Awakenings

Awakenings is a 1990 American drama film based on the 1973 non-fiction book of the same name. Directed by Penny Marshall, it was written for the screen by Steven Zaillian, who based his screenplay on Oliver Sacks's 1973 memoir of the same name. It tells the story of neurologist Dr. Malcolm Sayer (Robin Williams), based on Sacks, who discovers the beneficial effects of the drug L -DOPA in 1969. He administers it to catatonic patients who survived the 1919–1930 epidemic of encephalitis lethargica. Leonard Lowe (Robert De Niro) and the rest of the patients are awakened after decades, and have to deal with a new life in a new time. Julie Kavner, Ruth Nelson, John Heard, Penelope Ann Miller, Peter Stormare and Max von Sydow also star in the cast. Awakenings was produced by Walter Parkes and Lawrence Lasker, who first encountered Sacks's book as undergraduates at Yale, and optioned it a few years later. The film was a critical and commercial success, earning $108.7 million on a $29 million budget, and was nominated for three Academy Awards.

Plot
In 1969, Dr. Malcolm Sayer is a dedicated and caring physician at a local hospital in the Bronx borough of New York City. After working extensively with the catatonic patients who survived the 1919–1930 epidemic of encephalitis lethargica, Sayer discovers that certain stimuli will reach beyond the patients' respective catatonic states; actions, such as catching a ball, hearing familiar music, being called by their name, and enjoying human touch, all have unique effects on particular patients and offer a glimpse into their worlds. Patient Leonard Lowe seems to remain unmoved, but Sayer learns that Leonard is able to communicate with him by using a Ouija board.

After attending a lecture at a conference on the drug L -DOPA and its success for patients with Parkinson's disease, Sayer believes that the drug may offer a breakthrough for his own group of patients. A trial run with Leonard yields astounding results; Leonard completely "awakens" from his catatonic state. This success inspires Sayer to ask for funding from donors, so that all the catatonic patients can receive the L -DOPA medication and gain "awakenings" to reality and the present.

Meanwhile, Leonard is adjusting to his new life, and becomes romantically interested in Paula, the daughter of another hospital patient. Leonard begins to chafe at the restrictions placed on him as a patient of the hospital, desiring the freedom to come and go as he pleases. He stirs up a revolt by arguing his case to Sayer and the hospital administration. As Leonard becomes more agitated, Sayer notices that a number of facial and body tics begin to manifest, which Leonard has difficulty controlling.

Although Sayer and the hospital staff are thrilled by the success of L -DOPA with this group of patients, they soon learn that it is a temporary result. As the first to "awaken", Leonard is also the first to demonstrate the limited duration of this period of "awakening". Leonard's tics gradually grow more prominent, and he starts to shuffle as he walks. All the patients are forced to witness what will eventually happen to them. Leonard soon begins to have full body spasms and can hardly move. He tolerates the pain, and asks Sayer to film him, with the hope that he would someday contribute to research that may help others. Leonard acknowledges what is happening to him, and has a last lunch with Paula, at which he tells her that he cannot see her anymore. When he is about to leave, Paula dances with him. For this short period of time, his spasms disappear. Leonard and Sayer reconcile their differences, but Leonard soon returns to his catatonic state. The other patients' fears are similarly realized, as each eventually returns to catatonia, no matter how much that their L -DOPA dosages are increased.

Sayer tells a group of hospital grant donors that, although the "awakening" did not last, another kind — one of learning to appreciate and live life — occurred. For example, he overcomes his painful shyness and asks Nurse Eleanor Costello to go out for coffee, many months after he had declined a similar invitation from her. The nurses treat the catatonic patients with more respect and care, and Paula visits Leonard. Sayer and Leonard continue to communicate with the Ouija board.

Cast

 * Robert De Niro as Leonard Lowe
 * Robin Williams as Dr. Malcolm Sayer
 * Julie Kavner as Eleanor Costello
 * John Heard as Dr. Kaufman
 * Penelope Ann Miller as Paula
 * Max von Sydow as Dr. Peter Ingham
 * Vincent Pastore as Ward #5 Patient #6
 * Ruth Nelson as Mrs. Lowe
 * Alice Drummond as Lucy
 * Judith Malina as Rose
 * George Martin as Frank
 * Anne Meara as Miriam
 * Mary Alice as Nurse Margaret
 * Richard Libertini as Sidney
 * Keith Diamond as Anthony
 * Peter Stormare as unsympathetic neuro-chemist lecturer
 * Bradley Whitford as Dr. Tyler
 * Dexter Gordon as Rolando
 * Vin Diesel (uncredited) as Orderly

Casting
On September 15, 1989, Liz Smith reported that those being considered for the role of Leonard Lowe's mother were Kaye Ballard, Shelley Winters and Anne Jackson; not quite three weeks later, Newsday named Nancy Marchand as the leading contender. In January 1990 — more than three quarters of the way through the film's four-month shooting schedule  — the matter was seemingly resolved, when the February 1990 issue of Premiere magazine published a widely cited story, belatedly informing fans that, not only had Winters gotten the role, she had been targeted at De Niro's request, and had been cast by displaying her Oscar awards (for the benefit of veteran casting director, Bonnie Timmermann).

"Ms. Winters arrived, sat down across from the casting director and did, well, nothing. After a moment of silence, she reached into her satchel and pulled out an Oscar, which she placed on the desk. After another moment, she reached in and pulled out another, placing it on the desk beside the first. Finally she said: 'Some people think I can act. Do you still want me to read for this part?' 'No, Miss Winters,' came the reply. She got the part. 'Shelley Winters Flaunts Talent'. The Baltimore Sun. January 25, 1990. p. 2F. Retrieved March 6, 2022. See also: Despite Liz Smith's, Newsday 's and Premiere's seemingly definitive reports (which, minus any mention of the specific film being discussed, would be periodically reiterated and ultimately embellished in subsequent years), Ebert, Roger (May 12, 1995). "'Sharks' Takes Sardonic Swipe at Hollywood". Chicago Sun-Times. p. 37. Retrieved—via RogerEbert.com. "When we first meet [Guy], he's having lunch with a table full of other ambitious young would-be executives, at Musso and Frank's. He's telling an anecdote about how Shelley Winters was asked to audition for a producer once, and simply pulled her Oscars out of her handbag and lined them up on his desk. It would be a great story, if the others had heard of Shelley Winters (one of them finally remembers her from 'The Poseidon Adventure'). Retrieved March 6, 2022. See also: "Ruth was a great lady. She was a New York stage actress in the 1930s who transitioned to movies but was blacklisted in the 1950s when her second husband was among those Senator Joseph McCarthy labeled a Communist. She was victimized by association and didn't work for three decades. When I met her, she was eighty-four and had battled a brain tumor and also had arthritis. I stared at her slender arms and gnarled hands. It looked like she had pushed her kid's arms and legs down for years. I liked her. I couldn't get her insured, but I didn't care. Neither did she. She wanted to do it. To me, that’s what the movie was about."
 * Record News Services (January 25, 1990). 'Thursday's People: Her Friend, Oscar'. The Record. p. 2
 * Camilli, Doug (January 26, 1990). 'Hanks Harvests Plum Role as Real McCoy in Bonfire of the Vanities'. The Montreal Gazette. p. 18.
 * Powell, Lew (January 29, 1990). 'Statues Speak Louder Than Words'. The Charlotte Observer. p. 6B.
 * Berger, Joe; O'Neil, Cindy; eds. (March 13, 1990). 'World's Hottest Gossip: Kathleen Turner Goes Nuts for Sexy Leading Men ... and hubby pitches fits!; Prince Dines on Canned Frosting'. Weekly World News. p. 13. Retrieved May 18, 2022.
 * 'Star Gazing: Silence Is Golden'. The Winnipeg Sun. August 5, 1992. p. 16."
 * Berger, Joe; O'Neil, Cindy; eds. (March 13, 1990). 'World's Hottest Gossip: Kathleen Turner Goes Nuts for Sexy Leading Men ... and hubby pitches fits!; Prince Dines on Canned Frosting'. Weekly World News. p. 13. Retrieved May 18, 2022.
 * 'Star Gazing: Silence Is Golden'. The Winnipeg Sun. August 5, 1992. p. 16."
 * "SHELLEY WINTERS ~ Interview Tom Snyder Show (1996) pt 1". YouTube.
 * Bernard, Jami (September 17, 2000). "And the Return Envelope, Please... ". New York Daily News.
 * "Movies: When Shelley Winters was asked to audition...". The Sun Herald Marquee. March 27, 2003. p.4.
 * Danziger, Maya (February 2005). "The Twilight Zone: The Shelley Winters Moment". Los Angeles Magazine. p. 75.
 * O'Malley, Sheila (January 16, 2006). "R.I.P., Shelley Winters". The Sheila Variations.
 * "Shelley Winters; Comments &#91;Comment #4&#93;". DAMEonline.net. November 12, 2007.
 * O'Malley, Sheila (December 1, 2008). "The Books: “Shelley, Also Known As Shirley” (Shelley Winters)". The Sheila Variations.
 * Brown, David (March 6, 2014). "Albert Pujols channels Joe Pesci character after being insulted by Mike Trout comparison". Yahoo!Entertainment. the film was released in December 1990, featuring neither Winters (whose early dismissal evidently resulted from continuing attempts to pull rank on director Penny Marshall) nor any of the other previously publicized candidates (nor at least two others, Jo Van Fleet and Teresa Wright, identified in subsequent accounts),  but rather the then-85-year-old Group Theater alumnus, Ruth Nelson, giving a well-received performance in what would be her final feature film. "As Leonard's mother," wrote The Wall Street Journal critic, Julie Salamon, "Nelson achieves a wrenching beauty that stands out even among these exceptional actors doing exceptional things." In her 2012 memoir, Penny Marshall recalled:

Filming
Principal photography for Awakenings began on October 16, 1989, at the Kingsboro Psychiatric Center in Brooklyn, New York, which was operating, and lasted until February 16, 1990. According to Williams, actual patients were used in the filming of the movie. In addition to Kingsboro, sequences were filmed at the New York Botanical Garden, Julia Richman High School, the Casa Galicia, and Park Slope, Brooklyn.

Reception
Awakenings was released theatrically on December 12, 1990, with an opening weekend gross of $417,076, opening in second place, behind Home Alone 's ninth weekend, with $8,306,532. It went on to gross $52.1 million in the United States and Canada, and $56.6 million internationally, for a worldwide total of $108.7 million.

Critical response
Awakenings received positive reviews from critics. Review aggregator Rotten Tomatoes reports that 82% of 38 film critics have given the film a positive review, with an average rating of 6.6/10. Its consensus states: "Elevated by some of Robin Williams'[s] finest non-comedic work and a strong performance from Robert De Niro, Awakenings skirts the edges of melodrama, then soars above it." Metacritic, which assigns a weighted average score from reviews of mainstream critics, gives the film a score of 74 out of 100, based on 18 reviews. Audiences surveyed by CinemaScore gave the film a grade of "A" on scale of A+ to F.

Roger Ebert of the Chicago Sun-Times gave the film a rating of four stars out of four, writing, "After seeing Awakenings, I read it, to know more about what happened in that Bronx hospital. What both the movie and the book convey is the immense courage of the patients and the profound experience of their doctors, as in a small way they reexperienced what it means to be born, to open your eyes and discover to your astonishment that 'you' are alive."

Owen Gleiberman of Entertainment Weekly praised the film's performances, citing, "There's a raw, subversive element in De Niro's performance: He doesn't shrink from letting Leonard seem grotesque. Yet Awakenings, unlike the infinitely superior Rain Man, isn't really built around the quirkiness of its lead character. The movie views Leonard piously; it turns him into an icon of feeling. And so even if you're held (as I was) by the acting, you may find yourself fighting the film's design."

Oliver Sacks, the author of the memoir on which the film is based, "was pleased with a great deal of [the film]", explaining, "I think in an uncanny way, De Niro did somehow feel his way into being Parkinsonian. So much so that sometimes when we were having dinner afterwards I would see his foot curl or he would be leaning to one side, as if he couldn't seem to get out of it. I think it was uncanny the way things were incorporated. At other levels I think things were sort of sentimentalized and simplified somewhat."

Desson Howe of The Washington Post said that the film's tragic aspects did not live up to the strength in its humor, saying,

"When nurse Julie Kavner (another former TV being) delivers the main Message (life, she tells Williams, is 'given and taken away from all of us'), it doesn't sound like the climactic point of a great movie. It sounds more like a line from one of the more sensitive episodes of Laverne and Shirley."

Similarly, Janet Maslin of The New York Times concluded her review by stating, "Awakenings works harder at achieving such misplaced liveliness than at winning its audience over in other ways."

Accolades
The film was nominated for three Academy Awards, including: the Academy Award for Best Picture, the Academy Award for Best Adapted Screenplay, and the Academy Award for Best Actor (Robert De Niro). Robin Williams was also nominated at the 48th Golden Globe Awards for Best Actor in a Motion Picture Drama.