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Annie is a 1982 American musical comedy-drama film based on the 1977 Broadway musical of the same name by Charles Strouse, Martin Charnin and Thomas Meehan, which in turn is based on the Little Orphan Annie comic strip created by Harold Gray. Directed by John Huston and written by Carol Sobieski, the cast includes Albert Finney, Carol Burnett, Bernadette Peters, Ann Reinking, Tim Curry, Geoffrey Holder, Edward Herrmann, with Aileen Quinn as the title character.[4] It is the first film adaptation of the musical.
Set during the Great Depression in 1933, the film tells the story of Annie, an orphan from New York City who is taken in by America's richest billionaire, Oliver Warbucks. Principal photography took place for six weeks at Monmouth University in New Jersey in 1981.
Produced by Ray Stark's Rastar and released by Columbia Pictures on May 21, 1982, Annie received mixed reviews from film critics and grossed $57 million on a $35 million budget. The film was nominated for two Academy Awards for Best Art Direction and Best Song Score and its Adaptation. A television film sequel, titled Annie: A Royal Adventure! was released in 1995. Then it was followed by three additional adaptations of the musical. In their first film collaboration, Disney and Columbia Pictures produced a second film adaptation made-for-television in 1999. Columbia released a third film adaptation on December 19, 2014. A fourth adaptation which was a live production of the musical was performed on December 2, 2021, on NBC.
After winning a bidding war with Paramount Pictures, Columbia purchased the rights to the broadway musical for $9.5 million.[8] Film producer Ray Stark wanted both John Huston and Joe Layton (while working as the director and choreographer, respectively) to also be the executive producer on the film, because it was too large an enterprise for one person. Regarding Huston being given the job of directing the first (and what would be the only) musical in his 40-year directing career, screenwriter Carol Sobieski stated: "Hiring John [Huston] is an outsider risk, and Ray's [Stark] a major gambler. He loves this kind of high risk situation."[9] The film cost over $35 million, with some suggesting it cost as much as $59 million after marketing and distribution, making it one of the most expensive films at the time, and the most expensive project financed by Columbia Pictures up to that point.[8]
Sobieski, who wrote the screenplay, introduced major differences between the stage musical and the film adaptation. In the stage musical, it is Christmas when Miss Hannigan, Rooster and Lily are caught at the Warbucks mansion by the United States Secret Service thus foiling their plan to kidnap Annie, while in the film (due to summertime shooting) Annie is kidnapped and on the eve of the Fourth of July, leading to Warbucks organizing a citywide search and a climactic ending on the B&O Bridge. Punjab and The Asp, Warbucks's servants/bodyguards, from the original comic strip, appear in the film in supporting roles.
The film also featured five new songs, "Dumb Dog", "Sandy", "Let's Go to the Movies", "Sign" and "We Got Annie", and cut "We'd like to Thank You, Herbert Hoover", "N.Y.C", "You Won't Be an Orphan for Long", "Something Was Missing", "Annie" and "New Deal for Christmas". In addition, the song "Maybe" has two reprises whereas "Little Girls" and "Easy Street" do not.
Martin Charnin, the lyricist of Annie, was not impressed with the cinematic interpretation. In a 1996 interview, he dismissed the adaptation and its production. "The movie distorted what this musical was", Charnin reported. "And we were culpable for the reason that we did not exercise any kind of creative control because we sold the rights for a considerable amount of money." Charnin even said that Huston, who had never directed a musical before, and producer Ray Stark made major changes in the film that destroyed the essence of Annie. Warbucks, played by Finney, "was an Englishman who screamed". Hannigan, played by Burnett, was "a man-crazy drunk", and Annie was "cute-ed up". Worse, the emotional relationship between Annie and Warbucks was distorted. They even downplayed the hit song "Tomorrow" because "Stark thought it was corny".[10]
Principal photography took place in 1981 over the course of six weeks at Monmouth College, now Monmouth University, in West Long Branch, New Jersey, which has two mansions that were used in the film, one of which is the Shadow Lawn Mansion.[9][11] The NX Bridge, an abandoned railroad bridge over the Passaic River in Newark, was used for location shooting of one of the climactic scenes.[12][13]
Many of the street sets were filmed at Warner Bros. Burbank Studios, 4000 Warner Boulevard, Burbank, California. Production designer Dale Hennesy overhauled the old "Tenement Street" back lot set at Warner Bros. by outfitting many of the New York styled apartment and store front facades with actual New York fire escapes and other treatments specifically brought in for this production. Hennesy died during filming and the back lot set was renamed "Hennesy Street" in honor of the late production designer.
Originally, the song "Easy Street" was going to be the biggest musical number in the film. For this purpose, a specially-created outdoor street set was built, costing more than $1 million. It took one week to shoot the scene, but on reviewing the dailies, the scene was considered to be "overstuffed" and "sour." Therefore, a re-shoot was undertaken nearly two months after principal filming had been completed. The scene was replaced with a version shot indoors in a style that mimicked the ambience portrayed in the original stage musical.[9]
Annie received mixed reviews upon its release. On Rotten Tomatoes, the film has an approval rating of 49% based on 35 reviews, with an average rating of 5.4/10. The site's critical consensus reads, "John Huston proves an odd choice to direct, miring Annie in a sluggish, stagebound mess of an adaptation, but the kids are cute and the songs are memorable."[14] On Metacritic the film has a weighted average score of 39 out of 100 based on 10 critics, indicating "generally unfavorable reviews".[15]
Roger Ebert gave the film three stars out of four and reported that Annie was "so rigorously machine-made, so relentlessly formula" that the film "is not about anything" despite its series of scenarios, but nonetheless "I sort of enjoyed the movie. I enjoyed the energy that was visible on the screen, and the sumptuousness of the production numbers, and the good humor of several of the performances -- especially those by Albert Finney, as Daddy Warbucks, and Carol Burnett, as the wicked orphanage supervisor, Miss Hannigan. Aileen Quinn sort of grew on me, too."[16] Vincent Canby of The New York Times wrote, "'Annie' is far from a great film but, like the Music Hall in the good old days, it is immaculately maintained and almost knocks itself out trying to give the audience its money's worth. They don't build movies like this anymore."[17] Variety wrote, "Whatever indefinable charm the stage show has is completely lost in this lumbering and largely uninteresting and uninvolving exercise, where the obvious waste reaches almost Pentagonian proportions."[18] Gene Siskel of the Chicago Tribune gave the film two-and-a-half stars out of four and called it "a bit of a letdown," writing that Quinn "often comes across as one of those self-conscious stage kids" and that the four new songs "are not the least bit memorable," but Finney gives the best performance in the film as "he steadily turns into a quite wonderful father figure."[19] Sheila Benson of the Los Angeles Times wrote that the film "staggers under monstrous production numbers, orphans doing gymnastic flips, dancing maids and butlers and the Radio City Music Hall complete with Rockettes ... But a kid with Annie's moxie deserves more. Or perhaps less. What she deserves is an atmosphere of innocence, warmth and inventiveness, to let the film generate the joy that must have enveloped theater audiences over the past five years."[20] Gary Arnold of The Washington Post panned the film as "Overproduced and underinspired," with Burnett's performance "the closest thing to a saving grace."[21] Pauline Kael wrote in The New Yorker that the story "cries out for a cockeyed fairy-tale tone" but instead "has the feel of a manufactured romp ... Every sequence seems to be trying too hard to be upbeat and irresistible, and it's all ungainly."[22]
Annie grossed $5.3 million in its first wide weekend, ranking number 5 at the US box office. The film grossed $57 million in the United States and Canada against a budget of $35 million, making it the tenth highest-grossing film of 1982.[23][24] However, due to its high cost, it failed to make a profit for Columbia Pictures upon release.
The film was released on VHS, Betamax and CED Videodisc on November 5, 1982, by RCA/Columbia Pictures Home Video. It was re-issued in 1983, 1984, 1985, 1994, and 1997 (in a "Broadway Tribute Edition" to coincide with the original play's Broadway 20th anniversary revival that year). There were two widescreen LaserDiscs released, one in 1989 and another in 1994. The film was released in a widescreen DVD edition on December 12, 2000.
A "Special Anniversary Edition" DVD was released on January 13, 2004 (four days before producer Stark's death). Despite the fact that the first DVD was widescreen, the DVD was in pan and scan (but with DTS sound). Reviewing the disc for DVD Talk, Glenn Erickson, while praising the film overall, called the pan and scan transfer an "abomination that's grainy and lacking in color." He also noted that the short retrospective featurette with Ms. Quinn contained clips from the film in the correct aspect ratio. Erickson also called the music video of "It's the Hard-Knock Life" by Play "pretty dreary" and attacked the other, child-oriented extras by saying "Musicals and kids' films aren't just for tots ... and this disc is little more than a headache."[32] However, several countries in Region 2 received widescreen versions of this edition including the United Kingdom. The film was released as a "sing-along edition" on Blu-ray on October 2, 2012, in celebration of the 30th anniversary of the film and the 35th anniversary of the Broadway version set a revival in November 2012.
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