AFI Catalog of Feature Films
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Beverly Hills Cop
Director: Martin Brest (Dir)
Release Date:   5 Dec 1984
Premiere Information:   Los Angeles and New York openings: 5 Dec 1984
Production Date:   began 7 May 1984 in Detroit, Michigan, and Los Angeles, California
Duration (in mins):   105
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Cast:   Eddie Murphy (Axel Foley)  
    Lisa Eilbacher (Jenny Summers)  
    Steven Berkoff (Victor Maitland)  
    Judge Reinhold (Det. Billy Rosewood)  
    Ronny Cox (Lt. Bobomil)  
    John Ashton (Sgt. Taggart)  
    James Russo (Mikey Tandino)  
    Stephen Elliott (Chief Hubbard)  
    Paul Reiser (Jeffrey)  
    Jonathan Banks (Zack)  
    Gilbert R. Hill (Inspector Todd)  
    Art Kimbro (Det. Foster)  
    Joel Bailey (Det. McCabe)  
    Bronson Pinchot (Serge)  
    Michael Champion (Casey)  
    Frank Pesce (Cigarette buyer)  
    Gene Borkan (Truck driver)  
    Michael Gregory (Hotel manager)  
    Alice Cadogan (Hotel clerk)  
    Philip Levien (Donny)  
    Karen Mayo-Chandler (Maitland receptionist)  
    Gerald Berns (Beverly Hills cop #1)  
    William Wallace (Beverly Hills cop #2)  
    Israel Juarbe (Room service waiter)  
    Randy Gallion (Bell hop)  
    Damon Wayans (Banana man)  
    Chuck Adamson (Crate opener #1)  
    Chip Heller (Crate opener #2)  
    Rick Overton (Bonded warehouse night supervisor)  
    Rex Ryon (Bonded warehouse security guard)  
    Michael Pniewski (Bonded warehouse clerk #1)  
    Douglas Warhit (Bonded warehouse clerk #2)  
    Paul Drake (Holdup man #1)  
    Tom Everett (Holdup man #2)  
    Sally Kishbaugh (Waitress)  
    Barry Shade (Valet)  
    Jack Heller (Harrow Club maitre d')  
    Michael Harrington (Harrow Club arresting officer)  
    David Wells (Dispatcher)  
    Scott Murphy (Det. Owenby)  
    Dennis Madden (1st Detroit cop)  
    John Achorn (2nd Detroit cop)  
    John Pettis (3rd Detroit cop)  
    Nick Shields (Detroit station cop #1)  
    Carl Weintraub (Detroit station cop #2)  
    Anthony De Fonte (Detroit station cop #3)  
    Darwyn Carson (Barmaid)  
    Mark E. Corry (Pool player)  
    Thomas J. Hageboeck (Maitland body guard)  

Summary: On a Detroit, Michigan, street, undercover police officer Axel Foley persuades several criminals to purchase black market cigarettes. When police arrive, the crooks speed away in a double-trailer semi truck as Axel clings to a storage chain. After a citywide chase, officers detain Axel at gunpoint only to realize he is one of their own. Back at the police station, Inspector Todd scolds Axel for his recent act of insubordination and threatens to fire him. Returning home, Axel is surprised to find his ex-convict childhood friend, Mikey Tandino, who has broken into the apartment. After showing Axel a stack of stolen German bearer bonds, Mikey reports that he recently returned from Beverly Hills, California, where he worked as an art gallery security guard for their longtime friend, Jenny Summers. When the companions return from a pool hall, a hired killer punches Axel unconscious as his boss, Zack, shoots Mikey dead as retribution for stealing the bonds. A short time later, police arrive and Axel, now conscious, unsuccessfully appeals to Inspector Todd for permission to pursue the case. Taking matters into his own hands, Axel requests time off and drives his battered Chevrolet Nova to Beverly Hills, pretending to be on vacation. There, he checks into the overbooked Beverly Palm Hotel by insisting he is a journalist for Rolling Stone magazine. Unfazed by the $235 per night fee, Axel walks to the Hollis Benton Gallery, where Jenny Summers works for art dealer Victor Maitland. She is shocked to learn of Mikey’s murder and reports that their friend worked at Maitland’s warehouse. Sometime later, Axel gains access to the Maitland’s office, pretending to be a flower deliveryman. Unaware that Mikey’s killer, Zack, is sitting in the room, Axel tells Maitland about the murder. The art dealer feigns distress then orders his henchmen to remove Axel from the building. As they throw him through a glass wall, Axel is arrested by two Beverly Hills policemen for carrying a concealed weapon. At the police station, Sgt. Taggart and his partner, Det. Billy Rosewood, reveal they are aware that Axel is a fellow officer, but the infuriated Taggart punches him in the stomach. When Lt. Bobomil asks if Axel wishes to press charges, he refuses to betray a colleague. Bobomil mentions that Axel’s boss, Inspector Todd, has again threatened to fire the detective if he is pursuing Mikey’s murder case. Later, Jenny bails Axel out of jail and defends Maitland, who launched her successful career. As they drive away in Jenny’s Mecedes convertible, Axel notices Taggart and Rosewood trailing them. Back at his hotel, Axel orders room service for delivery to the detectives’ unmarked police car. While the officers are distracted, Axel stuffs their car tailpipe with bananas so they cannot follow Jenny’s Mercedes to Maitland’s warehouse. There, Axel takes a sample of scattered coffee grounds, witnesses the transfer of German bearer bonds, and follows deliverymen to a bonded warehouse. When he locates the suspicious Maitland crate, Axel pretends to be an irate undercover customs inspector and orders the employees to check the origin and destination of the container. Returning to the hotel, Axel climbs into the backseat of Taggart and Rosewood’s car and convinces the men to join him for a drink. Despite Taggart’s insistence on following police protocol, Axel takes the detectives to a strip club, where he notices two suspicious men in trench coats. Axel persuades Taggart to back him up then detains the men. Back at the Beverly Hills police station, Axel credits Taggart and Rosewood for the arrests, but Taggart is a stickler for honesty and confesses the truth. Lt. Bobomil is outraged and reassigns the case to another team, detectives Foster and McCabe. The next morning, the new team follows Axel to Maitland’s mansion. When the art dealer’s limousine drives away, Axel outwits the detectives by speeding through a red traffic light, then trails Maitland to the elite Harrow social club. There, Axel pretends to be Maitland’s homosexual lover, who needs to convey his recent diagnosis of “herpes simplex 10,” and the maître d’ awkwardly asks Axel to deliver the message in person. Pushing Zack into a buffet table, Axel threatens to hold Maitland accountable for Mikey’s murder and ends up back at the Beverly Hills police station, where he finally reveals the true cause for his “vacation.” He explains that Maitland is bypassing customs to smuggle foreign bonds and drugs into the U.S. Although Lt. Bobomil is intrigued by the discovery, he cannot issue a warrant without proof, and his boss, Chief Hubbard, expels Axel from Beverly Hills. As Rosewood escorts him back to the hotel, Axel reveals that a Maitland shipment is scheduled to arrive that day. He convinces Rosewood to help him procure evidence and directs the detective to Maitland’s gallery. When Axel asks Jenny for keys to the warehouse, she insists on joining the officers. Leaving Rosewood outside in the unmarked police car, Axel and Jenny creep into the storeroom and uncover bags of cocaine, packed in coffee grounds. Just then, Axel and Jenny are detained at gunpoint by Maitland’s henchmen and the art dealer soon arrives with his cronies. Admitting that he is Mikey’s killer, Zack beats Axel, and Maitland is driven away in his limousine with Jenny. Meanwhile, Rosewood observes the events and realizes Axel is in danger. Risking his career, Rosewood rescues Axel and pursues Maitland’s limousine. On the way, Rosewood radios Taggart, who orders Foster and McCabe to go to the warehouse while he follows his partner to Maitland’s estate. There, Taggart orders an end to Axel’s pursuit, but the Detroit officer and Rosewood are intent on rescuing Jenny, so Taggart joins their mission. Back at the police station, Lt. Bobomil orders other officers to the scene. Meanwhile, Axel, Taggart, and Rosewood are ambushed by machine gun-bearing security guards, but Axel breaks into the mansion, kills Zack, and is shot in the arm by Maitland. As police arrive, Maitland holds Jenny at gunpoint, but Lt. Bobomil interrupts the attack, and he and Axel shoot Maitland dead. Outside, Chief Hubbard demands Axel’s arrest, but Lt. Bobomil invents a story to explain the incident. When trustworthy Taggart backs up the account, Hubbard finally believes Lt. Bobomil’s report. Although Axel is ordered to return to Detroit, the lieutenant agrees to restore Axel’s credibility with Inspector Todd. That evening, Taggart and Rosewood arrive at the Beverly Palm Hotel to escort Axel out of town. When he realizes the police department is paying for his accommodations, Axel adds two bathrobes to the bill and gives them to his friends. Outside, Taggart agrees to stop for a drink on the way out of Beverly Hills, and Axel promises in jest that he will take them to a respectable establishment. 

Production Company: Eddie Murphy Productions  
Production Text: A Don Simpson/Jerry Bruckheimer Production
In association with Eddie Murphy Productions
A Martin Brest Film
Brand Name:


Distribution Company: Paramount Pictures (A Gulf+Western Company)
Director: Martin Brest (Dir)
  Tom Wright (2d unit dir)
  Mike Moder (Unit prod mgr)
  Peter Bogart (1st asst dir)
  Steve McRoberts (1st asst dir, 2d unit)
  Richard Graves (2d asst dir)
  Scott Kohlnist (2d asst dir, 2d unit)
Producer: Don Simpson (Prod)
  Jerry Bruckheimer (Prod)
  Mike Moder (Exec prod)
  Linda Horner (Assoc prod)
Writer: Daniel Petrie, Jr. (Scr)
  Danilo Bach (Story)
  Daniel Petrie, Jr. (Story)
Photography: Bruce Surtees (Dir of photog)
  Jack Green (Cam op)
  Michael D. Weldon (Cam asst)
  Jeffrey Lee Miller (Cam asst)
  Richard R. Robinson (Still photog)
  Donald O. Nygren (Gaffer)
  Peter Wagner (Key grip)
  Peter J. Breen (Dolly grip)
  Jim Rose (Dolly grip)
  John Davis (Best boy)
  Frank McKane (Best boy)
  Frank Valdez (Elec)
  Danny Marzolo (Elec)
  Michael Liakos (2d grip)
  Al Contreras (2d grip)
  Robert Deming (Cam op, 2d unit)
  Pat Cragin (Cam op, 2d unit)
  Ann Lukaes (1st asst cam, 2d unit)
  Jim Viola (1st asst cam, 2d unit)
  Pat Pask (2d asst cam, 2d unit)
  Rick Bota (2d asst cam, 2d unit)
  Bob Hayward (Grip/Gaffer, 2d unit)
  Larry Gillum (Grip/Gaffer, 2d unit)
  Billie Strachan (Grip/Gaffer, 2d unit)
  Victor Duncan (Cam equip and dollies supplied by, 2d unit)
  Doug Smith (Insert car provided by, 2d unit)
  Road Runner Camera Cars (Insert car provided by, 2d unit)
  Michigan High Reach (Crane provided by, 2d unit)
Art Direction: Angelo Graham (Prod des)
  James J. Murakami (Art dir)
Film Editor: Billy Weber (Ed)
  Arthur Coburn (Ed)
  Claudia Finkle (Asst ed)
  John A. Haggar (Asst ed)
  Markus Schaub (Apprentice ed)
  White Gloves, Inc. (Negative cutter)
Set Decoration: Jeff Haley (Set dec)
  John M. Dwyer (Set dec)
  Tom Tomlinson (Prop master)
  Mike Blaze (Asst prop)
  John Hutchinson (Standby painter)
  Robert Mueller (Const coord)
Costumes: Tom Bronson (Cost des)
  Kathie Gale (Cost)
  Michael J. Long (Cost)
  Chuck Velasco (Cost)
Music: Harold Faltermeyer (Mus)
  Kathy Nelson (Mus consultant for MCA Records)
  Bob Badami (Mus ed)
Sound: Charles M. Wilborn (Sd mixer)
  William Gocke (Boom op)
  Cecelia Hall (Supv sd ed)
  George Watters, II (Supv sd ed)
  Teri Dorman (Sd ed)
  Bruce Lacey (Sd ed)
  Paul Bruce Richardson (Sd ed)
  Daniel Finnerty, Jr. (Asst sd ed)
  Carolyn Colwell (Asst sd ed)
  Pamela Bentkowski (Foley ed)
  Alan Bromberg (Foley ed)
  Alan L. Nineberg (A.D.R. ed)
  Donald O. Mitchell (Re-rec mixer)
  Gregg Landaker (Re-rec mixer)
  Rick Kline (Re-rec mixer)
  Gary Ritchie (Rec)
  Brian Reeves (Digital consultant)
Special Effects: Kenneth D. Pepiot (Spec eff)
  Steve Grumette (Computer eff consultant)
  R/Greenberg Associates, Inc. (Titles des by)
Make Up: Ben Nye, Jr. (Make-up artist)
  Leonard Engelman (Make-up artist)
  Barbara Lorenz (Hair stylist)
Production Misc: Margery Simkin (Casting)
  Rhonda Young (Casting)
  Maggie Mills (Casting asst)
  Betty Goldberg (Scr supv)
  Janis Benjamin Collister (Asst to Mr. Moder)
  Carol Richmond (Asst to Mr. Simpson)
  Scott Metcalfe (Asst to Mr. Simpson)
  Barbara Weintraub (Asst to Mr. Bruckheimer)
  Faith Ginsberg (Asst to Mr. Brest)
  David Robertson (Asst to Mr. Brest)
  Laurie Allison (Asst to Mr. Brest)
  Barbara Lichtenberg (Office asst)
  James Herbert (Loc mgr)
  William Bowling (Loc mgr)
  Robert C. Decker (Loc mgr)
  Robert Thorson (Prod auditor)
  Dannielle J. Weiss (DGA trainee)
  Jay R. Fuller (Transportation coord)
  Sam Edelman (Transportation capt)
  Chuck Adamson (Tech consultant)
  Simon Doonan (Art gallery consultant)
  Stanley Brossette (Unit pub)
  Marce Haney (Extras casting, 2d unit)
  Frank Maple (Prod asst, 2d unit)
  Bill Schmidt (Prod asst, 2d unit)
  Don Morris (Prod asst, 2d unit)
  Kyle SoloRio (Prod asst, 2d unit)
  Colleen Gilluly (Prod secy, 2d unit)
  Candace Dana (Craft service, 2d unit)
  Eattie Gourmet (Catering, 2d unit)
  Kimberly Conely (Loc mgr, 2d unit)
Stand In: Gary McLarty (Stunt coord)
  Gary McLarty (Stunt person)
  Jay R. Fuller (Stunt person)
  Alan Oliney (Stunt person)
  Bill Hooker (Stunt person)
  Christopher R. Adams (Stunt person)
  Loren Janes (Stunt person)
  Janet S. Brady (Stunt person)
  Matt Johnston (Stunt person)
  David Burton (Stunt person)
  Harold Jones (Stunt person)
  Danny Costa (Stunt person)
  Bobby McLaughlin (Stunt person)
  Steve Davidson (Stunt person)
  John C. Meier (Stunt person)
  Vincent P. Deadrick, Sr. (Stunt person)
  Michael W. Moore (Stunt person)
  Eddy Donno (Stunt person)
  Rex Pierson (Stunt person)
  Ron Ellis (Stunt person)
  Mic Rodgers (Stunt person)
  Kenny Endoso (Stunt person)
  Danny Rogers (Stunt person)
  Stephanie Epper (Stunt person)
  J. E. Sistrunk (Stunt person)
  Tony Epper (Stunt person)
  Karen Werner (Stunt person)
Color Personnel: Dick Ritchie (Col timer)
MPAA Rating: R
Country: United States
Language: English

Music:
Songs: "The Heat Is On," written by Keith Forsey and Harold Faltermeyer, performed by Glenn Frey, produced by Keith Forsey and Harold Faltermeyer; "Neutron Dance," written by Allee Willis and Danny Sembello, performed by Pointer Sisters, produced by Richard Perry, courtesy of Planet Records; "Stir It Up," written by Allee Willis and Danny Sembello, performed by Patti LaBelle, produced by Keith Forsey and Harold Faltermeyer; "Do You Really (Want My Love?)," written by Junior and Glenn Nightingale, performed by Junior, produced by Nigel Martinez, courtesy of London Records (UK); "New Attitude," written by Sharon Robinson, Jon Gilutin and Bunny Hill, performed by Patti LaBelle, produced by Howie Rice, Peter Bunetta and Rick Chudacoff; "Nasty Girl," written by Vanity, performed by Vanity 6, produced by The Starr Company and Vanity 6, courtesy of Warner Bros. Records Inc., by arrangement with Warner Special Products.
Composer: Harold Faltermeyer
  Keith Forsey
  Jon Gilutin
  Bunny Hill
  Junior
  Glenn Nightingale
  Sharon Robinson
  Danny Sembello
  Vanity
  Allee Willis
Source Text:

Copyright Claimant Copyright Date Copyright Number
Paramount Pictures Corporation 27/12/1984 dd/mm/yyyy PA235452

PCA NO: 27539
Physical Properties: Sd: Dolby Stereo® in selected theaters
  col: Color by Technicolor®
  Lenses/Prints: Lenses and Panaflex® cameras by Panavision®

 
Genre: Comedy
Sub-Genre: Action
 
Subjects (Major): Art dealers
  Beverly Hills (CA)
  Criminals
  Murder
  Police detectives
  Smuggling
  Undercover agents
 
Subjects (Minor): Art galleries
  Bonds
  Class distinction
  Cocaine
  Detroit (MI)
  Drug dealers
  Drugs
  Firearms
  Friendship
  Gunfights
  Hoaxes
  Hotels
  Impersonation and imposture
  Liars
  Partnership
  Personality change
  Police chiefs
  Police inspectors
  Police reports
  Practical jokes
  Ruses
  Undercover operations
  Vacations

Note: End credits include the following acknowledgements: “Gallery artwork courtesy of: Peter Gebhardt, Gary Gibson, Eugene Jardin, Larry Lubow, Andre Mirapolski, Paul Morgensen, Bruce Richards, John Sonsini, Don Sorenson, [and] Rita Yokoi.”
       As stated in a 16 Dec 1984 NYT article, the concept for Beverly Hills Cop was generated in 1975 by Michael Eisner, who was head of Paramount Pictures at the time. While driving an old station wagon that he first owned in New York City, Eisner was stopped for speeding on the freeway, and the police officer treated him with condescension due to the condition of his vehicle. Eisner realized how much status in Los Angeles, CA, was driven by materialism, and reportedly exchanged the station wagon for a Mercedes Benz the following day. However, he became dedicated to enshrining the event in a film about a Beverly Hills policeman. In the coming years, Eisner remained dissatisfied with potential scripts until Daniel Petrie, Jr., who had never been credited as a feature film writer, submitted his screenplay in Sep 1983.
       According to NYT and an 18 Nov 1984 LAT article, the film was initially set to star actor Mickey Rourke, who was personally selected by Eisner when he saw a photograph of the actor in a magazine. Although Rourke was cast in the lead role, script rewrites caused a delay in filming, and he left the project to make The Pope of Greenwich Village (1984, see entry). Without consent from producers Don Simpson and Jerry Bruckheimer, Paramount gave the script to actor Sylvester Stallone, who reportedly agreed to replace Rourke in less than one day. However, the 9 Apr 1984 HR announced that Stallone had formally declined to continue with the production due to conflicts with Simpson and Bruckheimer. The 16 Dec 1984 NYT stated that Stallone left the project just two weeks before principal photography was scheduled to begin. The rift was provoked when Stallone rewrote Petrie, Jr.’s screenplay, transforming it from a “dialog-oriented” picture into an action movie, and the changes required an additional $2 million for “below-the-line costs.” As noted in the 18 Nov 1984 LAT, Stallone’s representatives claimed Paramount asked the actor to rewrite the script, and that the two-parties split on good terms. NYT added that Stallone, the producers, and Paramount executives debated the merits of the actor’s revisions for two days before finally agreeing to use Petrie, Jr.’s, version “by mutual agreement.” Still, the filmmakers were already courting Eddie Murphy at the time of Stallone’s departure, and on 13 Apr 1984, HR confirmed Murphy’s casting. The deal agreed to an “in association with” onscreen credit for Eddie Murphy Productions and included the film in Murphy’s recent five-picture contract with Paramount Pictures that resulted from his box-office success in Trading Places (1983, see entry). The character name “Axel Cobretti” was changed to “Axel Foley.”
       During preproduction, Simpson and Bruckheimer were taken to an actual Detroit, MI, murder crime scene, according to the 16 Dec 1984 NYT. The homicide inspector who escorted the producers to the site, Gilbert R. Hill, was cast in the role of Axel Foley’s boss, “Inspector Todd.” Hill also provided research material for Murphy, who copied the officer’s habit of tucking his gun in the back of his trousers. While at the scene, the producers noticed that the incident occurred across the street from Mumford High School, and decided to feature a long-sleeved t-shirt from the school in Murphy’s wardrobe. A 19 Jan 1985 LAHExam noted that Murphy’s trademark “Mumford Phys. Ed. Dept.” shirt resulted in a lucrative licensing deal for the high school, which was unable to keep up with the onslaught of orders after the film’s release.
       According to the 13 Apr 1984 LAHExam, principal photography was scheduled to begin 7 May 1984 with locations in Detroit and Los Angeles. The 16 Dec 1984 NYT stated the script was completed the same day filming began, and that it was consistently revised based on Murphy’s improvisations.
       During production, a 29 Jun 1984 Beverly Hills Courier news item stated that shooting was prohibited in the city’s streets past 10:30 p.m., so the filmmakers moved locations to Pasadena, CA, where the town’s mansions stood in for those in Beverly Hills, CA. Second unit stunts, chase scenes, and opening credits were filmed over five days in Detroit during summer 1984, as noted in a 12 Oct 1984 Back Stage article. The “cigarette spill-over” crash sequence was filmed on John R and Brush Streets in the Highland Park district, the smashed fruit truck scene was located at Michigan Avenue and 30th Street, and the two-ton truck collision was shot several blocks away, on Jackson Avenue and 30th Street. Other Detroit locations included the Warehouse District, the residential area adjacent to Wayne State University, and the Ford Motor Company assembly plant in Wayne, MI.
       The film was released 5 Dec 1984 on 1,450 screens, as stated in the 11 Dec 1984 DV, and Paramount planned to add an additional 521 venues by 21 Dec 1984. The picture grossed $3,865,673 in its first two days of release, and $19,080,478 its opening weekend. DV also noted that the film was initially budgeted at $14 million, but it came in $1 million under its projected cost. Murphy earned $4 million for his participation in the project. On 29 Dec 1984, NYT announced that the picture had grossed $64.5 million in twenty-three days of opening. By 17 Apr 1985, Beverly Hills Cop earnings reached $200,074,594, making it the most successful film “released outside the summer season” to date, according to a DV article published that day. Just over nine months later, the 22 Jan 1986 HR, which noted that box-office receipts now totaled $233 million, stated that the Beverly Hills Cop videocassette release on Paramount Home Video was the highest-selling video to date. At that time, the picture also marked the highest-grossing comedy in motion picture history.
       As reported in the 12 Dec 1984 LAT and Var, Motown Records filed a lawsuit against Paramount shortly after the film’s release, alleging that the studio used the Rick James song “BHC (I Can’t Stop)” on the soundtrack album without formal permission. Furthermore, Motown contended that the song should not have been included on the album because it was not played in the film nor credited onscreen.
       Beverly Hills Cop was nominated for one Academy Award in the category Writing (Screenplay Written Directly for the Screen). The picture also ranked #63 on AFI’s list of the 100 funniest American movies, “100 Years… 100 Laughs.” 

Bibliographic Sources:   Date   Page
Back Stage   12 Oct 1984.   
Beverly Hills Courier   29 Jun 1984.   
Daily Variety   27 Nov 1984   p. 2, 13.
Daily Variety   11 Dec 1984.   
Daily Variety   17 Apr 1985   p. 1, 225.
Hollywood Reporter   9 Apr 1984.   
Hollywood Reporter   13 Apr 1984.   
Hollywood Reporter   30 Nov 1984   p. 3, 42.
Hollywood Reporter   22 Jan 1986.   
LAHExam   13 Apr 1984.   
LAHExam   19 Jan 1985.   
Los Angeles Times   18 Nov 1984   Section W, p. 23, 38.
Los Angeles Times   5 Dec 1984   p. 1.
Los Angeles Times   12 Dec 1984.   
New York Times   5 Dec 1984   p. 25.
New York Times   16 Dec 1984   p. 21.
New York Times   29 Dec 1984   p. 1, 9.
Variety   28 Nov 1984   p. 19.
Variety   12 Dec 1984.   

Display Movie Summary
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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