu}
than at
The "cops" are well-represented by several long-
other times.
running detectiv p
~pries
as those about Bulldog Drummond
su~h
(lG19-1951), the Thin Man (1934-1947), Charlie Chan (1926-1949),
Philo Vance (1929-1947), Mr. Mota (1937-1939), and, most
fu l.ly,
;
ful d2tectivp films within a
~altese
Falcon (19 4 1),
.
these
~hort
Murde~,
rer~od
My Sweet
1f
SUCC0SSthe~-
ti~~,
(~944)t
inc:udine The
anj The Big
Sleep (lG46).,
Sri~e
(1903).
f~lms
heen around s]nce The Great Train ?obbery
h~ve
The first era
whe~
crime films became very popular was
the early 19JOs (beforE the restrictive Production Code took effect), when such realiE'tic, gritty films as LittlE': Caesar (-:'S30)
Public Enem]l (19;1), and 3c8rface (1932) beC:::))';le ma5cr h:.ts.
genre had
on=~y
thE~
substc.ntia] audience fer such
wit~
tpc~nical
rnents that attrqcted
scenes with J
ca~er2S
"c ountercul ture
tcr.tj
2chievern0nts
2~d:enc(s
was
nnd
:; '3.djacent screens. wh::ch forrr.ed
audience.
The
intermittent succeGS after that L,.ntil the: late
1060s and ea rly 1 S70s, when
thrill
t
tI
proved to be a
-autr,orl ty flf,ures
~r:
fiJrrs.
Ciner~ma,
RS
On0 of tho
Bonn:e
dnv~l~;-
which filmed its
them with J
2.
kind cf sem.Lcirclf'
c'.}"·y;:nd
the
9
were hugp
8ucceSSCE co~mercially.
cumbersClme tc
f':'~m
tiple
I'roved teo
screer;~
as How tr.e West
W8S
but the process was expensive
~nd
and the neCf's:;3!'Y rrojectinG equipmEmt 8.nd mulco~tly
for many
thc'1tr(>-own'2::-'~'~.
'Nor: (1963) and It's a
Ma~l,
lV~(1d,
!~lso,
Mad, Mad \'lorJd
(196J).
Cinemascope also emerged during the 1050s.
Cjnemascope {and
effect by using a special
wide lens
~amera
film width
~,c·
to sh,:;ot the fil:n, shrinkir:g it dovm to rto?'ma.1
it wO:J.ld fit in-:o ITcjec-tors, and projecting
special projecting lens.
(195J),
w~~
2
The
huge 3ucces2,
~ritial
bu~
(~jkp
.~t
back
CinemRscope film, The Robe
w:th Cinerama) the fracess
wide Cinemascope lffi8.ges were impossIble to
cc~ple~ely
fit onto
8.
spccnd 8nd third runs.
A tr.ird innovation was J-D.
W2?
cro~tej
This J-dimensionsl process
by fil~ing +be ~C~G scene from 2 sligttly differ·e~t
angJes '1nd projecting them
s1mu1tanr~ou~ly
Viewers had to wear special glasses (1 red
to see the
effec~.
(Bwana Devi] (1952)
Although there were
~nd Ho~ce
onto the same sc'"'een.
lcn~
i~itial
of Wax (1953)),
and 1 green lens)
J-D successes
l~ter
3-D fIlms
like Kiss Me Kate (1953) and Dial M For Murder (195 4 ) were sub-
10
effects, wh5ch
Jaws
'l, - ;n.....
<
wn~e
glways
no~
P~sy
to see
(1083) nnd Amityville 3-D (1983).
For the
few dec::des of thn cinerm'l, western films were
:~.n::t
a screen ?t2ple and considered the "bread and butter" (regularly
released low-budget moneymakers) of many studios.
While box-
office bonanzas like The Covered Wagon (1923) and Duel in the
1. .Lv'
"
be de1:'endec on to
Billy thn Kid
SU~
Or ly 1 n
(107~),
The Misso~ri Breaks
(1976), Comes a Horse-
man (1973), qnrt The Long Riders (1980).
In
contra~t
with the diverse types of films th2t are finan-
c!nlJy successfu:,
the~e
are c 0 rtaln
garner most Df the critical
kin~s
att0nt!o~.
dn3.r:2S," such 8~~ :h c:; accl8imec1 Marty
of films that tend to
In particular, "human
(1955), Kramer Vs. Kramer
(1979), Clnd rerms c f Endearment (118J) , often E'lfl"rgeo:.s t!".e "f'iJ ms
;lbout wh::ch :?ri tics :J.re most entr.usi8stic.
biogr~p~~es,
such
~s
The Life
a"f'
In a
simi~ar
vein,
Emilp 201a (19J7), Madame Curio
(19 4 J), qnd ?atten (l~?O), 1re n 0 srly ~l~~ys reviewed f?vor2bly.
technical expertise
0r
outrage0us
~itu~tirns.
,
1
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.:"'~ ~
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_~
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. ,. . . 1.
t
:-~"
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t
...• !,-'
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f'I""'r,l:n
1.(;
,....,
Scarface
.
J~lVOr
n
~hc
?r"{;-r..rh
T.ie·,l:0;j.;:1_r~-:·,~".
---- - -----..
,3c· phi c' s
Silkwood
(1??~).
~
.
? i J m:)
''. 1
0f r,.
. { \j
".
bax-office list, anj still
hi~
ct
Previously mentinned as
~
rtirector
w~th
bax-office appsal,
~uch
staye~
2~~y
2S
Spielberc's
Raiders of
from poorly-rated !ilms and have ignored thp
looking at 1981, the 12rge profits
stripes, and
films
St~ven
~3rzan.
the other hand,
gai~ed
The Ape Man defied
ne~ther
critjcs
no~
t~e
Lost
~ritics
by The Cannanba11 Run,
cr~tjc~J
audiences
slams.
sec~ed
On
to care
much for The Ince-ed! blE: Shrinking VlJman, Under the Rainbow, The
~CTond
f) '-"..
L t:
of'
-'-
~h'>
v .... t..-
Eit~er
TonI-'
J..,..,
.J,..J
~JL '-'or-pr
:..l..') ~ ' .
critic~1
RY1.-'l
.~ • . '. .
8cc1~im
,-ro""/e"",'s
1"1,....
"':.L
;. ,;,
h~avy
or
'--
r':->+o
'J _t v ~.-:
c
•
profits can help a film
The Deer Hun-:er (1978 )1.:'1d Ordinary ?eopl e (1980) doubled their
incorees, while One Flew Over the
:~~koc's
Nest (1975) increased
!t~ 6-ro-~
~y 7~%
':Jc
, v o. 12
..L
~.::.J
~.:
~
hp 1.ped critic s t:) rec ogn i zn it as
"post-Exorcist"
ho~ror
Of the many film
:::U r~'(;rior
to the do 7: ens
r)
f
other
films of the time.
~w8~ds~hat
are given out each
ye~r,
the
l"·~-' ri.... +,.'
~
( ~qJn~
.L _
)/,
to
"rr'l
BL'-"
_:".I .. ~~
C.'.~-_'-{"r
1--4.
~ternity
(195J),
'19"-"')'
_''j /
\.
5rjdf~
Story (1961)" Lawrence
"
')
;)f
a~d
5
m~~ar
~in~ncia:
hjt~
(From Here
an tte River Kwui (195 7 ), West Side
;_r':3.bia (19t<?). and The Stin,~ (1.97;)).
Th0mc's Si.monet, Osc~r:
f:-. Pictori8.1 History of the AC8demy
A wa rd s (C h i c ago :
Con t p m';;;p";;o;";r;;"R';;';:"r~y--:;B:::-=.o:':-()7}~"::s::';,:""::'-=I':;;n"::c:"_.::.:::.,~1:';:r;:-;3~_i:-l';::)":',-IL.p-.::::'• .:0..,.5,..•::.:.!.':::'-':":'::;':';;'':::'::;..:.:!.L
l.c
15
Gigi (1958), My Fair Lady (1964), Patton (1970), Cabaret (1972),
and Gandhi
(198~)
w~elminGly
s:, ?!"'.d On t:rte '!Jaterfront (195 lJ
Ci o ?)),
World
were
fin3n~i311y
81~se Enc~u~ters
s~
successful, although
)
w~;--:
~ot
real"]y nc,t
over-
f1.-
:3
the Third Kind (1977), Grease
(1978), ani Return of the Jedi (198)) were not even
no~inated
for
Best Picture, while such Best Picture winners like Hamlet (1948),
Marty (1055), and Annie Hall
the
r13
t i
Ir:
on';::, thee, tre
~·975;.
(197~)
made only m2rginal
~0nt~
~n
c~lshboxes.
thi"; Pcnplc'"
~hoic('
.\w:'rd;; were e:""t?b1 i:3hed.
O~0
The
?J.ew Over th0 Cuckoc's
II-
Lost Ark-1oBI award, E.
~.--The Extra-Terrestrial-198~,
a~d
Return of the Jedl-198) award) do give a fairly good representation
of a cross
between~inanci& 1.
3?1:1
cri ti8f:l.1
edge towards the financia1 success.
~11ccesses ,
with
:3.
sligh t
16
~il~8
with the
wer~ be~ween
schoel
of 198J.
Th~
m2~J~ity
18-22 years of age and
uf the 29 people who voted
h~d
~f ~ost-hjgh
1-4 years
edu~~tion.
tlsements of the major (and
~3ny
he 1 P th em rernembpr wh ie ~ fUms they
perfor~ers
were in those
fi]~s.
ml~or)
of th0
films cf
d uri ::g ttl"
S3W
y(~~1 r
lq8J~o
~1nd
whi c1-;
They voted in 8 categorles:
B'est Picture, Best Act-;r, Best /,2t"'ess, Best SUf'portLne Actor,
Best
3~pportjng Actres~,
Special Effects.
Best
~ong,
3est Costumes, and Best
The person takinc thr movie poll had to have seen
The
r) r<hl·1'
.,
B'l·a
l
.
.~
~L.
(~·,·-.tero)
__
'oJ
~ .. .)
,
"r,j
:1. ''''
F"'t~hd"'n'"''''
.lc,,-~
.ct ... \. .... L
(c) ·,"'t""s)·
+he
\'\) ,c ...
'v
films were acknowledged cv>ltjcal
su~ceS~~3,
votes probabJy reflect tht: show./
'''-j'l:<:'
the glarir.g plot
incon~7ui tie~;
Actor wir.ner Tor.: Sru is(
-t,ics::: emi
:~
(~j
"1Ld
:
.f';Y'~t
J • .l,., :. ::>
while the Flashdance
:-:d dancing rather than
",,"f::ak 2cting.
While Be::t
sk,v 3us..Lr:ess) recei VE'd toth good
!H?althy box-office foJJowing,
0!"(;
(0t~~
PO)
~_~_"'"
were very w0l1-1iked by the
!1C-
car; only assume
thRt his 2 runners-up, Robert Duvall (Tender Mercies)
~o~e~tc
_I.
L
.1
JL!
'(
_-'
~~d
Eric
~ew R~die~cp
~pm-
fourtt
of
c~tcCGries
~il~s
fina~ci3:
~nj
f~ct
for Best
currently
Co~tumes
in-the-m~ki~e.
~na
th8t 5t
~r~
i~
th?t ttey
part
c~
oftr~
'"7
-
I
Best Specia: Effects,
Whpn considering potential
success, one must remember thnt the
ccmedie~
1
~ttend
a succe2sful
q
pub~i~
~ovie
se~!~~
lik0s epics
jf
they
~s
Indiana
(simiJ~y'
~o
tht~k
the
it
Jon0~
s~cces~
18
Star Trct III:
of K"'r·l""
(lOP")'
H
c ... v
c.1
1..
_ / \...' , _
/
Th·? '···'r,·:+k
f'lvo~:
W''-~
thc~ t
~ 1
Doth
:3
f.in1.};ci::Jl and critical hit and epic proport2.ons, in l.d-
reached
dltion to bcine; 1nsed on
2 other upcominc
Annie II (198!1) is
seluel~
t~e
will prob8bly not fare
c~lt
a~
statu.:".
well.
3eluel to Annie (19R2), which never
a
S8W
.~l:;O,
An~ie
II wiJ1 rn+
h~7n
~
T0~y-wi~ning
score
~~j
~crip~
fro~
8h Goi Book II (1980), which bnmbed, 2nd not l.t :l11 ::S
.,;;;.:..:,....;::...:;,..;;.....,;;..;;..
the or1g1na1 Oh God (1977),
wh1(~h
W?";':;
both a
fin~Jnci'll
t~rit-
and
ical success.
2 comrdie2 should prove
t~
be financial--if not critical--
hits.
woman whc
she can turn "any cuy off th2 street" (Sylvester
3ta]lon~)
har: not overcome
Stallone stilJ
The
~eccnd
"~30-SC"
hCl~;
revi<."w.··
'.0
ceCOIT:C
8
financial
into
~"A~cess,
much of his Rocky box-c'fficp "puneh" lpft, ;:11:.3
campdy,
~~~) y ...
•
•
+
•
,-,'>,,!
~.
~
I
("Pe~r~e;::;
FY\Hn He8ven,"
"It.':~
ful musical filrr style.
within
FrlJl'~
~ ..1·
A..
2
.'
N--,(----.. "I")
t' '-, ;
F
'" -')'-'
'- ,. •
~'-
th~s
31'1 to Tell a :,ie," and
Pennle~
()~.hers~
From Heaven received many cnthu-
rratter cf weeks.
(1077'
\
c~
~r'ld
-....
ppr.rl·.f_~S
-
(1
Q I\
\ . . . 0,?
, '--',,'
theory true.
Frr._-mJ 11n av o n (lq Q,J..1)
.i..CC
..... 1.
;
•
Critics'
favcrit~s