...Non dite a mamma che la babysitter è morta!
Titolo originale: Don't Tell Mom the Babysitter's Dead
Cinque fratelli vengono lasciati soli per tutta l'estate quando la madre lascia la città e la cattiva babysitter passa a miglior vita.Cinque fratelli vengono lasciati soli per tutta l'estate quando la madre lascia la città e la cattiva babysitter passa a miglior vita.Cinque fratelli vengono lasciati soli per tutta l'estate quando la madre lascia la città e la cattiva babysitter passa a miglior vita.
- Premi
- 4 candidature
Trama
Lo sapevi?
- QuizProduction nearly stopped towards the end of shooting when Christopher Pettiet's drug addiction was getting out of control. The producers cut a few of his scenes to keep the film on schedule.
- BlooperSeveral times, the children refer to being on summer vacation. However, the computer at the office reads March 22, 1989, and the tickets Sue Ellen gets as a gift read April 1st, 1990.
- Citazioni
[repeated line]
Sue Ellen "Swell" Crandell: I'm right on top of that, Rose.
- Curiosità sui creditiThe two groundskeepers for the cemetery stand over the Babysitters grave and comment how nice it was for her to leave them the money. The tombstone reads "Nice Old Lady inside who died of natural causes".
- Versioni alternativeTV versions edit the shot of the three drag queens stealing the car and also cut the line of dialogue from Sue Ellen that goes, "Oh yeah, what are we gonna say? Liza Minnelli stole our Buick?"
- Colonne sonoreDraggin' the Line
Performed by Beat Goes Bang
Produced by Alan Meyerson and Beat Goes Bang
Courtesy of Restless Records
Written by Tommy James and Robert King (as Robert L. King)
Published by Longitude Music Co.
Recensione in evidenza
What is a great film? Something that is truly timeless, or something which is a classic of its genre? Obviously, no-one's pretending "Don't Tell Mom the Babysitter's Dead" is a great film (no great film has a title of more than three words. Think about it) but nonetheless, one does get to see how a film handles its composition of several genres rather than one. It's the best strategy towards greatness, and I hope to see this attempted more frequently.
"Don't Tell Mom..." is at an interesting cultural crossroads. It's basically the last of the Eighties high-concept comedies: the same broad category as films like Big and Crocodile Dundee, where the whole film comes from the pitch. However, we get to see shades of Wayne's World-esquire Generation X teen movie, especially in the character of Rob, and unfortunately the short-lived genre of 'kids acting in grown-up situations and delivering ever-so-amusing grownup lines.' John Hughes was the master of this style of film-making, and there's definitely shades of his work in here, most noticeably the setting of a film largely within a family house.
First of all - the pitch. Kids left at home for summer with babysitter. Babysitter dies and kids must fend for themselves with as few people let in on the secret as possible. From this moment on, the film was always going to go about the format of throwing its naive, brattish teenagers in the real world at the deep end and extracting as much amusement as possible from their sinking-or-swimming.
The screenplay starts to thin at this point. Of the five kids in the house, only two are feasibly old enough to work, or indeed to learn any sort of life lesson throughout this experience. The plot then follows Sue Ellen as she stumbles her way into a job and up the corporate ladder (the script is devoid of jokes at this point, but I kept watching because Christina Applegate is a surprisingly good actress.) Everything from this point is a misjudgment - it's virtually scrawled across the screen that Sue Ellen is getting some life lessons and becoming a young adult. The film could have done without the 'boyfriend' storyline though - it's without doubt the saggiest part of the film.
More interesting is the Kenny storyline. Younger brother Kenny goes from being a hopeless layabout stoner with no inkling to as what he wants to do in life to a man with a plan. Lack of screen time prohibits us from truly understanding why, but we do get an insight into the film's message - the real world is about sacrifice. Kenny must throw away his carefree existence if he wants to become a man.
Sure, this film has faults like pearls on a string - the annoying smaller children who eat up screen time and contribute nothing but an unbearable cuteness (and they're not even that cute: they steal money from their mom's purse - twice.) Sue Ellen's corporate life is shown as patronizingly simple, but that's a fault of all movies in general, you can't have clever successful people as the heroes because the audience feels intimidated. The other major fault I'm going to point out is the chronic lack of laughs. About the biggest giggle was David Duchovny's horrendous yellow shirt. But "Don't Tell Mom," much like its characters, has an innocent, naive charm about it, and if you can put aside your critical mauling instinct, it won't be the worst two hours of your celluloid life.
Keep your eyes peeled for a throwaway reference to Big.
"Don't Tell Mom..." is at an interesting cultural crossroads. It's basically the last of the Eighties high-concept comedies: the same broad category as films like Big and Crocodile Dundee, where the whole film comes from the pitch. However, we get to see shades of Wayne's World-esquire Generation X teen movie, especially in the character of Rob, and unfortunately the short-lived genre of 'kids acting in grown-up situations and delivering ever-so-amusing grownup lines.' John Hughes was the master of this style of film-making, and there's definitely shades of his work in here, most noticeably the setting of a film largely within a family house.
First of all - the pitch. Kids left at home for summer with babysitter. Babysitter dies and kids must fend for themselves with as few people let in on the secret as possible. From this moment on, the film was always going to go about the format of throwing its naive, brattish teenagers in the real world at the deep end and extracting as much amusement as possible from their sinking-or-swimming.
The screenplay starts to thin at this point. Of the five kids in the house, only two are feasibly old enough to work, or indeed to learn any sort of life lesson throughout this experience. The plot then follows Sue Ellen as she stumbles her way into a job and up the corporate ladder (the script is devoid of jokes at this point, but I kept watching because Christina Applegate is a surprisingly good actress.) Everything from this point is a misjudgment - it's virtually scrawled across the screen that Sue Ellen is getting some life lessons and becoming a young adult. The film could have done without the 'boyfriend' storyline though - it's without doubt the saggiest part of the film.
More interesting is the Kenny storyline. Younger brother Kenny goes from being a hopeless layabout stoner with no inkling to as what he wants to do in life to a man with a plan. Lack of screen time prohibits us from truly understanding why, but we do get an insight into the film's message - the real world is about sacrifice. Kenny must throw away his carefree existence if he wants to become a man.
Sure, this film has faults like pearls on a string - the annoying smaller children who eat up screen time and contribute nothing but an unbearable cuteness (and they're not even that cute: they steal money from their mom's purse - twice.) Sue Ellen's corporate life is shown as patronizingly simple, but that's a fault of all movies in general, you can't have clever successful people as the heroes because the audience feels intimidated. The other major fault I'm going to point out is the chronic lack of laughs. About the biggest giggle was David Duchovny's horrendous yellow shirt. But "Don't Tell Mom," much like its characters, has an innocent, naive charm about it, and if you can put aside your critical mauling instinct, it won't be the worst two hours of your celluloid life.
Keep your eyes peeled for a throwaway reference to Big.
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Dettagli
- Data di uscita
- Paese di origine
- Lingua
- Celebre anche come
- Don't Tell Mom the Babysitter's Dead
- Luoghi delle riprese
- 15548 Iron Canyon Rd, Santa Clarita, California, Stati Uniti(The Crandell house)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Lordo Stati Uniti e Canada
- 25.196.249 USD
- Fine settimana di apertura Stati Uniti e Canada
- 4.233.415 USD
- 9 giu 1991
- Lordo in tutto il mondo
- 25.196.249 USD
- Tempo di esecuzione1 ora 42 minuti
- Colore
- Proporzioni
- 1.85 : 1
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By what name was ...Non dite a mamma che la babysitter è morta! (1991) officially released in India in English?
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