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For Love or Money
Alternate Title: The Concierge
Director: Barry Sonnenfeld (Dir)
Release Date:   8 Oct 1993
Premiere Information:   Los Angeles opening: 1 Oct 1993; New York opening: week of 1 Oct 1993
Production Date:   20 Apr--early Jun 1992
Duration (in mins):   108
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Cast:   Michael J. Fox (Doug Ireland)  
    Gabrielle Anwar (Andy Hart)  
    Anthony Higgins (Christian Hanover)  
    Bob Balaban (Mr. [Ed] Drinkwater)  
    Michael Tucker (Mr. [Harry] Wegman)  
    Udo Kier (Mr. Himmelman)  
    Dan Hedaya (Gene Salvatore)  
    Patrick Breen (Gary Taubin)  
    Isaac Mizrahi (Julian Russell)  
  Featuring: Fyvush Finkel (Milton [Glickman])  
    Mike G. (Charlie)  
    Saverio Guerra (Carmen)  
    Daniel Hagen (Vincent)  
    La Chanze (Nora)  
    Paula Laurence (Mrs. [Jeanette] Vigusian)  
    Donna Mitchell (Eleanor Hanover)  
    Debra Monk (Mrs. Wegman)  
  [and] Sandra Reaves-Phillips (Marie)  
    Simon Jones (Albert)  
    Dianne Brill (Gloria)  
    Susan Blommaert (Charlotte)  
    Nicole Beach (Julian Russell girl)  
    Susan Ringo (Mrs. Brinkerhoff)  
    John Cunningham (Mr. [Randall] Brinkerhoff)  
    Ann McDonough (Mrs. Nimkoff)  
    Richmond Hoxie (Mr. [Josh] Bailey)  
    Alice Playten (Mrs. [Priscilla] Bailey)  
    Erick Avari (Benny)  
    Douglas Seale (Freddy)  
    David Lipman (Man in elevator)  
    le Clanché du Rand (Woodsy woman)  
    Anne Lange (Tiffany saleswoman [Ann])  
    Salem Ludwig (Customer)  
    Louis Cantarini (Cab driver)  
    Hikari Takano (Leon)  
    Jed Krascella (Stage manager)  
    Gabor Morea (Maitre d')  
    Beverly Peer (Musician)  
    Robert Scott (Musician)  
    Mark Zimmerman (Pilot)  
    Al Cerullo, Jr. (Co-pilot)  
    Dan Brennan (Tiffany guard)  
    Francis Dumaurier (Husband)  
    Bobby Short (Himself) as
    Suzann O`Neill (Tatiana)  
    Tim Gallin (Eliot)  
    Steven Randazzo (Gangster)  
    Steve Ames (Gangster)  
    Harry Bugin (Gangster)  
    Alvin Alexis (Bicyclist)  
    Nick Cosco (Piano player)  
    Jane Deacy (Traffic policeman)  
    Cynthia Bailey (Model)  
    Anna Bayle (Model)  
    Danya (Model)  
    Angelika Kallio (Model)  
    Kimora (Model)  
    Melani Landestoy (Model)  
    Kimberly Marler (Model)  
    Marpessa (Model)  
    Teresa Stewart (Model)  
    Akure Wall (Model)  
    Veronica Webb (Model)  

Summary: Enterprising young hotel concierge Doug Ireland goes to great lengths to satisfy the guests and appease the eccentric staff members at New York City’s declining Bradbury Hotel. Although his charms often earn him generous tips from customers, his romantic advances are rebuffed by Andy Hart, a saleswoman at the hotel’s perfume counter who claims to be in a relationship with a wealthy, married man. One day, an acquaintance gets Doug a meeting with billionaire mogul Christian Hanover when he comes to the Bradbury to meet his mistress. Doug proposes his life-long dream to build his own hotel on Roosevelt Island after saving years of tips to take out an option on the property. Christian is impressed by Doug’s business plan, and agrees to consider making a $3 million investment. When Christian’s mistress arrives, however, Doug is surprised and hurt to find Andy standing at the door. Once Christian leaves, Doug accuses Andy of being superficial, but she insists the billionaire plans to divorce his wife for her. The next day, Internal Revenue Service (IRS) Agent Ed Drinkwater informs Doug that he is under investigation for failing to report his full income to the tax bureau by using his tips on the Roosevelt Island property venture. Keen to move forward with the hotel, Christian Hanover asks Doug to return the favor by attending one of Andy’s singing performances in his place. At the club, Doug apologizes for his earlier behavior and lies to Andy about Christian’s whereabouts, hoping to quell her suspicion that he has returned to his wife in the countryside. The next day, Christian telephones Doug claiming Andy is on her way to visit him under the false impression that he is alone. Using his business connections, Doug hires a helicopter to fly to Southampton, New York, in time to stop Andy from running into Christian’s wife at the Hanovers’ Memorial Day party. He locks Andy in a bedroom while dodging Mr. Drinkwater, who arrived at the house trailing Doug. Inside the room, Andy befriends one of Christian’s famous protégés, fashion designer Julian Russell, before Doug takes her back to the city. At Andy’s apartment, Doug goes upstairs to use her bathroom and Andy packs a bag to leave town. When Christian telephones, Andy refuses to speak to him, but Doug convinces them both to reconcile. The next day, Christian once again asks Doug to keep Andy company while he is detained at work. Although he initially refuses, he remembers Christian’s commitment to the hotel investment and agrees to spend the day taking her about town. When Andy asks Doug why he is so beholden to Christian, he takes her to Roosevelt Island to show her the property he hopes to develop. That evening, Doug drives Andy to her date with Christian. On his way home, however, he sees Christian dining with another woman in a restaurant and returns to have a drink with Andy, not mentioning what he saw. While they wait, Andy dances with Harry Wegman, a Bradbury guest whose twenty-year marriage Doug has helped revive. Although Andy assumes Doug expected something from him in return, Mr. Wegman insists Doug’s actions were selfless. Doug and Andy nearly kiss, but are interrupted by the maitre d’ informing them that Christian has called, asking to meet Andy at their usual Bradbury suite. Back at the hotel, Andy denies any romantic possibility between her and Doug and belittles him for playing the role of Christian’s “houseboy.” Christian announces he has resolved the issue with the IRS and decided to begin construction on Doug’s hotel. On his way out, Doug overhears Christian tell Andy he has finally left his wife. During Julian Russell’s fashion show later that week, Christian gives Doug the property paperwork, which will transfer the lease agreement to the control of his corporation and end Mr. Drinkwater's audit. Doug mentions Christian’s divorce, but the billionaire insists his wife has allowed him to continue having affairs if he agrees not to end their marriage. Believing Christian is loyal, Andy leaves the fashion show to accompany him on a trip to Italy. As they drive away, Doug tears up the papers and asks his connections to help him create a traffic jam on the Queensboro Bridge. He borrows a horse from a hansom cab driver and rides to catch up with Andy. Meanwhile, Andy learns that Christian conspired with Mr. Drinkwater to trick Doug into relinquishing control of the property rights. Furious, she gets out of the car and walks away, spotting Doug as he runs in her direction across the bridge. Sometime later, Doug and Andy marry, and Doug receives a telephone call from Mr. Wegman, who acquired a copy of Doug’s hotel plan from a Bradbury bellhop and agrees to fund the development.  

Production Company: Imagine Films Entertainment  
Production Text: Imagine Films Entertainment Presents
A Brian Grazer Production
A Barry Sonnenfeld Film
An Imagine Films Entertainment Presentation
Distribution Company: Universal Pictures (An MCA Company)
Director: Barry Sonnenfeld (Dir)
  Chris Brigham (Unit prod mgr)
  Mark McGann (1st asst dir)
  Julie A. Bloom (2d asst dir)
  Ellie Smith (2d 2d asst dir)
  Kristie Hart (Addl 2d 2d asst dir)
  Ellen Marie Blum (DGA trainee)
Producer: Brian Grazer (Prod)
  Graham Place (Co-prod)
  David T. Friendly (Exec prod)
Writer: Mark Rosenthal (Wrt)
  Lawrence Konner (Wrt)
Photography: Oliver Wood (Dir of photog)
  Tony Jannelli (Cam op)
  Angelo Di Giacomo (1st asst cam)
  Liz Dubelman (2d asst cam)
  Patrick B. O'Brien (Cam trainee)
  Andy Schwartz (Still photog)
  Rick Raphael (Steadicam op)
  Joe Trammell (Video playback)
  Russell Engels (Chief lighting tech)
  Kenneth Connors (Best boy elec)
  Michael Burke (Company elec)
  James W. Walsh (Company elec)
  Dusty Klatt (Company elec)
  Ken Finlay (Company elec)
  John Burke (Company elec)
  Robert Sciretta (Company elec)
  Richard A. Montgomery (Company elec)
  Robert J. McGavin (Company elec)
  George Patsos (Key grip)
  Edward Quinn (Dolly grip)
  William Patsos (Best boy grip)
  Constantine Gus Magalios (Company grip)
  Mike Finnerty (Company grip)
  Bill Kerwick (Rigging grip)
  DuArt Laboratories (Film processing)
  General Camera (Loc equip supplied by)
Art Direction: Peter Larkin (Prod des)
  Charley Beal (Art dir)
  Chris J. Shriver (Asst art dir)
  Julia G. Hickman (Art dept coord)
  Joan Winters (Graphic des)
  Jennifer Wachtell (Art dept asst)
Film Editor: Jim Miller (Film ed)
  Suzanne Pillsbury (1st asst ed)
  Cara Silverman (Asst ed)
  John Steele Hill (Asst ed)
  Gary Levy (Apprentice ed)
  Zeborah Tidwell (Apprentice ed)
  Gary Burritt (Negative cutter)
Set Decoration: Ed Check (Draftsman)
  Leslie E. Rollins (Set dec)
  Roberta Holinko (Asst set dec)
  Kevin McCarthy (Leadman)
  Joseph (Pepe) Bird (Set dresser)
  Joseph F. Proscia (Set dresser)
  Gilbert Gertsen (Set dresser)
  Gordon H. Gertsen (Set dresser)
  John P. Oates (Set dresser)
  John Oates (Set dresser)
  Gary Levitsky (Set dresser)
  Glenn Jones (Set dresser)
  Greco (Set dresser)
  William F. Reynolds (Prop master)
  Gary J. Brink (Asst prop master)
  James J. Archer (Addl prop)
  Richard T. Allen (Const coord)
  Tom Boles (Master carpenter)
  Richard Hebrank (Key const grip)
  Donny Zappia (Const grip)
  Jim Neill (Stage op mgr)
  Kenneth Albanese (Standby carpenter)
  Bill Lucek (Master scenic artist)
  Elisa Nevel-Demarest (Scenic)
  Neil Rappa (Scenic)
  Timothy T. Keerney (Carpenter)
  Joseph P. Williams (Const grip)
  Michael Scarola (Const grip)
  Charles Nastacio (Const grip)
  Harold J. Halligan (Lead painter)
  Atelier International (Contemporary furnishings courtesy of)
  Stark Carpet Corporation (Floor coverings by)
  Wendy Lehman (Modern sculpture by)
Costumes: Susan Lyall (Cost des)
  David Carl Robinson (Asst cost des)
  William A. Campbell (Ward supv)
  Jane Myers (Ward supv)
  Donatella Rondolino (Ward asst)
  Isaac Mizrahi (Fashion show clothes by)
  Bottega Veneta (Selected fashion accessories by)
  Amsale (Wedding gown des by)
  Todd Oldham (Selected clothes for Ms. Anwar by)
Music: Bruce Broughton (Mus)
  Alex Steyermark (Mus supv)
  James Flatto (Mus ed)
  Patricia Carlin (Mus ed)
  Ken Watson (Mus contractor)
Sound: Peter F. Kurland (Sd mixer)
  Lee Dichter (Re-rec mixer)
  John K. Fundus (Boom op)
  Terence J. O'Mara (Boom op)
  Steve Scanlon (Cable person)
  Skip Lievsay (Supv sd ed)
  Philip Stockton (Dial supv)
  Laura Civiello (Dial ed)
  Robert Hein (Dial ed)
  Gail Stockton (ADR supv)
  Marissa Littlefield (ADR ed)
  Kenton Jakub (ADR ed)
  Kristen M. Johnson (Asst ADR ed)
  Julie Lindner (Asst ADR ed)
  Ronald Bochar (Sd eff ed)
  Eugene Gearty (Sd eff ed)
  Chris Fielder (Asst sd ed)
  Sylvia Menno (Asst sd ed)
  Glenfield Payne (Apprentice sd ed)
  Bruce Pross (Foley supv)
  Frank Kern (Foley ed)
  Eliza Paley (Foley ed)
  Steven Visscher (Foley ed)
  Marko A. Costanzo (Foley artist)
  David Kramer's Loop Group (Loop group)
  David Boulton (Looping eng)
  Sound One Corporation NYC (Post prod facility)
Special Effects: Pam Beresford (Matte artist)
  Tom Draplin (Matte artist)
  The Effects House (Opticals)
  Pittard Sullivan Fitzgerald (Title des)
  Cinema Research Corporation (Title opticals)
Make Up: Bernadette Mazur (Key makeup artist)
  Paul Gebbia (Addl makeup)
  Francesca Paris (Key hairstylist)
  Ralph Stanzione (Addl hair)
  Bron S. Roylance (Mr. Fox's makeup artist)
  Rick Provenzano (Mr. Fox's hairstylist)
Production Misc: John Lyons (Casting)
  Pamela Hochschartner (Prod coord)
  Mary Bailey (Scr supv)
  Jeremiah Samuels (Unit stage mgr)
  Kerry Orent (Post prod supv)
  Kathleen McGill (Prod controller)
  Ilene S. Landress (Asst auditor)
  Ronnie Hisaw (Asst auditor)
  Kenneth M. Kroll (Asst auditor/Payroll clerk)
  Jeanne Chrzanowski (Asst prod coord)
  Sarah VanWagenen (Prod secy)
  Maggie Davis (Asst to Mr. Sonnenfeld)
  Jean Marie Carroll (Asst to Mr. Place)
  Heidi Santelli (Asst to Mr. Fox)
  Francie Brown (Ms. Anwar's dialect coach)
  Donald Murphy (Office prod asst)
  Bill Pruitt (Office prod asst)
  Seth A. Miller (Prod asst)
  William Connor (Prod asst)
  Kim Kennedy (Prod asst)
  Steve Lee Davis (Prod asst)
  Nicholas Wolfert (Prod asst)
  Jim Adler (Prod asst)
  Leelee Groome (Prod asst)
  Carey D. Magee (Intern)
  Neri Kyle Tannenbaum (Loc mgr)
  Barton Wenrich (Asst loc mgr)
  Christine Sheaks (Casting assoc)
  Bobby Cohen (Casting intern)
  Laury Marker (Casting intern)
  Joy Todd (Extras casting)
  Grant Wilfley (Extras casting assoc)
  Staller Studios (Bubbleheads)
  Eric Myers (Unit pub)
  Gavin DeBecker, Inc. (Security)
  Dennis E. Bridwell (Security)
  David Dreisphoon (Craft service)
  Dawn Wolf (Chef)
  Anthony Monteforte (Chef)
  John Hallahan (Chef)
  Mariano Schwed (Loc asst)
  George Norfleet (Loc PA)
  Joe Fanning (Transportation capt)
  Michael "Mickey" Fennell (Transportation co-capt)
  Delroy Hunter (Parking coord)
  Tom Sammut (Driver)
  Dennis Radesky (Driver)
  James Nugent (Driver)
  Ed Fanning (Driver)
  Phil Ford (Driver)
  Clarence House (Fabrics courtesy of)
Stand In: Charles Croughwell (Stunt coord, Stunts)
  Jennifer Lamb (Stunts)
  Mick O'Rourke (Stunts)
  Sunnie Merrill (Stunts)
  Gregg Smrz (Stunts)
Color Personnel: Dennis McNeill (Col timer)
  De Luxe® (Col by)
MPAA Rating: PG
Country: United States
Language: English

Music:
Songs: "Let Me Take Over," written by LeMel Humes, performed by Ray Charles, produced by Richard Perry, courtesy of Warner Bros. Records Inc.; "(Your Love Has Lifted Me) Higher And Higher," written by Carl Smith, Gary Jackson & Raynard Miner, performed by Jimmy Barnes, courtesy of Mushroom Records; "Change," written and produced by [Kevin] Clark/[Donald] Weekes/[Rex] Brough/[John] Coxon, performed by Definition of Sound, courtesy of Cardiac Records Inc.; "Dominique," written by Sister Sourire, performed by The Singing Nun, courtesy of PolyGram Special Markets, a division of PolyGram Group Distribution, Inc.; "I Could Love A Man (Who Uses His Head)," music and lyrics by Marc Shaiman & Ramsey McLean, performed by Gabrielle Anwar; "By & By," written by Bettina Gildis & Anton Sanko, performed by Bettina Gildis & Anton Sanko, courtesy of Redrubber Music; "Picky Picky Head," written by L. [Lloyd] McDonald, performed by Wailing Souls, courtesy of Chaos/Columbia Records, by arrangement with Sony Music Licensing; "Reggae Inna Summertime," written by [Joaquin] Quino/G. T. Blakney/J. [Jerome] Cruz/M. [Manfred] Reinke, performed by Big Mountain, courtesy of Quality Records, Inc.; "Lonely Blues," written, produced, and arranged by Mitch Moses, performed by Mitch Moses' Acid Blues Project, courtesy of Instinct Records; "If I Had You," written by T. [Ted] Shapiro/J. [Jimmy] Campbell/R. [Reginald] Connelly, performed by John Pizzarelli, courtesy of the RCA Records/Novus Label of BMG Music; "Masenko," written by A. [Anders] Wollbeck/A. [Alexander] Bard/M. [Midi] Berhanu/F. [Freweyni] Teclehaimanot/M. [Maxi] Berhanu, performed by Midi, Maxi & Efti, courtesy of Columbia Records, by arrangement with Sony Music Licensing; "Mama," written by Thierry Plas & Mich Van Hautem, performed by Little Sister, courtesy of Redrum Productions; "In Your Eyes," music and lyrics by Marc Shaiman & Ramsey McLean, performed by Bobby Short; "Ride The Bullet," written by [Alexander] Bard/[Anders] Wollbeck/[Emil] Hellman/[Jean-Pierre] Barda/[Camilla] Henemark, performed by Army of Lovers, courtesy of Giant Records/Sonet Records, by arrangement with Warner Special Products; "Get It Up," written by Richie Mayer & David Bendeth, performed by Love & Sas, courtesy of BMG Music Canada, Inc.
Composer: A. Bard
  Jean-Pierre Barda
  David Bendeth
  M. Berhanu
  M. Berhanu
  G. T. Blakney
  Rex Brough
  J. Cambell
  Kevin Clark
  R. Connelly
  John Coxon
  J. Cruz
  Bettina Gilois
  Emil Hellman
  Camilla Henemark
  Lemel Humes
  Gary Jackson
  Richie Mayer
  L. McDonald
  Ramsey McLean
  Raynard Miner
  Mitch Moses
  Thierry Plas
  Quino
  M. Reinke
  Anton Sanko
  Marc Shaiman
  T. Shapiro
  Carl Smith
  Sister Sourire
  F. Teclehaimanot
  Mich Van Hautem
  Donald Weekes
  A. Wollbeck
Source Text:

Copyright Claimant Copyright Date Copyright Number
Universal City Studios, Inc. 18/10/1993 dd/mm/yyyy PA665801

PCA NO: 32290
Physical Properties: Sd: Dolby Stereo® in selected theatres; The Digital Experience DTS in selected theatres
  col:
  Lenses: Filmed with Panavision® Cameras & Lenses
  Prints: Eastman Color Film

 
Genre: Romantic comedy
 
Subjects (Major): Ambition
  Businessmen
  Hotels
  Romance
  Romantic rivalry
 
Subjects (Minor): Bellboys
  Entrepreneurs
  Hotel managers
  Infidelity
  Investigations
  Mistresses
  New York City
  Real estate
  Saleswomen
  Southampton (NY)
  Tourists
  United States. Internal Revenue Service

Note: End credits give “Special thanks” to: “The New York Mayor’s Office for Film, Television and Broadcasting; The Pierre Hotel; Susan Ringo.”
       Although not included in onscreen credits, the following songs were used in the film: “Secret Agent Man,” by Steve Barri and P. F. Sloan; “Happy Days Are Here Again,” by Milton Ager and Jack Yellen; “I Only Have Eyes For You,” by Al Dubin and Harry Warren, and “The Star-Spangled Banner,” by John Stafford Smith and Francis Scott Key. “Doug Ireland” is also shown watching footage from the television series, The Munsters (CBS Television Network, 24 Sep 1964—1 Sep 1966), which is not credited onscreen.
       The 13 Mar 1992 Screen International stated that Samantha Mathis was set to play “Andy Hart” before the 20 Mar 1992 issue announced the casting of Gabrielle Anwar. The 3 Apr 1992 Screen International also noted the involvement of actor Michael Caine, but he does not appear in the final film.
       The 11 Feb 1992 HR production chart indicated that principal photography was originally scheduled to begin 23 Mar 1992 under the working title, The Concierge. However, the 28 Apr 1992 HR stated that filming began a month later than expected, on 20 Apr 1992, with the project now renamed as Michael J. Fox Untitled. Toward the end of production, the 7 Jul 1992 HR stated that the title had been changed to For Love or Money.
       Production notes in AMPAS library files suggested that filmmakers originally considered filming in Toronto, Canada, but decided to use actual New York City locations. The Pierre Hotel on Fifth Avenue stood in for the “Bradbury Hotel,” while interiors modeled on the Pierre, Plaza, and St. Regis Hotels were constructed on a stage at 10th Avenue and 15th Street. Additional scenes were shot at Bendel’s and Barney’s department stores and Laura Belle’s and Sandomenico restaurants. The “Hanover” country home was located in Southampton, NY. A 9 Jun 1993 LA Daily News story indicated that the final day of shooting was delayed when director Barry Sonnenfeld was hospitalized with a kidney stone for nineteen hours. The 29 Jul 1992 DV confirmed that principal photography had been completed.
       On 5 Jul 1993, People magazine announced that national release was moved from 16 Jul 1993 to 8 Oct 1993, due to lack of available theater space during the busy summer blockbuster season. Although the 21 Jun 1993 HR stated the film had received positive feedback in test screenings, People suggested that the delay was caused by concern over the poor box-office earnings of Michael J. Fox’s recent 4 Jun 1993 film, Life with Mikey (see entry). For Love or Money opened 1 Oct 1993 in Los Angeles, CA, and New York City to largely negative reviews. 

Bibliographic Sources:   Date   Page
Daily Variety   29 Jul 1992.   
Hollywood Reporter   11 Feb 1992.   
Hollywood Reporter   28 Apr 1992.   
Hollywood Reporter   7 Jul 1992.   
Hollywood Reporter   21 Jun 1993.   
LA Daily News   9 Jun 1993.   
Los Angeles Times   1 Oct 1993   Section F, p. 8.
New York Times   1 Oct 1993   Section C, p. 8.
People   5 Jul 1993.   
Screen International   13 Mar 1992.   
Screen International   20 Mar 1992.   
Screen International   3 Apr 1992.   
Variety   11 Oct 1993   p. 73.

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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