FILM · 1989 · USA
The Fabulous Baker Boys
30 archived facts 5 topics 1 source Last reviewed Oct 2026
- #001
- #002
- #003
The iconic "Makin' Whoopee" piano scene was choreographed, and filming it took six hours. Michelle Pfeiffer had only one choreography lesson and wore knee and elbow pads during rehearsals. The red velvet evening gown Pfeiffer wears in the scene was designed by the film's costume designer, Lisa Jensen.
- #004
- #005
- #006
- #007
When George Roy Hill was assigned to direct, writer/director Steve Kloves raised the idea of giving the role of Suzie Diamond to the late Whitney Houston. Kloves had heard her sing as she was becoming a full-fledged superstar, and he and Hill attended a concert she gave at Carnegie Hall in New York. After the concert, Hill accepted the idea of Houston and wanted to change the film's unhappy ending so that Suzie and the Baker brothers go to Las Vegas and achieve great success. Kloves cut him off and told Hill that he would not change the film's ending regardless of whether Houston was cast.
- #008
- #009
Before the fight between Frank and Jack after the benefit, writer-director Steve Kloves asked Beau Bridges whether it was true that he had turned down the Ryan O'Neal role in Love Story (1970). Beau said it was true and that he was still angry about it after all these years. Using that as motivation for the scene, Beau actually confronted his brother Jeff. Jeff accidentally broke his finger on the set.
- #010
- #011
- #012
There is a scene in which Jeff Bridges and Michelle Pfeiffer have a small bit of foreplay using different objects such as shaving cream and butter on bread. The scene was not working, so writer-director Steve Kloves told the crew to take an hour's break so that he could discuss with Bridges, Pfeiffer and cinematographer Michael Ballhaus how to handle the scene. Kloves simplified it, and it became one of his favorite scenes in the film.
- #013
- #014
- #015
- #016
Much of the film was shot at night; this was why writer-director Steve Kloves hired production designer Jeffrey Townsend, as he loved Townsend's work on Martin Scorsese's black comedy After Hours (1985), which was shot almost entirely at night, and he also hired cinematographer Michael Ballhaus to contribute to Townsend's magnificent production design.
- #017
While the film was in development at Warner Bros., George Roy Hill was assigned to direct it and in fact worked on it with writer and eventual director Steve Kloves in New York for six weeks. However, a disagreement over the film's ending caused Hill to withdraw from the project, and Kloves was ultimately chosen because no one else wanted to direct the film.
- #018
Jazz musician and recording artist John F. Hammond, along with Oscar winner Dave Grusin, provided the other half of Jeff Bridges's and Beau Bridges's piano performances. However, Jeff was a real musician and knew how to play, while Beau was more of an amateur. At that point Grusin was much more flamboyant, and in the film's final mix you mostly hear his and Hammond's piano solos.
- #019
- #020
- #021
The film marked Oscar winner Dave Grusin's second consecutive Academy Award nomination for Best Original Score. He had finally won in 1988 for Robert Redford's The Milagro Beanfield War (1988), and his third consecutive nomination came for Havana (1990), the first lead role for his friend and director Sydney Pollack since Pollack directed Out of Africa (1985). In 1993 he would receive one more Oscar nomination, again on Pollack's behalf, for the adaptation of John Grisham's novel "The Firm."
- #022
- #023
The film went through a troubled development period that began when Mark Canton took over Warner Bros. He loved the project, but the person who replaced him after he left the studio to run Columbia Pictures did not like the film and stayed attached to it because many A-list actors, including Bill Murray, Chevy Chase and others, liked Steve Kloves's script and wanted to make the film. Eventually Sydney Pollack and his producing partner Mark Rosenberg, who were involved in the project and had supported it from the start, pressured Warners to return the film and take it to another studio to make it. The film then went to Gladden Entertainment, which did not want to make it either, and studio head David Begelman greenlit the film because he had made a $3 million profit on foreign rights. Problems continued, however, because the studio had a distribution deal with Twentieth Century-Fox that was part of the studio's old regime: Begelman and Fox president Barry Diller had personal issues with each other, which delayed the project in some way and led to the film's small release in September 1989. Nevertheless, since the film received critical praise and performed exceptionally well at the box office despite its limited theatrical run, Diller later expanded it to a wider release. It became a surprise box office success, earned 4 Oscar nominations and was a major awards contender in the 1990 awards season.
- #024
- #025
- #026
- #027
- #028
- #029
- #030
