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Reuben, Reuben
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| Reuben, Reuben | |
|---|---|
 Reuben, Reuben film poster | |
| Directed by | Robert Ellis Miller |
| Written by | Peter De Vries (novel) Julius J. Epstein Herman Shumlin (Spofford play) |
| Produced by | Julius J. Epstein Walter Shenson |
| Starring | Tom Conti Kelly McGillis |
| Cinematography | Peter Stein |
| Edited by | Skip Lusk |
| Music by | Billy Goldenberg |
Production companies | Saltair Productions TAFT Entertainment Pictures |
| Distributed by | Twentieth Century Fox International Classics[1] |
Release date |
|
Running time | 101 min. |
| Country | United States |
| Language | English |
| Budget | $3.5 million |
Reuben, Reuben is a 1983 comedy-drama film directed by Robert Ellis Miller and starring Tom Conti, Kelly McGillis (in her film debut), Roberts Blossom, Cynthia Harris, and Joel Fabiani.[2]
The film was adapted by Julius J. Epstein from the 1967 play Spofford by Herman Shumlin, which in turn was adapted from the 1964 novel Reuben, Reuben by Peter De Vries.[3]
The main character in DeVries's novel was based largely on the Welsh poet Dylan Thomas, who was a compulsive womanizer and lifelong alcoholic, finally succumbing to the effects of alcohol poisoning in November 1953, while on a speaking tour in America.[4]
Plot
[edit]Gowan McGland (Tom Conti) is a creatively blocked Scottish poet who ekes out a day-to-day existence by exploiting the generosity of strangers in an affluent Connecticut suburb, where he recites his verse to various arts groups and women's clubs. Gowan is something of a leech, cadging expensive dinners from well-off patrons (usually stealing the tips afterward) while seducing their bored wives and affecting a superior attitude toward the smug bourgeois types he exploits.
Although a talented poet, he is a chronic drunk, indifferent to the wounds he can casually inflict with his wit. (When one of Gowan's middle-aged conquests undresses for him, he mutters, "Released from their support, her breasts dropped like hanged men," reducing her to tears.)
Gowan falls in love with a young college student, Geneva Spofford (Kelly McGillis), who has everything to lose from a relationship with a drunken deadbeat poet unable to hold a job. Gowan instigates two ugly incidents that eventually cause their breakup: first, a bar fight from which Geneva rescues him, and later, when he causes a scene in a fancy restaurant where the waiters know he has stolen their tips.
He also suffers an ironic comeuppance from Dr. Jack Haxby (Joel Fabiani). The dentist, after finding out about the poet's affair with his wife, uses the ruse of free dental care for ruining Gowan's smile and forcing him to wear dentures. When Gowan finds out, it is already too late, and the damage is irrevocable. (Gowan fears losing his teeth, equating it with death.)
Gowan prepares to hang himself, but while dictating his last thoughts into a tape recorder, he comes up with some good lines and regains his will to write. Unfortunately, his host's pet dog, an Old English sheepdog named Reuben, comes bounding into the room, causing Gowan to lose his balance before he can undo the noose, turning the aborted suicide into accidental asphyxiation. The film's title comprises Gowan's final words, an unsuccessful attempt to halt the dog.
Critical reception
[edit]John Simon of the National Review called Reuben, Reuben "dreadful".[5]
Reuben, Reuben holds a 100% rating on Rotten Tomatoes based on seven reviews as of 2023[update].[6]
Accolades
[edit]| Award | Category | Nominee(s) | Result |
|---|---|---|---|
| Academy Awards[7][8] | Best Actor | Tom Conti | Nominated |
| Best Screenplay – Based on Material from Another Medium | Julius J. Epstein | Nominated | |
| David di Donatello Awards | Best Foreign Actor | Tom Conti | Nominated |
| Golden Globe Awards[9] | Best Motion Picture – Drama | Nominated | |
| Best Actor in a Motion Picture – Drama | Tom Conti | Nominated | |
| Best Screenplay – Motion Picture | Julius J. Epstein | Nominated | |
| Los Angeles Film Critics Association Awards[10] | Best Actor | Tom Conti | Runner-up |
| Best Music Score | Billy Goldenberg | Runner-up | |
| National Board of Review Awards[11] | Best Actor | Tom Conti | Won |
| Writers Guild of America Awards[12] | Best Drama – Adapted from Another Medium | Julius J. Epstein | Won |
References
[edit]- ^ "Reuben, Reuben (1983)". AFI Catalog of Feature Films. Retrieved 4 February 2022.
- ^ Galloway, Stephen (January 30, 2017). "Robert Ellis Miller, Director of 'Reuben, Reuben,' Dies at 89". The Hollywood Reporter. Retrieved November 13, 2019.
- ^ "Reuben, Reuben". Variety. December 31, 1982. Retrieved November 13, 2019.
- ^ Champlin, Charles (May 25, 1986). "The Collected Letters of Dylan Thomas, edited by Paul Ferris (Macmillan: $39.95; 1,024 pp.)". Los Angeles Times. Retrieved November 13, 2019.
- ^ Simon, John (2005). John Simon on Film: Criticism 1982-2001. Applause Books. p. 83.
- ^ "Reuben, Reuben". Rotten Tomatoes. Retrieved 2023-01-13.
- ^ "The 56th Academy Awards (1984) Nominees and Winners". oscars.org. Archived from the original on November 2, 2017. Retrieved 2011-10-09.
- ^ Lambert, Victoria (September 12, 2015). "Tom Conti interview: 'Acting is a lousy job. It's a waste of a life'". The Daily Telegraph. Retrieved November 13, 2019.
- ^ "Reuben, Reuben – Golden Globes". HFPA. Retrieved July 5, 2021.
- ^ "The Annual 9th Los Angeles Film Critics Association Awards". Los Angeles Film Critics Association. Retrieved 24 August 2021.
- ^ "1983 Award Winners". National Board of Review. Retrieved July 5, 2021.
- ^ "Awards Winners". wga.org. Writers Guild of America. Archived from the original on 2012-12-05. Retrieved 2010-06-06.
External links
[edit]Reuben, Reuben
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Background
Novel by Peter De Vries
Reuben, Reuben is a 1964 novel by Peter De Vries, published by Little, Brown and Company in Boston, spanning 435 pages and priced at $5.95.[3] Set in the suburban Connecticut town of Woodsmoke during the 1950s, the book weaves a satirical portrait of middle-class American life through interlocking narratives that highlight the absurdities of daily existence.[4] De Vries, a Dutch-American author (1910–1993) renowned for his comic novels and sharp satirical wit, drew on his long tenure as an editor at The New Yorker to craft linguistically playful prose that skewers social conventions.[5] His style, often compared to that of contemporaries John Updike and John Cheever for its incisive commentary on suburban hypocrisies, employs puns, parodies, and multiple perspectives to explore the follies of human interaction.[6] The novel's core themes revolve around the absurdity of human relationships, the failures of communication in modern life, adultery, and what De Vries terms the "human botch of mating."[3] It features a hyper-literate cast of characters whose verbose exchanges underscore the disconnect between words and intentions, portraying love as a labyrinth of confusions and moral dilemmas. Central to the narrative are three interconnected stories: the exploits of Gowan McGland, a boisterous Scottish poet inspired by Dylan Thomas, whose Dionysian pursuits lead to romantic entanglements and personal downfall; the wry observations of a young Englishman named Mopworth, who serves as McGland's biographer and navigates cultural clashes; and the grounded yet cynical viewpoint of Frank Spofford, an elderly chicken farmer drawn into the pretensions of wealthy commuters, exposing suburban hypocrisies through his displaced wit.[3] These threads, narrated in alternating voices, form a manic epic that critiques the tensions between individual desires and societal pairings, blending humor with underlying tragedy.[4] Upon release, Reuben, Reuben received acclaim for its brilliant humor and moral acuity, with reviewers highlighting De Vries's ability to vex readers while amusing them through exaggerated depictions of miscommunication and sexual relations.[3] The New York Times praised its intricate plotting and linguistic flair, noting how the theme of universal misunderstanding—epitomized in the title—transforms personal failings into a broader commentary on human isolation.[3] Critics appreciated the novel's morality plays embedded in comedy, viewing it as a sharper evolution of De Vries's satirical oeuvre that balances levity with poignant insights into ethical lapses. The work later inspired a 1983 film adaptation, though the novel stands as a standalone exploration of its era's social undercurrents.[2]Spofford play
The 1967 Broadway play Spofford (or, the Flesh Pots of Egypt) was adapted by Herman Shumlin from select episodes in Peter De Vries's novel Reuben, Reuben, centering on the character Frank Spofford, a retired Connecticut chicken farmer who ventures into the world of affluent suburbanites to explore their lifestyles and sexual mores. Shumlin, serving as both writer and director, crafted the work to highlight Spofford's profane wit and observational asides, transforming the novel's episodic narrative into a theatrical monologue-driven structure where the protagonist remains onstage for nearly the entire runtime. The play premiered on December 14, 1967, at the ANTA Playhouse in New York City, following previews that began earlier in the month.[7][8][9] The production featured scenic design by Donald Oenslager, which evoked the mundane yet satirical settings of suburban Connecticut, and starred Melvyn Douglas in the titular role, delivering a performance noted for its intensity and direct audience engagement. Supporting cast included Barbara Britton as Mrs. Beausigneur, Pert Kelton as Mrs. Punck, Joen Arliss as Mrs. Crane, and Joseph Boland as Gromler, the latter earning a Tony Award nomination for Best Featured Actress in a Play. The play ran for 202 performances, closing on June 8, 1968, after a solid but not extended engagement that reflected its niche appeal amid Broadway's competitive 1967-1968 season. Shumlin's direction emphasized the character's internal monologue, blending comedy with commentary on class and desire.[8][10][11] Unlike the novel's broader ensemble and meandering plot involving multiple characters like the poet Reuben, the play narrows its focus exclusively to Spofford's picaresque investigation of wealthy social circles, amplifying comedic and risqué elements such as his encounters with sexual intrigue and verbal flourishes to critique upper-middle-class hypocrisy. This condensation results in a shorter, more intimate format—clocking in at about two hours and twelve minutes—but shifts the tone toward heightened profanity and satire, diverging from the book's subtler literary humor. The adaptation prioritizes Spofford's voice as narrator and participant, using asides to bridge the audience directly into his worldview, which underscores themes of envy and liberation absent in the novel's wider scope.[11][7] Critical reception was mixed, with praise for Douglas's commanding portrayal and the play's humorous insights into social foibles, but criticism for its leisurely pacing and occasional dullness that diluted the satire's bite. Clive Barnes of The New York Times lauded it as a "veritable triumph" for the lead actor, noting the audience's enthusiastic response during acts, yet other observers highlighted the script's uneven exposition as a barrier to broader acclaim. The production's modest run underscored this divide, earning respectable notices without achieving breakout success, though it influenced later adaptations by preserving De Vries's irreverent spirit in a stage context.[11][7]The film
Plot summary
The film follows Gowan McGland, a once-celebrated Scottish poet suffering from severe writer's block and chronic alcoholism, who resides in the affluent suburb of Woodsmoke, Connecticut.[2] To subsist, he delivers lackluster lectures to women's literary groups and college audiences in New England, where he habitually seduces bored, middle-aged married women, such as Bobby Springer, the head of a local women's club, and Lucille Haxby, the wife of a local dentist.[1] McGland supplements his meager income by pilfering restaurant tips left for waitstaff, embodying a life of genteel decay marked by unkempt appearance, heavy drinking at the Dew Drop Inn, and fleeting romantic conquests that offer temporary solace from his creative stagnation.[2] McGland's routine is upended when he encounters Geneva Spofford, a bright and idealistic young college literature student, during a chance meeting on a train where she covers his fare after he is ejected for lacking a ticket.[12] Smitten, he pursues her despite the significant age difference and her familial ties to Frank Spofford, a widowed poultry farmer and her grandfather, with whom McGland forms an unlikely drinking companionship alongside Frank's loyal Old English sheepdog, Reuben.[1] The budding romance with Geneva briefly invigorates McGland, challenging his self-destructive patterns as he visits his estranged wife Edith in New York—now profiting from writing an unflattering biography of him—and begins to confront his inability to produce new work.[2] However, his alcoholism leads to public embarrassments, including bar brawls and disruptive outbursts, straining the relationship. Tensions escalate through McGland's affair with Lucille Haxby, prompting her jealous husband, Dr. Jack Haxby, to exact revenge by deliberately botching McGland's dental work during a supposed free checkup, leaving him with painful, ill-fitting dentures that ruin his smile and exacerbate his despair.[13] Devastated, McGland attempts suicide by hanging himself in his home, dictating a final poetic confession into a tape recorder, but he pauses upon composing lines that reignite his creative spark, briefly abandoning the noose.[14] In a tragicomic twist, Reuben the dog bursts into the room, knocking over the chair and inadvertently completing the hanging, leading to McGland's accidental death; his last words, uttered in vain to halt the dog, are "Reuben, Reuben."[13] Meanwhile, Geneva's arc unfolds from initial empowerment through her intellectual bond with McGland to disillusionment, as she becomes pregnant by him but chooses to end the relationship and the pregnancy, rejecting his chaotic influence in favor of independence.[14] The story, adapted from Peter De Vries' novel featuring a similarly blocked poet, culminates in this bittersweet resolution, where McGland's demise posthumously elevates his legacy through Edith's biography, while the titular Reuben symbolizes the unwitting catalyst in his fate.[2]Cast and crew
The principal cast of the 1983 film Reuben, Reuben is led by Tom Conti in the role of Gowan McGland, a struggling Scottish poet.[15] Kelly McGillis makes her film debut as Geneva Spofford, the young woman who becomes central to McGland's story, at the age of 25 during production.[16] Supporting roles include Roberts Blossom as Frank Spofford, Geneva's grandfather; Cynthia Harris as Bobby Springer, a suburbanite entangled in McGland's pursuits; Joel Fabiani as Dr. Jack Haxby; and E. Katherine Kerr as Lucille Haxby.[15][17]| Actor | Role |
|---|---|
| Tom Conti | Gowan McGland |
| Kelly McGillis | Geneva Spofford |
| Roberts Blossom | Frank Spofford |
| Cynthia Harris | Bobby Springer |
| Joel Fabiani | Dr. Jack Haxby |
| E. Katherine Kerr | Lucille Haxby |
Production details
The screenplay for the 1983 film Reuben, Reuben was written by Julius J. Epstein, who adapted it from Herman Shumlin's 1967 Broadway play Spofford, itself drawn from Peter De Vries's 1964 novel Reuben, Reuben.[1] Producer Walter Shenson acquired the rights to the material in 1979, with the project inspired by the final years of poets Dylan Thomas and Brendan Behan.[1] The production was funded with a budget of $3.5 million by Taft Entertainment Company in the summer of 1982, in association with Saltair Productions.[1][20] Principal photography took place over 35 days from late November to December 23, 1982, resulting in a 101-minute runtime.[1][21] Filming occurred at Earl Owensby Studios in Shelby, North Carolina, with additional work in Charlotte, North Carolina, standing in for New York City scenes and the story's New England setting.[1][22] Production faced scheduling challenges due to Kelly McGillis's inexperience as a film actor in her debut role and her commitments at the Juilliard School, necessitating weekend shoots and a brief leave of absence.[1] Tom Conti's portrayal of the Scottish poet Gowan McGland also required attention to maintaining a consistent accent throughout the shoot. Director Robert Ellis Miller focused on a comedy-drama tone that balanced satire with emotional depth, drawing from the source material's witty exploration of artistic stagnation and romance.[2] Epstein's script condensed the novel's multiple narrative threads—originally spanning various characters and subplots—into a central arc centered on McGland's personal redemption, streamlining the adaptation for cinematic pacing while preserving De Vries's humorous voice.[1][23]Release and commercial performance
Premiere and distribution
The world premiere of Reuben, Reuben occurred at the Deauville Festival of American Cinema in September 1983.[1] Its U.S. theatrical premiere followed on December 19, 1983, in New York City at the Sutton Theater, with an opening in Los Angeles two days earlier on December 16 at the UA Coronet Theater.[1][24] Twentieth Century-Fox International Classics acquired distribution rights in November 1983 following competitive bidding from studios including Orion Pictures, Universal Pictures, Embassy Films, and Columbia Pictures.[1] The film launched with a limited U.S. theatrical run in late 1983, aimed at art-house theaters, and included test engagements in Toronto, San Diego, and San Francisco during January and February 1984.[1][12] International distribution began in 1984, with releases in markets such as Australia on June 21, 1984, and Denmark on August 27, 1984.[24] Marketing strategies featured office screenings to generate media buzz starting in December 1983, along with localized advertising budgets like $50,000 allocated for TV and newspaper promotions in San Diego.[1] The campaign emphasized the film's independent comedy-drama tone and Tom Conti's lead performance as the beleaguered Scottish poet Gowan McGland.[1]Box office
Produced on a $3.5 million budget, Reuben, Reuben achieved modest box office returns consistent with its art-house positioning and limited release.[25][1] Despite positive festival buzz at the 1983 Deauville American Film Festival, the movie failed to achieve box office hit status, overshadowed by blockbuster competitors like Return of the Jedi, which dominated theaters that year with over $475 million in global earnings.[1] Initial runs reflected its art-house positioning, earning just $24,000 over three weeks in three Los Angeles theaters and $40,000 in a similar span in New York City, with plans for wider distribution hinging on test market results in cities like San Diego and Toronto.[1] This slow buildup, combined with niche appeal to audiences seeking character-driven comedy-dramas and release timing amid holiday season crowds, limited its commercial momentum.[1]Critical reception
Contemporary reviews
Upon its release in late 1983, Reuben, Reuben received generally positive reviews from critics, who praised its witty screenplay and strong performances. Variety described the film as "exceptionally literate," highlighting Julius J. Epstein's adaptation for its "lines that carom with wit" and sharp humor that captured the eccentricities of its characters.[23] The review commended director Robert Ellis Miller for eliciting "solid performances," particularly from debutante Kelly McGillis as the poet's young love interest, whose "chic blonde Vassar looks interestingly contrast the poet's slovenly appearance," signaling her early promise in cinema.[23] Tom Conti's portrayal of the charismatic yet deeply flawed Scottish poet Gowan McGland drew widespread acclaim, earning him an Academy Award nomination for Best Actor. Variety called it a "tour-de-force," noting how Conti captured the character's vulnerability and descent into emotional turmoil.[23] Similarly, Vincent Canby of The New York Times lauded Conti for making Gowan a "wonderfully engaging character," emphasizing the actor's ability to blend charm with pathos in a role that highlighted the poet's self-destructive tendencies, and described the film as a "buoyantly satiric fable" of rare wit.[2] In aggregate, Reuben, Reuben holds a 100% approval rating on Rotten Tomatoes, based on seven contemporary reviews, reflecting its strong reception among those who reviewed it, though the limited sample underscores the film's modest release profile.[12]Later assessments
In the decades following its release, Reuben, Reuben has undergone reevaluation as a neglected gem within American cinema, with critics highlighting its sharp satirical take on artistic excess and personal failings that resonates in contemporary discussions. A 2025 retrospective described the film as a "truly great" tragic-comedy that has unjustly faded from view, rarely screened or available on major streaming platforms, underscoring its status as an overlooked work from director Robert Ellis Miller's career.[26] This reassessment praises the film's exploration of alcoholism as a central theme, portraying the protagonist's drunkenness not merely as comic relief but as a destructive force intertwined with his philandering relationships, themes that gain new relevance in the #MeToo era for critiquing unchecked male privilege and emotional manipulation.[26] The film's cult following has grown, particularly for launching Kelly McGillis's career; her debut role as the earthy, independent young woman opposite the alcoholic poet marked a breakout that propelled her to stardom in subsequent hits like Witness and Top Gun.[26] User reviews on platforms like Letterboxd reflect this appreciation, averaging 3.4 out of 5 from nearly 500 ratings, often lauding Tom Conti's performance as a tour de force that captures the character's roguish charm amid self-destruction.[27] Building on its initial mixed reception, these later views emphasize the film's enduring wit and character depth over its commercial underperformance.[26] Scholarly discussions have focused on the adaptation's fidelity to Peter De Vries's 1964 novel, noting how screenwriter Julius J. Epstein preserved the author's satirical voice through the intermediary 1967 stage version Spofford by Herman Shumlin, maintaining the blend of humor and pathos in suburban Connecticut settings.[28] Comparisons to Dylan Thomas biopics arise from the protagonist Gowan McGland's clear inspiration in the Welsh poet's life of bohemian excess and alcoholism, positioning Reuben, Reuben as a fictionalized echo of Thomas's real struggles rather than a direct biopic.Accolades and legacy
Awards and nominations
At the 56th Academy Awards in 1984, Tom Conti received a nomination for Best Actor for his portrayal of the drunken Scottish poet Gowan McGland in Reuben, Reuben.[29] The film also earned a nomination for Best Adapted Screenplay for Julius J. Epstein.[29] Conti also earned a nomination for Best Performance by an Actor in a Motion Picture – Drama at the 41st Golden Globe Awards in 1984 for the same role,[30] while Epstein received a nomination for Best Screenplay – Motion Picture.[30] In addition to these major nominations, Conti's performance was recognized by several critics' groups. He won the National Board of Review Award for Best Actor in 1983, sharing the honor with his work in Merry Christmas, Mr. Lawrence.[31] The Los Angeles Film Critics Association named him runner-up for Best Actor at their 9th annual awards in 1983.[32] Epstein won the Writers Guild of America Award for Best Adapted Drama at the 36th ceremony in 1984.[33]| Award | Category | Recipient | Result | Year | Source |
|---|---|---|---|---|---|
| Academy Awards | Best Actor | Tom Conti | Nominated | 1984 | [29] |
| Academy Awards | Best Adapted Screenplay | Julius J. Epstein | Nominated | 1984 | [29] |
| Golden Globe Awards | Best Actor in a Motion Picture – Drama | Tom Conti | Nominated | 1984 | [34] |
| Golden Globe Awards | Best Screenplay – Motion Picture | Julius J. Epstein | Nominated | 1984 | [30] |
| National Board of Review Awards | Best Actor | Tom Conti (Reuben, Reuben and Merry Christmas, Mr. Lawrence) | Won | 1983 | [31] |
| Los Angeles Film Critics Association Awards | Best Actor | Tom Conti | Runner-up | 1983 | [32] |
| Writers Guild of America Awards | Best Adapted Drama | Julius J. Epstein | Won | 1984 | [33] |