White Palace

The story of a younger man and a bolder woman.
White Palace (1990)
Timing: 1:43 (103 min)
6.8/10
15 605
—
no scores
6.6/10
210
6.5/10
9700
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Release date
Country
Production
Genre
Budget
$0
Revenue
$17 487 531
Website
Director
Scenario
Operator
Composer
George Fenton
Artist
Jeannine Oppewall
Audition
Nancy Nayor
Editing
Carol Littleton
All team (30)

Short description

Max Baron is a young advertising executive in St. Louis, still grieving the death of his wife, when a late-night encounter at a diner brings him together with Nora Baker, a waitress in her forties who lives on the city's outskirts. Despite the gap in their ages and social backgrounds, the two begin an intense affair. Over time, the differences between them create friction, and their relationship is further strained by Max's Jewish social circle and his reluctance to be open about Nora with the people around him.

The film is a drama and romance from 1990, directed by Luis Mandoki and written by Alvin Sargent and Ted Tally. It was Mandoki's first feature as director, ahead of Born Yesterday, When a Man Loves a Woman and Message in a Bottle. Susan Sarandon and James Spader lead the cast as Nora and Max, with supporting turns from Kathy Bates, Jason Alexander, Eileen Brennan and Steven Hill. Running 103 minutes and produced by Universal Pictures, it took in around 17 million dollars worldwide.

On IMDb the film holds a rating of 6.5 out of 10 from roughly 9,700 votes, and on TMDB a 6.6 out of 10 from about 210 votes. A critics' rating of 5.8 out of 10 from 28 reviews places it noticeably below the audience scores on both platforms.

What's left behind the scenes

  • Glenn Savan, who wrote the novel on which this film is based, played one of the clients at the White Palace.
  • Several months after filming wrapped, Susan Sarandon and James Spader were brought back to reshoot the ending. Initially, the film ended as the book did – Max proposes to Nora, leaving the outcome to the reader/viewer's imagination. Preview audiences expressed outrage at the ambiguous conclusion.

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