Forty-three year old Peggy Sue Bodell née Kelcher is in an unsatisfying marriage to her high school sweetheart, Charlie Bodell, a marriage which includes money issues and infidelity. They got married when she got pregnant at age eighteen. He still dreams about the musical career he wanted that never materialized. She feels he blames her for that failure. They are on the verge of divorce. At a pivotal moment related to her high school life, Peggy Sue mysteriously gets transported back twenty-five years to her senior year of high school. Initially, she is most concerned about what has happened to her, not knowing if what she’s experiencing is real or if perhaps she’s dead. But after the initial shocks of revisiting her youth, Peggy Sue thinks that she can rewrite her past and make different decisions that will affect her future, one she hopes will be happier than that she experienced the first time around. But she also learns some things about why Charlie made the decisions he did. —IMDb
He was born in 1939 in Detroit, USA, but he grew up in a New York suburb in a creative, supportive Italian-American family. His father was a composer and musician Carmine Coppola. His mother had been an actress. Francis Ford Coppola graduated with a degree in drama from Hofstra University, and did graduate work at UCLA in filmmaking. He was training as assistant with filmmaker Roger Corman, working in such capacities as soundman, dialogue director, associate producer and, eventually, director of Dementia 13 (1963), Coppola’s first feature film. During the next four years, Coppola was involved in a variety of script collaborations, including writing an adaptation of This Property is Condemned, by Tennessee Williams (with Fred Coe and Edith Sommer), and screenplays for Is Paris Burning?, and Patton, the film for which Coppola won a Best Adapted Screenplay Academy Award. In 1966, Coppola’s 2nd film brought him critical acclaim and a Master of Fine Arts degree. In 1969, Coppola and George… read more
After the heady days of the '70's with success after success, the '80's must have been strange days for Coppola. Nothing seemed to go right for him but for me at least, this is easily his finest and most entertaining work of the decade. Featuring a great performance from Turner and a legendary bad one from Cage, this film pulls all my sentimental strings and I unashamedly love it. A Back To The Future for grown-ups..
Impossibly seductive cinema. As Lights aptly put it, Coppola revels in the "magic mirror" of cinema, a reflection in mirrors of emotions. What separates this from Back to the Future is a wealth of wisdom, a search for reconciliation between youth and age, not a reinforcement of the family, but a poetic evocation of forgiveness. No film uses nostalgia in such a moving, gorgeous way. An all-time favorite.