| The First Wives Club | |
|---|---|
 Theatrical release poster | |
| Directed by | Hugh Wilson |
| Screenplay by | Robert Harling |
| Based on | The First Wives Club byOlivia Goldsmith |
| Produced by | Scott Rudin |
| Starring | |
| Cinematography | Donald Thorin |
| Edited by | John Bloom |
| Music by | Marc Shaiman |
Production company | |
| Distributed by | Paramount Pictures |
Release date |
|
Running time | 103 minutes |
| Country | United States |
| Language | English |
| Budget | $26 million[1] |
| Box office | $181 million[1] |
The First Wives Club is a 1996 Americancomedy film directed byHugh Wilson, based on the 1992 novel of the same name byOlivia Goldsmith.Bette Midler,Goldie Hawn, andDiane Keaton star as three divorcées who seek retribution on their ex-husbands for having left them for younger women. The supporting cast consists ofStockard Channing as the trio's friend Cynthia;Dan Hedaya,Victor Garber, andStephen Collins as the three leads' ex-husbands; andSarah Jessica Parker,Elizabeth Berkley, andMarcia Gay Harden as their respective lovers. Supporting roles are played byMaggie Smith,Bronson Pinchot,Rob Reiner,Eileen Heckart,Philip Bosco, andTimothy Olyphant in his feature film debut; cameo appearances includeGloria Steinem,Ed Koch,Kathie Lee Gifford,Rob Reiner andIvana Trump.
The film became a surprise box-office success following its North American release, eventually grossing $181 million worldwide, mostly from its domestic run, despite receiving mixed reviews.[1] It developed acult following particularly among middle-aged women,[2] and as the actresses' highest-grossing project of the decade, it helped revitalize their careers in film and television. ComposerMarc Shaiman was nominated for anAcademy Award for Best Original Music Score,[3] while Hawn was awarded aBlockbuster Entertainment Award and both Midler and Parker receivedSatellite Award nominations for their portrayals.[3]
In 1969, to celebrate their graduation fromMiddlebury College, Cynthia Swann gives her friends Annie MacDuggan, Brenda Morelli, and Elise Eliot matching pearl necklaces as parting gifts and makes them promise to always stay connected with each other. In the present day, the quartet have lost touch. Cynthia's ex-husband Gil Griffin, whose wealth originated from her family connections, has recently married his much younger mistress. She gives her housekeeper Teresa her pearl necklace and mails letters to her three former friends before committing suicide by jumping off the balcony of her penthouse apartment.
Reuniting at Cynthia's funeral inNew York City, the surviving trio realize their current predicaments mirror Cynthia's. Annie is separated from her advertising executive husband, Aaron Paradis, and suffering from low self-esteem, whileOscar-winning actress Elise is struggling with alcoholism, her fading beauty and career, and a pending divorce fromfilm producer Bill Atchison, who is now involved with young aspiring actress Phoebe LaVelle. Meanwhile, Brenda faces financial troubles after divorcing her husband Morty Cushman, who runs a successful chain of electronics stores.
Annie is stunned when Aaron admits he has been dating their mutual therapist Leslie Rosen. Elise attempts to revive her career by taking on a new female leading role. However, she is instead cast as the lead character Monique's unattractive mother, while Phoebe will be portraying Monique. Brenda encounters Morty's young and beautiful girlfriend, Shelly Stewart, who disparages Brenda's weight. Internalizing Cynthia's letters, the three women, having been instrumental in their husbands's individual successes, decide to pursue "justice" over revenge by forming the "First Wives Club", using a property of Elise as their base.
Chris, Annie's daughter, gets a job at Aaron's advertising agency. Covertly monitoring him, she discovers that Aaron's partners want to sell their share of the agency, but Annie lacks the funds to buy them. Concurrently, Elise forcefully repossesses numerous pieces of artwork and furniture that she bought Bill. She then secretly sells them for onedollar to Annie, who auctions them off atChristie's. At the auction, Duarto and Gunilla goad Shelly into spending most of Morty's fortune, allowing Annie to buy out Aaron's partners. Brenda discovers from her Sicilian paternal uncle Carmine that he and her father helped Morty establish his first store by selling stolen merchandise and that Morty's financial records have been fabricated. Aided by her boss Duarto Feliz and Elise's oft-married prominent socialite friend Gunilla Garson Goldberg, the three women manipulate Shelly and Morty into vacating their home. The trio then furtively obtain the fraudulent records.
While the three initially rejoice over the victories, Elise becomes increasingly discouraged at being unable to find any evidence against Bill. After a vicious fight among the women, Annie quits the club. Elise and Brenda reconcile and convince Annie to rejoin, now looking beyond simply "justice" for themselves. Elise also reveals that she has decided to focus on bonding with Phoebe rather than on her relationship with Bill himself, exploiting Phoebe's starstruck attitude towards her regarding their upcoming film.
Brenda and Carmine abduct Morty, threatening to expose his fraud unless he relinquishes his business to her. Annie signs off on buying out Aaron's former business partners' share and taunts him, revealing that she has landed a new, lucrative $45 million account (implied to be Morty's electronics business, controlled by Brenda), thus nullifying his role in their business. Confronting Bill, Elise reveals that Phoebe is actually 16 years old, producing Phoebe's high school yearbook and her birth certificate. The trio coerce their men into agreeing to fund their "justice", using the money to establish a crisis centre for women, named after Cynthia and located at the former headquarters of the First Wives Club.
During the grand opening celebration, Morty concludes his affair with Shelly and reconciles with Brenda as their son Jason happily looks on. Shelly flirts with Bill, though he hesitantly probes her age. Elise, now starring in a successfulBroadway play titledOf A Certain Age, has begun dating a co-star. Annie, now more confident and self-assured, rejects Aaron's request to rekindle their relationship. After the party, the three women reminisce and together triumphantly sing "You Don't Own Me", dancing into the streets.
The First Wives Club, released in 1992, was American authorOlivia Goldsmith's debut novel. Inspired by her own experiences and observations of divorce, gender inequality, and aging in relationships, it became a national bestseller and received widespread critical acclaim.[4] Even before the book was published, Goldsmith's manuscript found its way into the hands of film studio executiveSherry Lansing, who, despite the fact that many publishers had rejected it, immediately recognized its cinematic potential.[4] In a 1996 interview withThe New York Times, she described it as "one of the single best ideas for a movie" she had ever encountered, noting that the scenario of a woman being left for a younger version of herself was far too common. She emphasized, however, that the intent was not to create a film portraying women as victims, but rather a story centered on empowerment.[4]
When Lansing becameCEO ofParamount Pictures in 1992, she commissioned in-house producerScott Rudin to develop the project into a feature film.[4] Rudin initially consultedRobert Harling to write the screenplay, but Harling later departed the project to direct the comedy drama filmThe Evening Star (1996), the sequel to the 1983'sTerms of Endearment.[5] Dissatisfied with Harling's screenplay, Rudin turned to his friendPaul Rudnick, a playwright and screenwriter, who agreed to do the rewrites but insisted on remaining uncredited for the film.[5] Rudnick later criticized the final script as "incomprehensible," tellingThe New York Times in 1997 that deciphering the film's structure would require "an undiscoveredRosetta Stone."[6][5]Nancy Meyers was originally offered the opportunity to directThe First Wives Club but declined.[7] At the time, she had signed a development deal withDisney and chose instead to make her directorial debut withThe Parent Trap (1998).[7]Hugh Wilson was eventually brought on board to direct the film.[7]
Casting forThe First Wives Club was overseen by Ilene Starger, who served as a casting consultant to Rudin.[8] The process spanned several months and involved a combination of extending offers to established actors based on their stature and experience, auditioning others, with most of the film's cast being selected in New York.[8]Bette Midler andGoldie Hawn were the first actresses reported to have landed one of the three starring roles. While Midler had wanted to play the "more glamorous role" of Elise at first,[9] Rudin intended to castJessica Lange in the role before the team decided to rewrite the character of the book in favour of a "glitzier" version which eventually went to Hawn.[3] Hawn, in turn, tried to persuadeSally Field to join the cast in the role of Annie but Field declined, citing her lack of musicality.[10] The role eventually went toDiane Keaton who was cast by Rudin while they were working on the drama filmMarvin's Room (1996), directed byJerry Zaks.[11]
Mandy Patinkin was initially cast as Aaron, Annie's conflicted husband, but dropped out shortly before shooting started when he decided to leave the project in favour of his musical ambitions, and was replaced byStephen Collins.[12] The role of Duarto originally went to writerDavid Rakoff though he was fired after only one day on set and replaced byBronson Pinchot.[13]Jon Stewart was hired to play the lover of Hawn's character Elise; however, his scenes were later cut from the final film.[14]Dan Hedaya won the role of Morty, Brenda's ex-husband, overHéctor Elizondo.[15]Jenny McCarthy was offered the role of Phoebe LaVelle but declined, stating that she did not want to portray what she described as a "dumb girl" character.[16] The role was ultimately taken byElizabeth Berkley.[16]Timothy Olyphant, who had impressed with local stage work, made his screen debut as director Brett Artounian in the film,[15] whileJennifer Dundas, following her appearance inMrs. Soffel (1984), once again portrayed Keaton's onscreen daughter.[17] Cameos of note includeIvana Trump (who famously stated in the film, "Don't get mad, get everything."),Gloria Steinem, andKathie Lee Gifford as themselves, as well as authorOlivia Goldsmith, directorHugh Wilson as a commercial director, andHeather Locklear as the younger lover ofJames Naughton's character Gil.[18]
Principal photography took place over three months at theKaufman Astoria Studios inQueens, New York City, between December 4, 1995, and March 19, 1996.[19] Among the 60 sites showcased on screen areChristie's auction house in theDelmonico's Hotel grand ballroom onPark Avenue,The Pierre atEast 61st Street, the Bowery Bar, a suite atThe Waldorf-Astoria Hotel inMidtown Manhattan,Café des Artistes on One West 67th Street, theKing Cole Bar at theSt. Regis Hotel,Frank E. Campbell's funeral home, andBarneys.[20] Other familiar sites include theChrysler Building, theNoHo neighborhood, both5th and7th Avenues,Riverside Drive, andCentral Park.[21] The last scene in the club was filmed at theRobbins & Appleton Building on 4 Bond Street.[22][23]
Production designer Peter Larkin took much inspiration from Hollywood'sromantic comedies of the1930s, incorporating a post-Great Depression view on style and luxury, widely popularized through these films. "Those sets looked better than real New York penthouses and nightclubs ever could," he said upon creation. "In this film, I wanted settings that had that kind of striking nature."[21] The film's final scene, a musical number featuring Midler, Hawn, and Keaton performingLesley Gore's 1963 hit single "You Don't Own Me" was conceived during production due to the absence of a concluding sequence.[24] Rudin suggested the idea of a musical number, and Wilson proposed using the song, which they successfully acquired.[24] The scene was filmed in a single take during the early morning hours.[24] Choreographed by Patricia Birch, with Jonathan Cerullo serving as her assistant choreographer, the take used in the film was the final one.[24]
In a 2009 interview withThe A.V. Club, Bronson Pinchot accused Wilson of abusing him but also claimed that it was due to Midler who was difficult to work with for the director.[25] Wilson later stated, in a 2015 interview, that Midler indeed questioned how a "southern heterosexual with five children" was capable of directing a film about divorced women in New York high society.[26] He also admitted that the making of the film was a difficult experience for him, citing the long working days and challenging filming conditions in New York City, which arose in part as a result of budget constraints and negative experiences working with the producer Rudin.[26] Rudin was later accused, by numerous employees speaking toThe Hollywood Reporter, of demonstrating a long-standing pattern of abusive behavior towards his employees, including physical abuse.[27]
| The First Wives Club: Music from the Motion Picture... And Then Some | |
|---|---|
| Soundtrack album by Various Artists | |
| Released | September 17, 1996 |
| Label | Work |
An officialsoundtrack album titledThe First Wives Club: Music from the Motion Picture... And Then Some was released on September 17, 1996, throughWork, shortly before the film's premiere. The compilation peaked at number 90 on the USBillboard 200 chart.[28]
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | "Wives and Lovers" (Dionne Warwick) |
| 2:55 | |
| 2. | "A Beautiful Morning" (The Rascals) | The Rascals | 2:33 | |
| 3. | "Over and Over" (Puff Johnson) |
| Keith Thomas | 4:43 |
| 4. | "Piece of My Heart" (Diana King) | Andy Marvel | 3:41 | |
| 5. | "Game of Love" (Brownstone) |
| 4:45 | |
| 6. | "Love Is On the Way" (Billy Porter) | Zizzo | 4:22 | |
| 7. | "Sisters Are Doin' It for Themselves" (Eurythmics andAretha Franklin) | Stewart | 5:53 | |
| 8. | "Think" (Aretha Franklin) |
| Jerry Wexler | 2:17 |
| 9. | "Heartbreak Road" (Dionne Farris) | Bill Withers |
| 3:51 |
| 10. | "I Will Survive" (Chantay Savage) | Steve "Silk" Hurley | 6:13 | |
| 11. | "Moving On Up" (M People) |
| 3:56 | |
| 12. | "I'm Still Standing" (Martha Wash) |
| 4:02 | |
| 13. | "You Don't Own Me" (Bette Midler,Goldie Hawn andDiane Keaton) | Marc Shaiman | 2:31 |
The film's original score, composed byMarc Shaiman, was also released on November 26, 1996.[30]
| No. | Title | Length |
|---|---|---|
| 1. | "Cynthia" | 2:14 |
| 2. | "Annie" | 0:46 |
| 3. | "Elise" | 0:47 |
| 4. | "Brenda" | 0:45 |
| 5. | "Bad News" | 0:51 |
| 6. | "Wham, Bam, Divorce Me Ma'am" | 1:23 |
| 7. | "Letter to Three Wives" | 1:56 |
| 8. | "The First Wives Club" | 1:48 |
| 9. | "Gathering Information" | 1:55 |
| 10. | "Setting Up Shop" | 1:11 |
| 11. | "Tea Time with Gunilla" | 2:53 |
| 12. | "Duarto Makes His Entrance" | 0:41 |
| 13. | "The Big Break In" | 5:17 |
| 14. | "Phone Tag" | 0:59 |
| 15. | "The Auction" | 1:58 |
| 16. | "Operation Hell Hath No Fury" | 4:45 |
| 17. | "The Unveiling" | 0:56 |
The First Wives club grossed$105.4 million in the United States and Canada, and$76 million in other territories, for a worldwide total of$181.4 million.[31] becoming the11th highest-grossing film of 1996.[32][33] The film also ranked 11th on the 1996 North American box office year-end list while leading the yearlyPG Rated 1996 chart.[33]
In the United States and Canada, the movie opened at number one at the box office, making $18.9 million in its opening weekend over September 20–22, 1996.[34] It remained another two weeks at number one, earning an estimated $42 million within its first month of release, a September record by then.[34] Industry sources said that the film, cited as the "sleeper of the year" byThe Los Angeles Times, clicked with an untargeted group of ticket buyers who were overlooked as studios poured out special effects and loud action films during the summer of 1996.[34][35]
The First Wives Club received mixed reviews from film critics. On thereview aggregator websiteRotten Tomatoes, 51% of 77 critics' reviews are positive, with an average rating of 5.7/10. The website's consensus reads: "First Wives Club is headlined by a trio of comedic dynamos, but the script lets them down with tepid plotting and a fatal lack of satirical bite."[36] OnMetacritic, which uses a normalized rating system, the film holds a 58/100 rating, indicating "mixed or average reviews" based on 21 critics.[37]
Edward Guthmann of theSan Francisco Chronicle called the film a "terrific comedy" and "a glamorous revenge romp, a9 to 5 mixed withAuntie Mame", giving "each star the opportunity to do her best work in a long, long time." He added that "what's surprising isn't that each of them is so delightfully good but that they work together so well."[38] In his review forVariety, Leonard Klady found that director "Hugh Wilson wisely gets out of the way of his performers, providing a simple glossy look enhanced by cameraman Donald Thorin, designer Peter Larkin and the costumes ofTheoni V. Aldredge". He noted that "with its combination of comic zingers and star turns, [the] pic shapes up as one of the more commercial fall [1996] entries", that "at its core, is a celebration of its star trio as consummate performers. In that respect,First Wives Club is a highly enjoyable movie romp."[39]
Janet Maslin fromThe New York Times remarked that the film "freely overhauls the amusing beach book by Olivia Goldsmith, eliminating the sex, adding more slapstick and tailoring the leading roles to suit three divas in starring roles." While she felt that "Bette Midler, Diane Keaton, and Goldie Hawn make a spirited, surprisingly harmonious trio," reeling off "one-liners with accomplished flair, even when the film turns silly and begins to, pardon the expression, sag", she found that the film fared "better with sight gags and quick retorts than with plot development".[40]Roger Ebert, writing for theChicago Sun-Times gaveThe First Wives Club two out of four stars. He declared the film "heavy on incident but light on plot", filled with "heartfelt talks with slapstick and sitcom situations."[41]Owen Gleiberman, writer forEntertainment Weekly, wrote that "paced like aChris Farley movie and photographed like a denture-cream commercial,The First Wives Club is the sort of overbright plastic-package comedy that tends to live or die by its jokes, its farcical audacity – anything but its 'conviction'." He gave the film a C+ rating.[42]
According to a 2023 poll byCosta Coffee,The First Wives Club was named by Brits as one of the top ten movies to help them "overcome heartbreak and move on".[43]
The First Wives Club earned composerMarc Shaiman his thirdAcademy Award nomination.[3] In 2000, the film earned recognition from theAmerican Film Institute when it was shortlisted for the organization'sAFI's 100 Years...100 Laughs listing.[44]
| List of awards and nominations | |||||
|---|---|---|---|---|---|
| Award | Category | Recipient(s) | Result | ||
| Academy Awards | Best Original Musical or Comedy Score | Marc Shaiman | Nominated | ||
| American Comedy Awards | Funniest Actress in a Motion Picture (Leading Role) | Diane Keaton | Nominated | ||
| Bette Midler | Nominated | ||||
| Goldie Hawn | Nominated | ||||
| ASCAP Film and Television Music Awards | Top Box Office Films | Marc Shaiman | Won | ||
| Artios Awards | Best Casting for Feature Film, Comedy | Ilene Starger | Nominated | ||
| Blockbuster Entertainment Awards | Favorite Actress – Comedy | Goldie Hawn | Won | ||
| National Board of Review Awards | Best Acting by an Ensemble | Cast ofThe First Wives Club | Won | ||
| Satellite Awards | Best Actress − Musical or Comedy | Bette Midler | Nominated | ||
| Best Supporting Actress − Musical or Comedy | Sarah Jessica Parker | Nominated | |||
For years there had been rumors of a sequel to the film, and although Hawn, Keaton, and Midler made concerted efforts to get the project off the ground, it was never realized.[45][46] In 2004, writerPaul Rudnick reportedly started writing a draft,[45] entitledAvon Ladies of the Amazon,[47] and in 2005, Midler confirmed toUSA Today that there was indeed a manuscript but that "the strike kept it from happening."[48] In a 2006 interview with theNew York Daily News, Hawn further elaborated that while executives at Paramount Pictures signaled that they wanted to move forward with a sequel, they rejected the trio's return after they sought higher fees.[49] In 2015, it was announced that Hawn, Keaton, and Midler had signed on to star in theNetflix comedy filmDivanation to mark aFirst Wives Club reunion of sorts though the project failed to materialize.[50] In 2016, Hawn confirmed that Netflix was working on a sequel toThe First Wives Club, though she also admitted that "the script isn't working."[51] Another film to feature the trio, entitledFamily Jewels and announced in 2020, likewise never came to fruition.[49] In 2022, Midler pointed to "political reasons" for why a sequel was not realized.[49]
Amusical stage version ofThe First Wives Club opened at TheOld Globe Theatre inSan Diego,California in 2009, prior to a projectedBroadway engagement.[52] Directed byFrancesca Zambello and based on a book byRupert Holmes,[53][54] the principal cast originally includedKaren Ziemba as Annie,Adriane Lenox as Elise,Barbara Walsh as Brenda,John Dossett as Aaron, Kevyn Morrow as Bill,Brad Oscar as Morty, Sara Chase as Trophy Wife, andSam Harris as Duane. The production's tryout received mixed to negative reviews,[55] but sold approximately 29,000 tickets in its five-week run.[citation needed] The ticket demand was so strong early on that the show's run was extended an extra week prior to its opening night.
Producers announced on November 11, 2009, that Francesca Zambello withdrew as director, and they would secure a new director prior to any Broadway run. The originating producers, Jonas Neilson and Paul Lambert, teamed with Elizabeth Williams and John Frost, and brought on Simon Phillips to direct.[56][57] A newly adapted version ofFirst Wives Club: The Musical began previews at Chicago'sOriental Theatre in February 2015, with the opening on March. The production aimed for Broadway in the 2015–2016 season.[58] Based on a new book written byLinda Bloodworth-Thomason,[59] the newly adapted version features new songs by the composersHolland-Dozier-Holland,[59] and also contains a few of their classic hits, such as "Reach Out...I'll Be There", "Stop! In the Name of Love" and "I Can't Help Myself (Sugar Pie, Honey Bunch)."[60][61]Faith Prince, Christine Sherrill, andCarmen Cusack lead the cast as Brenda, Elise, and Annie respectively.[62]
TV Land announced in March 2016, that it had ordered a pilot for a television adaptation of the film, to be written by Rebecca Addelman and executive produced by Jenny Bicks andKaren Rosenfelt. However, the network failed to pick up the pilot.[63] The project went to theParamount Network for redevelopment in early 2017.[64] In October 2017,Tracy Oliver was tapped to write the series.[65]
